#Windows Development UK

[spaghettioverdose]

Some observations I've made being an immigrant in the UK (for almost a decade now 💀):

You might not necessarily pick up a lot of phrases or words from living here, but you will find yourself saying "innit" at least sometimes after a while.

I have yet to see a house with windows that have bug screens on them. Despite this, there are in fact still bugs that can instantly sense an open window from a mile away and will instantly divert their flight to the nearest one at maximum speed.

Mould.

Every time it snows a little bit people act like it's a natural disaster.

Every time it rains everyone drives like assholes.

90% of British humour consists of transmisogynistic caricatures. Almost every supposedly progressive party here has actively transphobic politics. It is genuinely inescapable.

It does genuinely rain quite a bit in this country, and even when it doesn't rain, the weather is still miserable and cold.

This is one of the richest and most developed countries in the world and the first one to industrialise. Despite this, the internet infrastructure is still somehow dogshit.

Some middle aged white brits cope for the loss of the British Empire by becoming managers at companies where most of the workers are immigrants.

This country uses both imperial and metric, and sometimes something even worse: stone. At least it doesn't use Fahrenheit.

The favourite hobby of British bourgeoisie is to larp as feudal nobility.

[roc-haze]

Best Part | Will Lenney

In which Will and Y/N are friends, but should be more.

Part two

——

New messages on WhatsApp

Ugly Stepsisters

George: @Y/N I’d finish up early if I were you… Will’s shouting the next round

Y/N: Aren’t you guys filming? He’s probably getting his shout in while it’s tax deductible 🤭

Becky: The cameras have been off for a while. He must be feeling charitable

George: Funny that. He was about to throw a tantrum before I told him wifey was tagging along 🧐

Becky: I thought wifey was working late tonight

George: Yeah she can’t say no to a free drink though

Y/N: Tell Will to get my pint ready. ETA 10 mins 🫡

There were perks to having a full time job. Financial stability, career development, a valid reason to say no to going on your mate’s podcasts. However, there were also disadvantages - one being having to sit in an office all day while said mates drink their way through London.

Y/N had been working with a corporate insurance company for a few years now, having moved to London for a secondment that developed into a full time role. She had been introduced to the wider UK YouTuber group through George, who was a prospective client when The Useless Hotline began to take on employees. They had clicked instantly, and she had found herself spending most of her free time with Clarkey and Becky. While the two friends brought a sense of adventure and excitement to her life, Y/N was a breath of fresh air - a reminder that there’s more to life than an upload schedule.

“Y/N!” Arthur Hill had spotted her as soon as she walked through the door, pulling her into a tight embrace. “I’m so happy you’re here, Will thought you may’ve been working late”.

“I was planning on it, but I heard Will was shouting. I had to see it for myself.” She grinned as Arthur laughed, directing her to the table occupied by the group.

Y/N was met with a loud cheer, each of her friends taking turns to greet her.

“I was starting to think you’d never return from war,” Becky wrapped her arms around her friend. “I’ve been waiting for you to help me drink these fellas under the table.”

The two girls shared a giggle before being enveloped in a hug by their tall, brunette male counterpart.

“This is my second favourite kind of threesome” George sighed.

“I’m assuming the first involves Chris and Hill.” Y/N laughed lightheartedly.

“You know me so well.” George had grinned in response.

Y/N could feel a pair of eyes on her, cheeks heating up as she looked up to see Will making strides across the pub, glass of red in hand.

“We better let mummy go now Becky, can’t have daddy getting jealous.” George smirked at Y/N, both himself and Becky stifling a laugh as Y/N jabbed him in the side.

Her two friends disappeared behind her as Will approached, knowing looks on their faces.

“Hi gorgeous,” Will wrapped his free arm around her, placing a kiss on her cheek. “I know we typically do pints but they finally restocked your favourite red.”

Y/N resisted the urge to coo at the grown man in front of her.

“Come tell me about your day.” He grabbed her hand, leading her through the crowd of friends.

Y/N had spent plenty of time with the extended group - even once had a bit of a secret summer romance with Lux.

They were sat in the car in his driveway when he had ended things.

“I think Will knows we’re seeing each other, Y/N. I can’t bear to see that look on his face anymore.”

“What look?” she had asked.

“The you’re-my-mate-and-dating-the-woman-I-like look.” Cal had sighed, the frustration spreading over his face.

“I don’t care what anyone thinks, Cal. Pretty sure he’s dating people too.”

“If you really didn’t care, our friends would know we’re dating,” he said, head resting against the window. “I would love for this to work out, but I just don’t see it happening.”

Cal had conceded, no longer wanting to fight for her attention. There was just something about Will.

Unlike George and Becky, it had taken some time for his friendship with Y/N to blossom. It had taken many Thursday trivia nights at their local, but they eventually became inseparable. The two had slowly pulled away from big nights out, preferring to spend their Saturday evenings watching films and playing board games. Having escaped a hangover, they would often stretch their hangouts into Sunday morning for a quiet coffee run and visit to the local market. But lately, tension had begun to build - and it seemed like everyone had noticed. Except for Y/N.

Though she would never really admit it, Y/N had felt the shift in their dynamic. She was hyper aware of the way Will kept his hand on her back as they walked through the crowded markets. She would try desperately to suppress the dull ache in her chest when he would suggest heading home after a film night. It’s too late to drive home, Will. She’d be scarily still when he’d sleepily throw his arm across her torso, terrified to wake him as he lie next to her. Okay Y/N, I’ll stay.

Will had noticed the tension. He was just waiting around for Y/N to catch up. She was the most beautiful woman he’d ever seen. She stopped women on the street to compliment a smile, a hairdo, or the coat they were wearing. On the occasions she hung out with his production team, she had made a point to take an interest in their life outside of work. She would text Mikey various tiktoks, look through Ieuan’s film and help him choose the right stills. She was the missing piece of the puzzle… yet had no clue.

Y/N slid into the booth next to Will, the other half occupied by Chip and Sabina.

“I’ve been hanging out for a wine night,” Sabina reached across the table, gently squeezing her friend’s hand. “We’ve got so much shit to talk. I’ve been keeping notes for you.”

“Sab, give me a time and I’m there!” Y/N had opened her calendar, rattling off free days to the brunette across the table. Before long, the couple were off to the bar, leaving Y/N and Will sitting by themselves.

They settled into routine. She shared her day - her boss had copied her in on a million different emails, she spent the whole day in meetings and plastering on a smile - while Will listened attentively. That sounds shite. You should eat, you’ll feel better.

“I think my social battery is starting to go.” The thought of staying out late made her grimace.

“Let’s go home. Get a shitty takeaway and watch an even shittier film.” Will was stood, extending his hand for her to grab. They walk through the pub, embracing their friends goodbye and promising a late night over the weekend.

“She’s just tired, mate. Thought it’s time to head home.” Will stood talking to George, sympathetic smile spread across his features.

“And she needs you to tuck her in? Good friend you are, Lenney.” George smirked, watching a red flush make its way up to Will’s ears.

———

15 minutes later, they were stood outside her apartment fumbling with the keys.

She had entrusted Will to organise dinner, throwing herself onto the couch with no plans to leave it anytime soon. Will sat on her right, allowing her to rest her head against his shoulder.

“You know Y/N, this is my favourite part of these group events.” He looked down at her, tucking a stray stand of hair behind her ear.

She met his gaze. “I love catching up with everyone, but I feel like I wait around the whole day to come home to you.”

“You make it sound romantic.” She laughed, but with no real humour behind it. Just trying to cut the growing tension in the room.

“It could be. If you want that.” Will’s eyes searched her face for any sort of requited feeling.

She swallowed hard, adjusting her position on the couch to face him.

Her phone fell into Will’s lap as she gently brushed her hand over the top of his. “I do. Want that, I mean.”

Will moved to intertwine their hands, a loud chime coming from Y/N’s phone. He looked down, seeing a familiar name adorn the screen.

Cal: Can we talk? I miss you.

—-

A/N: Thanks for reading guys!

You can find the series masterlist using the above link 🥰

[user211201]

Chronivac Coworkers

--- Originally posted on 2022-09-19 by davidrodge ---

You sit down at your desk and rub your eyes. Another day of paper pushing and number crunching to get through. It wasn’t like you had done anything particularly interesting the previous night. You had stayed up a little later playing some mediocre matches of online gaming - but when I guess when you get to be around 40, your body constantly feels like it’s been dragged behind a car down the high way. Not that you didn’t take care of yourself, in fact you’d say you looked pretty good for your age…

You stretch in your seat, and reach for your coffee as your computer powers on. The few windows illuminating the office show the first few morning beams of scorching July sunlight. Behind you, the door opens and your Coworker David strides in.

“Morning Adam!” He says in a strangely cheerful voice. You put your coffee down from your lips and give him a stare. Normally David was about 20 minutes later than he already was, and usually he walked into the office with the same enthusiasm you’d see in a man walking towards a guillotine.

“Morning Davo,” you say, typing in your far too long corporate password. “You seem less Zombie-like today, what are you so excited about?”

David Smiled as he sat down in his chair opposite from yours. You were techniqually Davids senior Manager, but the two of you had developed a decent friendship between Friday drinking and the occasional tennis match.

“Oh Nothing Adam, I just got to the top of the waitlist for this super cool Software, and I was finally able to download it!”

You nodded, half listening as you began logging into all your engineering system.

“Very Interesting, what’s the program called? Is it like a Gaming platform?” David opened up his laptop and started to type furiously.

“No it’s not a game at all, It’s an app called the Chronivac. It’s supposed to be a reality altering software. I had a friend in the UK that sent me the information for it, He said that it completely changed his life.”

You paused from your coffee long enough to lean over and roll your eyes at him.

“I hope you didn’t have to pay any money for it.” You moaned, “This Job doesn’t pay you enough for you to be wasting your time on Overseas Scams.”

David was absolutely transfixed on his laptop. A wide, slightly crazed looking grin spreading over his face.

“It actually ended up costing me thousands of dollars,” he said, now in a far quieter voice, “but it was completely worth it.”

“THousands Of DoLLARS!” You exploded, immediately turning the heads of the fellow desk jockeys nearby,

“SHut UP man,” David hissed, half closing his laptop defensively. You simmered as the both of you waited for the rest of your colleagues to return back to their work. David narrowed his Eyes at you, smile creeping back onto his face.

“It wasn’t a waste of money and I can prove it too you. Just let me find your profile really quick.”

“Wait, this thing has a profile for me on it?” You said, now even more concerned then before. “David, This seems like some really dangerous software And I definitely thing that you shou-“

Davids Computer cut you off with a cheerful beep, and immediately you felt a strange sensation course through your body.

“What the hell!” You shout as you start the world around you starts to grow. You feel a strange tightening sensation in your body, as you glance downward. Your clothing seemed to liquify, shifting from a smart suit and dress shirt into a casual tee. In shock you glance at the bay window and catch a reflection of yourself. There you were…. Or rather, there you were 20 years ago! You lift your hands up too your face and feel your skin. Wrinkle free, young, and real!

“ there’s no way this is real,” you say in a whisper. This has to be a dream you think, as you continue to explore your now unfamiliar body.

David leaned over the edge of his desk beaming,

“ See I told you man! This program is incredible!” He looked you over, seeming to be proud of his work. “Dang it’s crazy what taking 20 years off a man can do!”

You take a brief pause from reveling at your new found youth.

“ this is incredible David! How is this even possible?!”

“It’s the chronivac man! Like I said it’s freaking amazing and can change anything!” The wild grin still fresh on his face.

You stand up, coursing with a newfound energy.

“WE HAVE TO TELL EVERYONE ABOUT THIS!” You say ecstatically. The grin drops from David’s face.

“What?”

You begin to jog away from the desks, heading straight for the break room where you knew, most of your coworkers would still be gathered.

“We can change anything with this! This is going to be the coolest thing any of these morons have ever heard about!”

“Wait! No stop! Aww shit-“ you hear David shout as you continued running. You barely processed his voice or cared. You felt so alive! The excitement in your chest was all you could feel or even think of right now. You slid around the corner, breaking into a sprint down the hallway. You could hardly wait to introduce your new younger self to your coworkers and tell them about this amazing new device.

“GUYS, YOU WOULDNT BELIEVE WHAT JUST HAPPENED TO-“

Suddenly your voice catches In your throat, as your mouth dries out In an instant. You keep running, starting to trip over yourself on the concrete floor.

“ what the” you gasp through a dry mouth. Your tongue feels like a pillow in your mouth as you tumble to the floor. You are vaguely aware of the sight of your hands, which appear to be changing color and texture. Your vision fades with the sight of your fingers turning bright blue and seeming to collapse in on themselves.

You can’t seem to find your voice, or be able to move as you feel yourself shrinking. You feel an indescribable softening sensation on all sides as you slide to a stop. Suddenly, it’s over as quickly as it started, and there you lay on the floor. Your brain slows down, filled only with the most basic thoughts now.

“ what….. happened…” you think to yourself with great effort. Your aware of footsteps coming towards you from your position on the floor.

“ Sorry about that man, I just couldn’t have you sharing my new toy with the rest of the world. It’s kind of like a private club, ya know?

….David? You think through fuzzy thoughts.

“ I’m still learning how to use the program haha, but you did turn out to be a nice pair of underwear Adam.”

You feel your now small form being lifted from the floor, then shoved into a pocket. David’s pocket.

“Don’t worry man, we’ll get you sorted out. I think you’ll make a really good practice for me before I start changing myself.”

You couldn’t respond at all, but felt almost at home In the musky warm pocket you were haphazardly shoved into.

….so … nice… you find yourself thinking. You try to shake the fuzz out of your primitive mind. Trying to remember anything besides the new world you found yourself in. You faintly hear David through his clothing.

“ alright, I think the first thing we should do is get you home so we can have some fun.” You feel yourself being lifted from his pocket and placed back on the ground. You felt a longing to be back in the warm musky dark.

“this time however, I think we’ll turn your awareness off.”

David smiled punching his new specifications into the chronivac program. Adam wouldn’t remember any of what just happened, and also be open to his suggestions. The underwear on the pavement started to expand, shifting and changing until Adam once again stood in front of him with a slightly dazed look on his face.

“is it weird that that kind of turned me on…” David muttered to himself.

“Dave… what the hell is going on? Adam said In a bewildered voice. His voice echoed in the parking garage that they now stood in. David smiled, and typed into the chronivac.

“you were about to give me a ride home, remember big guy?”

Adam, still looking confused, but seemingly unaware of the last 20 minutes of his life shrugged and fished for his car keys.

“Alright man but don’t judge about the mess in my car.” He smiled and clicked his horn. The two of you walked over to the old SUV Adam drove and stepped inside, scooting aside the old take out bags and random junk. Adam sheepishly got In and fastened his seatbelt.

“Thanks for taking me home man, I wasn’t feeling the best.” David said hiding a smile while still typing in his computer. Adam started the car and began to pull out of the parking lot.

“no problem man, it’s been a boring day for me anyway.”

I’m sure it was… David thought pulling up Adams profile again. David pulled up Adams profile. He continued to explore it as they got on the highway - passing the braves stadium. Now it was time to really see what this program could do. He clicked on the occupation section and replaced senior engineer with Uber driver and hit enter. The cars interior suddenly shifted, quickly becoming neater and tidier. An Uber sticker appeared on the windshield. David smiled and Adam glanced over at him.

“Hey you owe me tho David,” he smiled “I could be making money right now instead of driving your ass around.”

“for sure man, I’ll make it up to you.” David grinned. He clicked onto Adams body specifications.

Alright let’s slide that age way down… maybe 22? He looked good like that, but let’s pump up his muscle mass by 80 pounds and increase his attractiveness level. David pulled open Adams identity profile and messed around with a few things. Instead of being a work friend, Adams new relationship to David was a complete stranger. David deleted Adams previous educational experience tab and input college fraternity brother into his profile. He dropped the IQ level down to one of the lower settings. It might be nice for Adam to worry about less right? He input “easygoing” into his profile. He hit shuffle on race, just for some added fun and eagerly hit enter.

the change was immediate. Adam shifted in his seat, losing a few inches of height but gaining a ridiculous amount of mass everywhere. His legs filled in his pants so quickly David thought they might burst. His arms ballooned outwards and his face shifted to a cocky smirk. His pecs jutted out against his shirt, bouncing with the cars motion. The clothes he previously wore liquified and stretched tight against his body - becoming a simple tee shirt and short shorts. His hair styled itself into a skin fade, and a tan crept over his body. A backwards cap materialized on his head, and a stud In his ear as he glanced over at David.

“What? You like what you see man haha?”

The new Adam raised his arm and flexed his now massive bicep.

You both laughed as you felt a mixture of pride and arousal. Adam put a beefy arm on the dash of his car and started typing into the gps, stopping at an intersection .

“Where was it you said you wanted to be dropped off again sir?”

David rattled off his address, trying to hide the growing… excitement that was beginning to show In his crotch. The new Adam glanced down and smirked at David, but continued driving. David smiled, reviewing Adams profile again.

“ So what do you have going on in your life… Adam right?” David asked, trying for conversation with his previous boss.

“We’ll I’m just chilling at the university right now…” Adam said with a dull laugh, “spending a lot of time at the gym and with the boys right now.”

David nodded absentmindedly, sliding Adams sexuality to nearly 100 Percent gay. Just to see what would happen. He slid the Libido curser to high and glanced back up at Adam. A distracted look now plastered on his face, one hand on the wheel, one hand now migrating down to his shorts.

“… and you know… spending time… with the boys.”

David could barely contain his excitement as the two pulled up to his house. Adam threw the vehicle in park and shifted his Adonis frame in his seat to face David.

“Hey man, don’t even worry about the ride today, it was nice meeting you. I’ll void the bill In the app.” He said with a smile. David met his gaze and blushed. Oh my god, was he flexing?

“Oh that’s really too nice of you man, there’s really no need.” David stuttered

Adam smiled and bit his lip, he hopped out of the car to get David’s door.

“No I insist. I Really enjoyed being your driver today.”

David stepped out of the car, amazed by what he had been able to do to his friend. The new Adam held out his hand for a solid high five. He winked and said,

“Message me if you ever need a ride again bro.” With that, he strutted back to his car, then got in and sped down the road - blasting music.

David stood on the edge of the driveway. Clutching his lap top and trying to calm himself. He began to stride into his house, weighing his options. People had warned him, that the chronivacs power could really go to your head if you didn’t have a handle on it. He unlocked the door and paced into his living room. David hadn’t thought much about it, but man had he really surprised himself. In the space of 1 hour he had changed his boss into a horny college himbo without so much as a blink.

He through himself onto the couch and started up at the ceiling. David smiled, thinking of the limitless possibilities that now awaited him. He could literally become whatever he wanted to. Could change the world in whatever way he wanted. The possibilities were so endless p, he had no idea what to do.

After a moment of watching the rotating fan David grinned. He didn’t know all the things he wanted to change, but he did know what he wanted right now. He pulled his laptop back up and fired up the chronivac. Adams profile still displayed on screen. David clicked into Adams relationship status and began clicking around. It took a second to find the option, “willing to sleep with any man.” But David aggressively slammed the enter button and pulled out his phone, finding an Uber text string with the new Adam.

“Thanks again for the free ride today man. Was wondering if you wanted to ride anything else tonight? 😘🍆”

He waited breathlessly for a moment before three dots appeared on his screen, and then a message. Apparently a picture the new Adam had taken at the gym.

“on my way back big guy”

David slammed his laptop closed and ran to change into some more relaxed clothes. That was enough messing with the chronivac for the day. It was amazing what a horny stud he had been able to change his boss into. And ridiculous how quickly David had fallen for him.

David wrestled with his tie and glanced out the bedroom window as a car raced up. The new and improved Adam jumped out and started sauntering towards the door, already removing his shirt. David could only stares as he felt himself begin to go hard. He and Adam were going to have a lot of fun tonight.

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That's all any of this stuff is.

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

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

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

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

...

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

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

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

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

When Eric Pearson came onto the project,

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

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

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

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

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

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

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

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

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

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

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

[tamberella]

Congratulations on your author debut, I'm so excited for your book!! 😇💕

Would you consider talking about the whole process of becoming a book illustrator /children's book author?

Thank you so much, I really appreciate it!! And I'd be happy to share the process!

It all started for me with my 3dTotal artbook. 3dTotal is a small publisher in the UK, and they mainly focus on collections of artists' work. They use Kickstarter to fund each book, and my agent (the amazing Seth Fishman at Gernert) discovered me through the Kickstarter for my artbook Windows to Worlds!

He asked if I had any interest in working on graphic novels or picture books, and I had already been thinking about picture books! He found me my first picture book project with Penguin Workshop, Mother of Sharks, written by the awesome Melissa Cristina Márquez, which came out last year!

While I was working on Mother of Sharks, I was also talking with him about developing The Bakery Dragon, based of course on this painting, which was (and is) one of my proudest artistic moments.

For a little background on the painting, I painted it right after a really challenging couple of months medically - I was dealing with medical complications from my chronic illness for about 6 months, and I wasn't able to finish a single painting the whole time, I was just too exhausted from hospital visits and being in pain. That painting was the first piece I was able to actually complete (both emotionally and literally) in about half a year. So it always held a really special place in my heart, and I really wanted to keep living in that little world. I think there's something in it that is very special to me, about being outside in the cold, seeing warmth and love through a glass barrier, and wanting desperately to reach it.

With Seth's guidance, over a couple months, I developed a pitch for it. The script developed slowly alongside the designs for characters, locations, etc.

(Early version of Ember above! He has changed a bit!)

I thought I had already read a lot of picture books, I've always loved them, but I read hundreds and hundreds during this process. There is something uniquely fun and challenging about telling a complete narrative in 48 pages (which is already a long picture book, many are 32!) My book also pulls some elements from comics, such as speech bubbles, which I found to be incredible assets for humor and character development.

My pitch included designs, some early example spreads, and a rough script with story beats and jokes! My agent took it out into the world, and the publisher we ended up going forward with was Knopf, an imprint of Penguin Random House! I absolutely love the Knopf team and the beautiful books they put out! My editor, Katherine Harrison, really understood what I wanted to accomplish and has been so incredibly helpful in her guidance!

And from there... through rewrites, dialog adjustments, and lots and lots of drawings, it became a book! I'm happy to answer questions about the process! I'll leave you guys with a little preview from the interior of the book! (And of course you can pre-order it here, gotta learn the author skill of always including that link haha!)

[improbable-outset]

📄 𝐋𝐨𝐯𝐞 𝐢𝐧 𝐭𝐡𝐞 𝐆𝐞𝐧𝐞𝐭𝐢𝐜 𝐂𝐨𝐝𝐞:

𝐒𝐜𝐢𝐞𝐧𝐭𝐢𝐬𝐭 𝐇𝐮𝐬𝐛𝐚𝐧𝐝 𝐌𝐢𝐠𝐮𝐞𝐥 𝐎’𝐇𝐚𝐫𝐚 𝐇𝐂…

Hey it’s 1am here in the UK and I don’t have a valentine themed fic. So have this set of HC of my AU series that I’ve been working on instead. There is a mix of wholesome and spicy HC. I’m too lazy to put it in an undercut so minors DNI 🔞

𝐒𝐩𝐢𝐝𝐞𝐫𝐯𝐞𝐫𝐬𝐞 𝐌𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 || 𝐒𝐜𝐢𝐞𝐧𝐭𝐢𝐬𝐭 𝐇𝐮𝐬𝐛𝐚𝐧𝐝 𝐌𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

Scientist Husband!Miguel that will rant about his day in the lab to you. You love hearing him vent to you if he had a terrible day or ramble about an exciting discovery he had made.

Scientist Husband!Miguel that will come home to you from a hard works day in the lab. He likes to rest his head between your thighs while his wife massages his scalp. He melts completely under your tender touch. Your fingers are very soft and soothing.

Scientist Husband!Miguel that will receive small love notes or doodles that are packed with his lunch from his wife. Sometimes even spicy messages if you’re feeling risky. They tend to end with him coming back home and fucking you on the nearest surface. Most likely the couch or kitchen counter top.

Scientist Husband!Miguel that will receive a personalised lab coat with his name on it from you, either as a birthday gift or an anniversary present. He now wears it in the lab everyday since.

Scientist Husband!Miguel that will involve you when he’s designing gadgets and weapons to be used by the Spider Society. He values your input when brainstorming the prototypes.

Scientist Husband!Miguel that will have a personal gym right next to his lab where he would work out and train to maintain his strength and combat skills. This includes a high-tech simulation drill that replicate various combat scenarios to aid and enhance his quick thinking and problem solving abilities.

Scientist Husband!Miguel that will have his wife watch him work out from the sidelines. You would admire the determination etched on his face. Maybe even steal a quick kiss in between sets. Sometimes you would sit on the rooftops while Miguel would do his usual web slinging endurance, navigating the city skyline from building to building as part of his training.

Scientist Husband!Miguel that will fuck you good when he knows he won’t be home for a few days because of a mission in another dimension. He’ll make sure he reaches every crevice deep inside you. You’ll feel a dull ache from the way he stretched out your walls— a reminder of that passionate night and of your husband’s temporary absence. He doesn’t like using toys, he’d rather use his hands and dick do all the work.

Scientist Husband!Miguel that loves to kiss you all over and talk about the function of each part of your body while praising you and telling you how perfect your are. He loves teasing your erogenous areas to increase your serotonin levels and see how much you would fall apart under his touch.

Scientist Husband!Miguel that will receive a blow job from you as he tries to explain the make reproductive system OR while he talks about his day at work to you. He’s lucky to have you help him with his pent up stress.

Scientist Husband!Miguel that probably keeps a track of your period. For research, of course. After you got off your birth control pills, it’s his responsibility to track when your fertility window takes place so he can breed you at the right time.

Scientist Husband!Miguel that is over the moon when you both find out that you are finally pregnant. Of course he would admire the changes of your body while you’re growing his child. He will eagerly share insight about the embryonic development and the hormonal changes, deepening the intimate connection you both already share.

Scientist Husband!Miguel that will admire the changes of your body and will develop a serious lactation kink. He’ll feed from your breast from time to time…for science obviously. He’s just increasing your oxytocin levels so you can produce more milk for your baby daughter. Duh.

Scientist Husband!Miguel that will help his daughter with her schoolwork. I know he will probably put extra effort when it comes to her school science project and will probably be more committed to it than her. He just wants what’s best for her.

Mood board

𝐓𝐚𝐠𝐬: @thealleydog @ultravioletrayz @club-danger-zone @lazyjellyfish300 @miguelbaby @miguels-aranita (lmk if you want to be tagged for this au idea)

- Ayrus <3

[oopsiedaisydeer]

ᴘɪᴄᴛᴜʀᴇꜱ ɪɴ ꜰʀᴀᴍᴇꜱ ᴏꜰ ᴋɪꜱꜱᴇꜱ ᴏɴ ᴄʜᴇᴇᴋꜱ

…𝘳𝘰𝘴𝘦 𝘪𝘴 𝘵𝘳𝘺𝘪𝘯𝘨 𝘯𝘰𝘵 𝘵𝘰 𝘧𝘢𝘭𝘭 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘮𝘢𝘵𝘵 𝘭𝘰𝘰𝘬𝘴 𝘢𝘵 𝘩𝘦𝘳 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘭𝘦𝘯𝘴

It’s an off day. One of those soft, aimless afternoons that smells like sunscreen and strawberries and pollen. Matt’s recently gotten into film photography… he says he likes that you don’t get to see the picture right away. That it makes him pay attention.

He brings the camera everywhere now. Not in an influencer way. In a boy way. Slung around his neck, smudged viewfinder, thumbprints on the lens kind of way. He doesn’t know what he’s doing yet, but he doesn’t really care.

She’s sitting on the grass beside him, flipping through a used book she found at the flea market that morning. He’s barely reading the one he picked. Keeps glancing over at her instead.

“Stay there,” he says suddenly, lifting the camera. “Don’t move.”

Rose looks up, startled. “What?”

He doesn’t answer. Just squints into the viewfinder, bites his lip, adjusts the focus. Click.

“You’re gonna waste your film,” she murmurs, face half turned away, pretending she’s not flustered.

“I don’t think it’s a waste,” he says.

He takes pictures of her chipped nail polish. Her sunglasses abandoned in the grass. The band-aid on her ankle from the sandal that failed her. Her reflection in a window. The shadow of her hand reaching for his. He won’t say it, but it’s all love notes.

She catches him taking one when she’s not paying attention, just staring out at the street. “You can’t keep doing that,” Rose tells him, kind of laughing.

“Doing what?”

“Catching me off guard. That’s not fair.”

He shrugs, lowering the camera. “That’s when you’re prettiest.”

She freezes, suddenly very aware of the fact that her tank top’s slipping off one shoulder. That her lips are dry. That Matt is still looking at her, camera hanging loose from his neck, lens cap in his palm.

He doesn’t look away.

Rose teases him, “You’re such an artist now.”

“Shut up,” he laughs, cheeks pink.

Later, when he drops off the roll to get developed, he’s fidgety. She asks why.

He says, “I just want them to come out right. Like, I hope it didn’t mess up the ones I really cared about.”

Heat crawls up her neck as she asks, “Which ones?”

Matt doesn’t look at her. 

Maybe he’ll forget everything else in a few months, but not this: her knee nudging against his, how the taste of lemonade would have tasted on her tongue, the way the light pooled around her like a secret he hadn’t yet figured out.

creds to rose for the dividers!! @bernardsbendystraws

a/n: i hope we like this,, i promise there will be some time jumps soon:>>

compromise!au taglist: @throatgoat4u @courta13 @snoopychris @sweetshuga @st7rnioioss @lovesturni0l0s @chrisbratt333 @joanakaulitz @bernardsbendystraws @zenithsturniolo @chrisslut04 @mi-co-uk @shortnsweetsturnz 

till next time <3

[totallyhextra]

People? In MY computer?? It's more likely than you think!

The following is a fanvertisment and is not connected to the show. ****Yet.*** *Also yes, this is the fourth time I'm posting this because TUMBLR WONT LET ME EDIT SPELLING MISTAKES!

ANYWAY,

Once upon a time, back in 1987, Dire Straits put out this music video for “Money for Nothing”, which, as you know, was a song about wanting my MTV. 

The video was made by two guys (Gavin Blair and Ian Pearson) on a very moody computer. After the video went out, these two guys went to a pub:

Ian: “Hey, we should make a whole show like this!”

Gavin: “Dude, making three minutes almost killed us.”

And so it was decided!🎉

The two guys were joined by two other guys (Phil Mitchell and John Grace) and created the Hub, which then became Mainframe Entertainment. They got even more people, and then they all holed up in this hotel.

They were mad lads with a dream: a whole cgi animated show, and they made it happen a whole year before Toy Story!

Behold! ReBoot!

(Yes that fever dream was real)

Now before I get any of this:

Let me lay this down. If you can’t with the animation of the first season because it was CUTTING EDGE IN 1994, you can close your eyes and listen to it. ReBoot wasn’t just a CGI gimmick. The characters are fully developed, the voice actors are peerless, the plot is sharp, and there’s so many easter eggs that you’ll never find them all.

Never

(And yes the episode "Bad Bob" was the actual catalyst for Fury Road. Look it up)

ReBoot is about what life is like in a computer (in the 90s, because it was the 90s) called Mainframe (because of course it is). People are sprites, the guys that look like 1s and 0s are binomes (which represent 1s and 0s). Bad guys are viruses, and the good guy is a Guardian named Bob, who is a certified cinnamon roll.

In the first season the eps are light and self-contained, mainly because there was constant friction between the Mainframe studios and the Board of Standards and Practices.

They still got away with some pretty dark stuff, like Megabyte (virus) making Enzo (the kid) watch his dog get sliced open (dog got away, obviously) , Dot (sprite) have a hallucinatory breakdown, and the fridge horror of realizing the thousands of worm things (nulls) that plunged off a bridge to their death were actually people.

And Hex's (virus

best girl) scary face single-handedly traumatized an entire generation. 🙂

But busting through a window was a no go, because WhAt If tHe cHiLdReN dID iT tOo?

Anyway, halfway through the second season, ABC cut them loose, so they were like, fuck it, we’re going to start going hard. The story shifted from episodic to arcs and things start to get serious.

Third season the show moved to YTV in Canada, which gave no fucks about shielding the innocent children.

So it got DARK

How dark?

The UK refused to show the entire season, so the audience there had to wait until pirated copies made it across the pond to see how it ended.

Also by 1997, the animation was gorgeous. (Best example of third season animation I could think of that didn't have spoilers)

The show was green-lit for a fourth season on Cartoon Network, but halfway through production Warner Bros took over and the same fucking thing happened.

Because Mainframe was halfway done, they decided not to scrap all of it, but knowing they wouldn't be able to finish it correctly, Mainframe stripped anything that would hint at Season Four's true ending, then left what remained on a cliff-hanger of angst.

FOR 22 YEARS

(It's also why the last four eps of season four seem to make no sense)

And so it was.

Other crap happened, the soul left Mainframe, and its animated corpse spat out “The Guardian Code” in 2018. 

But never say die! The year is (almost) 2024, 30 years later. ReBoot shall rise from the dead, because here come the documentary!!

Do you dare see what you’ve been missing?

What the (UK) government doesn’t want you to know?? 

Then come on down to ReBoot!

We got:

Magnificent bastards with sexy voices!

(Tony Jay at his best)

Kickass women who could probably crush your head with their thighs and you’d enjoy it!

Innuendos in a kid's show!

💗 This adorable cinnamon roll!! 💗

Insane third season glow-ups!

YOUR NEW GOD

These guys!

(Gay roller-skating binome is my boi. I named him Jerry)

Nonstop cultural refs (You'll never find them all. Never.)

(There are literally videos dedicated to trying)

So many computer puns!

Body Horror!

Existential Crisis!

HAVE I MENTIONED YOUR NEW GOD?

This is it, folks! The real thing, the gem hidden in the moose-filled forests of Canadia!🌲🌲🌲

Take a trip inside a mid-90’s computer!

See the World Wide Web! (omg):

Witness the original purple Gamecubes that randomly fall from the sky when the owner of the computer (OUR GOOD LORD THE USER) wants to play a game. If it lands on people and they lose, they dissolve into mindless energy leeches, fated to tormented by their former bretheren for all of eternity.

Just like in real life! 🙃

So watch the eps! They on YouTube!

I think they're on Pluto, Hulu, Sling, and Tubi too! Also DVDs for people who have the patience to wait for them!

WATCH! BELIEVE! SUFFER THE SOUL-CRUSHING RAGE OF THE SEASON 4 CLIFF-HANGER!* (come on, its fun!)*

HYPE THE DOC!

The more people hype, the better the chances of actually getting it finished.

NOW SHARE THIS WITH EVERYONE!

And now I will leave you with this screenshot from the ep "Painted Windows", where dicks can clearly be seen drawn upon the wall behind the fleeing anthropomorphized television.

(PS: If you heard the clown pic at the top of the page in your head, you're welcome)

IMPORTANT UPDATE

This message is now approved by Gavin Blair! He's an awesome guy. Show him some love on TWITTER (fuck you musk) at @TheRealMrSweary Also, if you want to share this with non-tumblr friends, here is my attempt at a webpage version:

theseventhstarprojects.com/REBOOT.html

[hoovesandfloorpaws]

Oh that RBB/SBB post you reblogged makes me so sad 😔 I know it’s been a long time since the start of 1D but I really hope Louis is okay. It’s almost like Louis’ campiness/flamboyance has been masked over time while Harry has fully embraced that side of himself (which I LOVE!!) but I’m still just sad about Louis. I wish we could have seen him blossom like Harry in that way.

Of course this is all just speculation. Maybe Louis’ current outward public appearance/behaviour is exactly who he is now and/or how he wants to be perceived in the world. It’s probably not just black and white.

Oh, anon, I'm extending a warm hug to you 🥺🫂💖 and huge same; it massively tore at my queer little heartstrings to read that post.

It was so incredibly insightful and well-written and these parts were so painful:

"We can’t know why consciously camp Louis shined so briefly [...]. But I believe (I think it’s a reasonably common belief) that somewhere between auditioning on X-Factor with a girlfriend and the UK media blitz of autumn 2011, Louis Tomlinson became someone who was quite comfortable with being seen as gay. I’d go further and say that part of this was embracing the conscious, coded, queerness of camp British culture. [...]

But he only got the briefest window to share that part of himself. It was one of the first things that got taken away, [...]   There’s a huge sad irony there – that this code, that was developed specifically so that gay men could be visible in a time when they were completely marginalised, was taken away from a young gay man, because it was too gay, in a supposedly more liberal time. [...] The bears' elaborate queer codes are tucked away from the stage. Because their owners cannot (yet) be visible in the way that the people they put in frames have been."

I'm not nearly as eloquent as the author of that post, @dogsliampaynedoesntinstagram, but I will try. -- To what you wrote, dear anon, I want to say you are so valid!

I think the process and inner workings over the last 14 years were very complex and we only have crumbs of puzzle pieces here and there, so that leaves room for a lot of speculation. (which can be maddening sometimes, but also good to ponder different perspectives).

The second they were put into 1D together, they were supposed to make many people a fuckton of money. I cannot even begin to fathom the immense pressure they were under; during and also post-1D. at least they had each other as support, as well as the other 3 boys and a few close friends and family, yet ultimately it was always them who were going to be the most impacted. At least they could go through it together.

(side note: can you imagine the gigantic strain all of the closeting and stunts must've been on their relationship? and they still came out on top! that's a huge testament to their communication and commitment to each other. 🥹💙💚)

I always felt it remarkable how differently the angles of closeting were approached, certainly because of Harry's and Louis' different marketed images, but perhaps also because they are different characters who come from different backgrounds and maybe also because of their relationship dynamic and slight age difference (which is always a bit more remarkable during the teenage years they were in at the beginning).

Ultimately I can only guess why exactly it was Louis who was the one to always verbally respond or make a statement about Larry; why it was only Louis' Twitter account who was used for the denials; why it was Louis who never touched a rainbow flag during a 1D show, not even after Harry had started in 2015 -- all this while Lou did and said a LOT of stuff that clearly showed who he really is, who he's in love and in a steady longtime relationship with; all this while RBB and SBB spoke to us so clearly it sometimes still feels like a fever dream.

I can only speculate, but -- when it comes to their closeting, I think the sad reality is that Harry and Louis were never truly set up to benefit from deals that were struck. While I can imagine it was even sold to them as a positive thing at first; a white lie, a protection of their privacy perhaps, etc, they were both so young when they entered into those probable agreements (even while I hope they both had some kind of legal representation!), it was still ultimately their own choice to say yes or no, but in an industry where you are still a near-nobody and you get the offer of a lifetime plus there's the career fate of three other boys on your shoulders as well, that "choice" becomes an illusion. the power-imbalances were just too great.

As written in the OP's post, in 2011 "Louis [...] became someone who was quite comfortable with being seen as gay. I’d go further and say that part of this was embracing the conscious, coded, queerness of camp British culture.", but then it "[...] was one of the first things that got taken away.", because it was still considered "too gay".

And I think if someone hasn't lived it, they can't imagine the toll it takes on an impressionable teenage mind when they are told again and again that their sexuality and relationship are a liability, a danger, something better kept under wraps, something that the public will not accept or endorse; something that might or will ultimately ruin things for them and the other boys. Maybe those things were ever said out loud or bluntly, maybe they were expressed in more cunning ways, but those things are simply everything a forced closet implies.

What was done to them was manipulation of the most sinister kind, of this I am sure. I remember Harry saying often in recent years how scared he was back then to "make a mistake" and mess things up for the other boys. (I think we can all imagine what he meant by that) And how he recounted crying in disbelief and relief when he finally signed his new contract after they announced the hiatus. Him covering up his "Things I can't" tattoo with an eagle (which is a symbol for freedom) in Dec 2015 (1 month before the start of the hiatus) feels pretty significant to me, too.

Still, it takes years to unlearn and re-learn certain conditioning and I want to make it a point to say the closet is never the fault of the closeted person. I can only speculate, but it seems to me that parts of that conditioning and a closeting mindset still live inside of the choices that are being made for their respective careers. Holivia, Elk and babygate-still-not-ended are three of the most glaring examples. Without insight, it's hard for me to gauge reasoning, though, so I will leave these topics at this.

Also Louis apparently got the short end of the stick post-1D, with him still(?) being blacklisted by the powers that be (*clenches fist* fucking SC). But I cannot say much more to that, because I haven't caught up enough on it, yet. To me personally it always felt like SC tried to keep an iron fist especially on Louis and I can only hypothesise why. Maybe Louis was always most defiant to SC verbally, behind closed doors? Maybe it's got to do with SC's own suspected closeting? Maybe Louis had to make some sort of deal with him years ago? I shudder to even think about why SC is still "allowed" to insert himself into the boys' business so much (as evidently last seen at Liam's funeral). He's such a powerful asshole.

But back to Harry and Louis -- they do (to this day) present themselves differently to the general public in regards to their sexuality and relationship -and I share your feelings, anon, of wishing that things would've gone differently for Louis. 🥺 I think this is a very valid wish to have; for the people you admire to be as free and happy and seen as possible. For them to gain their full freedom and happiness on their own terms. For them to get to be their most authentic selves (*Louis voice* "Flamboyant!"). And eventually, maybe, for them to get to come out together (because if they do, I personally don't think they'd want to do it separately), if ever / whenever they want to and ideally, with a level of publicity they chose. Their potential coming out is a very multi-facetted discussion that I'm too sleepy to get further into, though.

To conclude my too-long-answer (sorry!!) -- I am still catching up on the past 6 years of Harry and Louis, but from what I have seen of the recent years, I have a feeling Louis does feel very seen..

..and that he's responding the most that he currently can / is comfortable with 🥹🏳️‍🌈

(melting at this decor of Louis' tourbus in 2022: another bear with a Louis smiley rainbow flag 🥹🧸🏳️‍🌈) (source post)

And I feel the same way about Harry. ("Feelin' myself. 😌🏳️‍🌈🏳️‍⚧️")

Harry and Louis have both been brave -- together and individually - in so many ways over the last 14 years. It left them at different points in their public images and just like you, anon, I sometimes ask myself "Maybe Louis’ current outward public appearance/behaviour is exactly who he is now and/or how he wants to be perceived in the world." - it's not impossible. It's all a journey, for every member of our community. And Louis and Harry are still on it and have not reached the final destination, yet.

Harry's taken a more public road in 2015 than Louis was allowed to do and from the way Louis looked at Harry while he was bounding across the stage with the flags every night, he loved seeing his boy like that and likely silently cheered for him; knew Harry was doing it for him also. After all, they are a package deal est. 2010.

I'm secure in my belief that we will one day see Louis feel ready to pick up a rainbow flag on stage; that he'll raise it and lift a middle finger to everyone who ever doubted; that he'll let that flag hang from his mic stand for himself and Harry and all of us who always support him; who see him -- now and also back in the earliest days, where a 19 year old very camp Louis adopted British gay code for himself and happily sung his heart out at the G-A-Y next to the boy he's in love with.

I believe Louis when he says the last 2 years were incredibly happy for him. And despite it being an awful and tough time (for Harry, Zayn) and him right now, he's also said something he's always had and always will have is resilience. I hope he takes all the time he needs. Luckily, Harry and him have each other in this, too. Also I can imagine that Liam's sudden passing might have shifted their perspectives on a few things, as well.. so we will see.

I definitely can't wait to see Louis on tour again, when he gets to share himself exactly the way he's comfortable with 🥹

Then..

and now ✨

(gif credit 1 + gif credit 2, both by the amazing @delicatepointofview)

additional resources aka. two of my fave tags of all time to just spend time in: the Louis and rainbows and Harry and rainbows tag and this post of Louis using Polari ("a secret language gay men used popularly in the 50s to communicate with each other in England [...] commonly used until the 90s") all by the wonderful @daisiesonafield-blog

thank you for the kind message 💖 x

[nylqnder]

𝐒𝐎 𝐀𝐌𝐄𝐑𝐈𝐂𝐀𝐍 | 𝐑𝐔𝐓𝐆𝐄𝐑 𝐌𝐂𝐆𝐑𝐎𝐀𝐑𝐓𝐘

word count: 1.35k

summary: on your way to the spend a weekend at the lake house with his teammates, you think about your future with rutger

warnings: british reader!, mentions of some other umich players (nick, duke brothers), brief sad thoughts

notes: based on 'so american' by olivia rodrigo. who am i if not writing fics based on songs.

The morning sun was beginning to rise, casting a golden hue on Rutger’s jeep that rumbled down the highway, its tires humming against the asphalt. Rutger sat in the driver's seat, his left hand holding a loose grip on the wheel, while you sat comfortably in the passenger seat, your feet were propped up on the dashboard. Rutger insisted you hit the road early to get to Jacob’s lake house around mid-morning. You felt that was a little too early, but he was excited to spend some spare time at the end of the semester with his friends and girlfriend, relaxing on the water. To make up for the early start time, Rutger bought you an iced coffee and promised that you could sleep in the car on the way over.

However, you couldn’t find yourself able to fall back asleep, instead taking over aux, the early morning air that flowed through the cracked windows helping to rejuvenate you. You tapped your fingers against the door handle, matching the beat of the song you’d selected. Dirt On My Boots by Jon Pardi filled the space, a contented smile gracing your lips.

“You’ve turned so American.” Rutger says, pulling your brain out of its brief daze.

“What?” You ask, your brows furrowing.

“I mean… look at you,” Rutger says with a chuckle. “You’re sitting there with your feet on the dash, you’re listening to country music, and you’re repping USA merch.”

Rutger motions to one of his hoodies that you’d thrown on as you were leaving. It was one given to him by the world juniors team he’d just played on, the letters U-S-A largely displayed on the chest.

You turned to him, adjusting your position in the seat. "Oh, please, don't say that. I'm still very much British, thank you very much." You retort, rejecting the idea that you’d become American in any way.

When you applied for an exchange to the University of Michigan, nothing could’ve prepared you for what would’ve come. On your first day of classes in the new country, you met Rutger. When a pretty girl sat next to him in one of his classes, he knew he had to talk to her. It didn’t take long for the two of you to develop feelings, Rutger soon being the ‘dreamy American’ that your friends had jokingly told you you’d fall for. And fall for him you did.

It was unfair of Rutger to make you feel this much when you both knew your future was uncertain.

“Hey, there is nothing wrong with being American.” Rutger points out.

“Yeah says the American.” You tease, rolling your eyes. “Thank god I’m going home soon. I need to reconnect with my roots if you think I’ve become American.”

Despite that being a joke, you couldn't shake the underlying sadness that gnawed at you. In just one week, you were leaving Michigan and returning to the UK. The thought of leaving Rutger and the life you’d established in Michigan weighed heavily on your heart. You knew that the bond you’d established with Rutger would withstand the miles and borders, however the prospect of being separated from him felt like tearing away a piece of you.

Rutger, sensing the shift in your demeanour as well as knowing that the inevitable move was weighing on you, reached over, taking your hand in his. His cold fingers lacing between yours quickly drew you back to reality.

“Hey,” He said softly. “Try not to think about it for now. Enjoy this weekend. We’ve got ages to figure it all out.”

You squeezed Rutger’s hand drawing comfort from his touch. With a gentle smile, you met his gaze, gratitude shining in your eyes. “Thank you, Rut.” You said softly.

Rutger returned your smile, turning his attention back to the road while keeping your hand in his. You continued the drive, doing your best to expel the thoughts of leaving from your mind.

Three hours later, Rutger pulled down a laneway that ultimately led to a large house on the water. Rutger’s teammates were already outside, eagerly awaiting your arrival.

“Hey guys!” Rutger called out as they stepped out of the car. Rutger’s teammates come over, greeting the two of them.

“This place is beautiful.” You comment, admiring the glimpse of the water you could see past the house.

“God, I will never get over the accent.” Nick said. Rutger shoved his shoulder while you playfully rolled your eyes.

You considered yourself lucky that you’d become friends with Rutger’s teammates. From the moment Rutger introduced you to them, they’d welcomed you with open arms. And as you spent more time with them, they weren’t just Rutger’s teammates, they were your friends as well.

“Alright, now go get changed, we’re hitting the water.” Luca said, ushering the two of you inside.

You headed up to your room, changed into the swimsuits you’d brought, and then headed downstairs to meet the rest of the group. The rest of the afternoon, you guys remained on the water. You all took turns on the tube, as well as some of the boys deciding to test their water skiing skills. When the sun began to descend towards the horizon, a golden hue being cast on the water, you headed back to the house to start dinner, which was a full team activity in which everyone was put to work doing something. You and Rutger were put in charge of the barbecue on the back patio, teaming up with Dylan and Tyler to grill the burgers and corn.

After dinner was demolished, you headed down to the fire pit, relaxing in the Adirondack chairs, talking about whatever came to mind. The flames cast flickering glows on everyone's faces as you discussed sports, your exams, and random childhood anecdotes whether relevant or not. After a while of drinking and chatting, both you and Rutger hit your limits and decide to call it a night.

The second that Rutger’s head hits the pillow, he’s out like a light, the day’s activities catching up with him. After a full day of tubing and waterskiing, combined with the drinks they’d consumed throughout the day, everyone was wiped. You, however, lay awake, the moonlight reflecting off the water and into the open window.

You traced your fingers through Rutger's hair, watching his bare chest rise and fall with steady breaths. With the tranquillity of the room enveloping you, you find yourself lost in a maze of thoughts, your mind swirling with visions of Rutger and the future they could share.

England was home. England was where you grew up, where your family and friends still resided. The thought of leaving them to be in North America made your heart tense. However, lying in the sheets and staring up at the ceiling, you couldn’t help but imagine moving to North America to be with Rutger. As you look over at him, still peacefully asleep, you imagine the prospect of uprooting your life for the American boy you fell in love with, of bridging the distance to be with Rutger.

Your thoughts continue to wander, picturing what could come of life in America with Rutger. Your mind entertains the notion of marriage, a distant yet possible milestone. That might be a little presumptuous of you, with your relationship still being in its infancy, but you practically couldn’t help it. The way he’d made you feel in the past 8 months was unlike anything you’d ever experienced before. Every moment with him felt like a moment torn from a romance book. Every moment with him was filled with laughter and stolen glances, creating an undeniable intimacy and connection.

You had to eventually force those thoughts out of your mind or else they would’ve kept you up all night. You rolled over, curling into Rutger’s side, and placing a delicate hand on his abs. Rutger stirred momentarily, instinctively wrapping his arm around you, drawing you closer. For now, you were content to simply be in this moment with him, cherishing the time you had left before you had to return home.

[wojakgallery]

Hi, moot. Curious if you have any Disco Elysium jaks?

Hello :), I found some for you. Forgive me if something is wrong here, I am not actually aware of much of the context of Disco Elysium.

Title/Name: Harrier "Harry" Du Bois Known As: Harrier "Harry" Du Bois is the main protagonist and player-character in the game Disco Elysium. Harry starts the game with amnesia, knowing little about himself or where he is. The rest of the game is spent piecing together aspects of Harry's identity, as well as the identity of Revachol and Elysium. Disco Elysium is a 2019 role-playing video game, developed and published by ZA/UM. The game was written and designed by a team led by Estonian novelist Robert Kurvitz and executive producer Kaur Kender, and features an art style based on oil-painting, with music by the English band British Sea Power. The game was released for Windows in October 2019 and macOS in April 2020. Country (Developer): ZA/UM is an independent game developer and publisher based in the UK and Europe. Wojak Series:  Yes Chad (Variant), Coomer (Variant), Feels Guy (Variant). Images by: Unknown Main Tag: Harrier Du Bois Wojak

Bonus Images (Update):

Bonus Images submitted by: @stonecoldpinkerton on Tumblr Characters: Harrier "Harry" Du Bois and Kim Kitsuragi  Info on Kim Kitsuragi: Kim Kitsuragi is a character in the 2019 detective video game Disco Elysium. As a non-playable companion character, he assists the player character in solving a murder that comprises the game's main plot. Kitsuragi is defined by his Asian-inspired background, private queerness, and calm, stoic personality. Wojak Series: Chudjak (Variants), Soyjak (Variant). Images by: Unknown

[britcision]

Tell you one thing about moving to Canada, it really highlighted the concept of comparative wealth to me

I grew up in England, where “second holiday home” was 1000% a rich people thing. Owning a second physical building, especially near a lake, that you could just leave empty half the year and visit, was uber wealth

Owning a trailer was pretty wealthy - and having space to park it

Meanwhile, in Canada, and especially where we live near cottage country… everyone has a cottage

I know people on food stamps who had a family cottage - and yeah, it wasn’t exclusive, it was the extended family chips in and timeshares between about six households

But if you do not have a summer cottage, you know someone who does, at any income bracket

And it’s also not different priorities or unwise spending!

Owning a cottage, especially with a timeshare, is cheaper than a decent tent

And a lot of this is also down to the different standards for those cottages

In the UK, cottage is usually on the mains, has heat, has power, has complete plumbing

Cottage country Canada might not have any of that

It’s a building with walls, windows, insulation, and maybe a water tank - and that’s the baseline

Being able to shower at cottage is fancy cottage

Flushing toilet is fancy cottage

Canadians go to the cottage and hop in a time machine, and it’s a very valuable experience!

And the reason for this is actually super obvious:

England is on a small island. It’s heavily populated, and doesn’t have as much space

I think you can fit all of England into one of our big Canadian lakes

Canada has a lot of space, and a lot of lakes, and therefore a lot of lakefront properties that just… they’re cheap as chips for someone to knock together a cute little pioneer era cottage and sell or rent

There isn’t the urgency for big developers to buy the land and put together something glam for the wealthy folks; you drive another ten minutes, there’s another fuckin’ lake

And this is starting to change as the area gets more populated, and cottages are being bought up and renovated to new price points, and that sucks

As northern cities get bigger, the cottages get more expensive, and you gotta drive further for a cheapy little timeshare cottage

But there’s another little lake

(And this isn’t getting into all the other detriments with the heavy development and deforestation around building and renovating and the lakes getting crowded out because oh boy will they build in hard to access areas

It’s just… always catching me off guard that people here own cottages like my grandparents used to visit France; cheaply, on a whim, and without much effort)

[batboyblog]

Things Biden and the Democrats did, this week #17

May 3-10 2024

Vice President Harris announced 5.5 billion dollars to build affordable housing and address homelessness. The grants will go to 1,200 communities across all 50 states, DC and Puerto Rico. 1.3 billion will go to HUD's HOME program which builds, buys, and rehabs affordable housing for rent or ownership. 3.3 billion is headed to Community Development Block Grants which supports housing as well as homeless services, and expanding economic opportunities. Remaining funds focus on building housing for extremely low- and very low-income households, Housing for people struggling with HIV/AIDS, transitional housing for those with substance-use disorder, and money to support homeless shelters and homeless prevention programs.

At the 3rd meeting of the Los Angeles Declaration group in Guatemala Security of State Blinken announced $578 million in new US aid to Latin America. The Los Angeles Declaration is a partnership between the US and 20 other nations in the Americas to address immigration, combat human trafficking, and support economic development and improved quality of life for people in poor nations in the Americas. The bulk of the aid, over $400 million will go to humanitarian assistance to the Venezuelan people. Inside of Venezuela over 7 million people are in need of humanitarian assistance due to decades of political and economic instability. Over 7 million more have been forced to flee the country and live in poverty across the Americas. The aid will help Venezuelans both inside and outside of Venezuela.

The Department of Energy lead an effort to get the G7 to agree to phase out coal by the early 2030s. The G7 is a collection of the 7 largest Industrial economies on Earth, the US, the UK, Canada, France, Germany, Japan, and Italy. To avoid catastrophic climate change the International Energy Agency believes coal needs to be phased out by 2035. However this has been a sticking point with the G7 since 1/3rd of Japan and 1/4th of Germany's energy comes from Coal. This agreement to phase out represents a major breakthrough and the US plans to press for even wider agreement on the issue at the G20 meeting in November.

President Biden announced a major investment deal in Racine, Wisconsin, site of the failed Trump Foxconn deal. In 2018 then President Trump visited Racine and declared the planned Foxconn plant "the eighth wonder of the world.". However the promised 13,000 jobs never materialized and the Taiwan based Foxconn after bulldozing 100s of homes and farms decided not to build. President Biden inked a deal with Microsoft for the land formally given to Foxconn which will bring 2,000 new jobs to Racine to help replace the 1,000 job losses during Trump's Presidency in the community.

200 tribal governments and the US territories of American Samoa, the Northern Mariana Islands, Guam, and the U.S. Virgin Islands, published climate action plans. The plans were paid for by the Biden Administration as part of a 5 billion dollar Climate Pollution Reduction Grants program. The federal government is supporting all 50 states, territories, DC, and tribal governments to draft climate action plans, which will be used to apply for more than 4 billion dollars in grants to help turn plans into reality

As part of marking Yom HaShoah (Holocaust Remembrance Day), the Biden Administration announced a number of action aimed at combating antisemitism and supporting the Jewish Community. This included $400 million in new funding for the Nonprofit Security Grant Program. The Program has supported Synagogues and Jewish Community Centers with security improvements like bullet proof windows and trainings for staff in how to handle active shooter and hostage situations. The Department of Education issued guidance to all schools districts and federally funded colleges stressing that antisemitism is banned under Title VI of the Civil Rights Act of 1964. These actions come as part of the Biden Administration's National Strategy To Counter Antisemitism, the first ever national strategy addressing the issue by any Administration.

USAID announced $220 million in additional humanitarian aid to Yemen. This new funding will bring US aid to Yemen over the last 10 years to nearly $6 billion. Currently 18 million Yemenis are estimated as needing humanitarian assistance, 9 million of them children, and the UN believes nearly 14 million face imminent risk of famine. The US remains the single largest donor nation to humanitarian relief in Yemen.

The Department of Interior announced nearly $150 million to help communities fight drought. The funds will support 42 projects across 10 western states. This is part of the President's $8.3 billion dollar investment in the nations water infrastructure over the next 5 five years.

[world-of-wales]

BREAKING NEWS -

THE PRINCE OF WALES'S SOCIAL HOUSING PROJECT!

The Prince of Wales will build a £3m social housing development on his own land to tackle homelessness, delivering on his pledge in my interview with him last year that he would "absolutely" put social housing on the Duchy of Cornwall estate.

The development in Nansledan, a suburb of Newquay, the Cornish seaside town famous for its surfing, will include a mix of four-bedroom houses and one-bedroom flats.

The duchy, will supply the land for the project free of charge and cover all construction costs. It will also invest in local infrastructure, including a bus link and connections to electricity, water and superfast broadband.

The new low-carbon homes will feature slate roofs, granite lintels, solar panels, heat pumps and colourful timber windows. It will be built in a “traditional Cornish seaside” style, designed by Adam Architecture and local firm ALA Architects.

Prince William, who launched Homewards UK last year, is looking at more projects on his land. He wants other landowners to follow suit and build more social housing. William is also working with St Petrocs to offer residents “wraparound” support services in addition to housing.

Kensington Palace said: “The prince is delighted that the duchy is using the Homewards approach as inspiration for building this innovative housing project, partnering with St Petrocs to find ways of ultimately getting people into permanent housing.

“It is exactly what he wants to do and for him it’s another example that if we can show people here and in other countries what is possible, maybe others will follow our lead. The prince hopes that every town and city in the country will take inspiration from this project.”

https://archive.ph/2024.02.17-182818/https://www.thetimes.co.uk/article/prince-william-land-social-homes-project-royal-family-vtv7x6vjc

[regina-bithyniae]

Finished The Wages of Destruction.

Solid 9/10.

Core ideas to take away:

work creation was a minor element of Nazi economic policy, a distant secondary concern after rearmament

rearmament had widespread public support in germany

shifting to autarky took extremely hacky and likely long-run unsustainable export controls, and even *export subsidies* because imports were still an inescapably vital input to industrial production in

controlling big business was largely a "soft co-opting" project while the agriculturalists were insane morons who were much more staunchly pro-nazi

once at war, Germany was going for broke from the very beginning and there was near-zero slack they could've squeezed out more war production from

truly pitiful productivity rate from Germany's conquered continental empire - the workers were far far more productive if deported to Germany than working in home countries

German surface navy seems useless, they didn't even have the oil to run the ships, and metal would've been better used elsewhere

Speer was a shit, Tooze hates hates him

bombing campaign actually was successful! specifically taking out the Ruhr

"blitzkrieg" doctrine was developed as they went; original 1940 invasion of France battleplan was to go "right up the center" not through the Ardennes and pre-battle production focused on heavy artillery ammunition

Bigger points: German "Strategy"

Germany escalated from diplomatic crisis to war with Poland/UK/France, and to war with the Soviet Union, and then America, out of a series of perceived closing windows of opportunity. First one was seeing UK/French production overtaking them in rates and catching up on stocks. In 1940 the US fully commits to aiding Britain, creating sense of "the bombers are coming eventually" and need to gain immediate advantage by conquering the Soviet Union.

Bizarrely, German production was focused on the Luftwaffe in preparation for fighting US/UK air war as Germany was getting ready for Barbarossa!

Declaration of war on US pitched as confirming alliance with Japan, but still feels stupid. Germany could just stay quiet and force US to either engineer entry to European conflict another way or stay out. Still seems less stupid, considering this is at a time when Barbarossa is coming apart.

But overall, a sound if massively risky plan assuming you accept the insane basic assumptions. Hitler's strategic vision often gets assumed to be terrible out of disgust for the consequences of his actions and their failure.

I really do wonder what the vibe was among German economic elite from 1942 onwards, it's obvious the war is not winnable, that you're very fucked, and that everyone is coming to kill you.

Anyways, good book and worth reading/listening to. Tooze could've slimmed down on the pre-war stuff. I find him vaguely irritating with how he brings up irrelevant things just to show how smart he is but that's probably just envy.

P.S.

The original Volkswagen was just a massive scam with no actual civilian cars being produced despite taking all the payments for the vehicles. Possibly suggests two dominant strains of conservatism? Former is old aristocratic conservatism of the nobility or classic US elite; latter is the populist oppositional culture right-wingism which is about 64% scam artists.

[randomvarious]

Today's mix *and* compilation:

The Best L.A. Funk! 1985 Hip Hop / Electro

Good lord, this is such a beautifully strange artifact from 1985, man. A disco-and-dance label called JDC Records issued a now very hard to find cassette called The Best L.A. Funk!, and while you might then naturally think that staples of L.A.'s own funk scene would be on it, like Parliament-Funkadelic and Zapp & Roger, what this actually is is a showcase of the city's own electro-fied mid-80s hip hop scene instead, which had taken a whole lot of its own cues from what Afrika Bambaataa had been doing since the early 80s a few thousand miles away over in New York.

Wikipedia's article on the electro genre barely makes mention of Los Angeles at all, but the A-side of this tape—an excellent DJ mix by JDC in-house remixer Juan Hielscher and member of short-lived local group Knights of the Turntables, Curtis Harvey—does a magnificent job of capturing the essence of this goofy, vibrant, and important Afrofuturist scene, just a few short years before N.W.A would successfully flip the script in redefining L.A. rap with gritty, lewd, and violent portrayals of gangsterism instead, bringing its spectacular luridness into the national spotlight.

But there were common threads between that significant lurch from sci-fi to the streets, and the most important figure of them all, the one-and-only Dr. Dre himself, is on this mix, as a teenaged member of one of L.A. electro's own foremost acts at the time, the World Class Wreckin' Cru, which fellow future member of N.W.A, DJ Yella, was in too. Here we get two offerings from the WCWC: "Surgery," on which Dre flexes his prowess as a turntablist, and "Juice," which, I think, when it comes to this whole scene, is pretty much an un-toppable, uptempo dance classic, with Yella on the scratches and an implementation of electro's signature monotone and robotic talkbox vocal too🤖.

And another member of the Wreckin' Cru, The Unknown DJ, gets his own "808 Beats" on here too. Unknown's also one of those links between electro and gangsta rap as well, because the year after this tape was released, he also produced Ice-T's early L.A. gangsta classic, "6' 'N the Mornin'," and then later went on to work with L.A. gangsta legends MC Eiht and Compton's Most Wanted too.

So therein lies all the beauty of this tape, but now here's why it's also pretty strange. One, this lovely DJ mix on the A-side actually isn't exclusive to this album. In fact, that same year, JDC issued it as its own standalone mix with Dunk Yer Funk Records under the title of L.A. Beats: The Definitive Street Funk from the West Coast. And on top of that, the UK, who were also developing their own electro following at the time too, also imported this mix in '85 as the second half of a release on their Street Sounds label called New York v L.A. Beats, which pitted the electro sounds of both American cities against one another.

But the other weird thing is also this cassette's B-side. The aforementioned Knights of the Turntables kick it off with "Techno-Scratch," which also appears on the A-side mix, but then that song is followed up by the inclusion of another JDC hip hop release called Nuthin' But Beats by some act called Igor RX-15. Originally, these tracks were issued on a 12-inch, and while their sparse and rudimentary instrumentals sound like they were made for others to scratch and rap over, they serve little purpose on this tape itself, because you can't scratch a damn cassette tape, man!

So, at the end of the day, I really don't quite understand what the point of this whole release was. I mean, the A-side mix makes for a superb window into L.A. electro in 1985, but the title of the tape itself is very misleading, JDC had already issued the mix on another of their own releases, and the B-side could've definitely been used more effectively too. I'd recommend that anyone listen to Juan Hielscher and Curtis Harvey's work here in order to get a cool sense of what L.A. hip hop sounded like before its big pivot, but you can obtain it so much more easily than the way I did. I snagged a copy of this cassette once I saw it put up for sale on Discogs, but JDC's L.A. Beats record is going for under $5 and the New York v L.A. Beats one is less than $20 too (all without shipping). And I'd imagine it all sounds better on vinyl anyway 😮‍💨.

Listen to part 1 of the A-side mix here and part 2 here.

Highlights:

L.A. Dream Team - "Rockberry Jam" Unknown D.J. - "808 Beats" D.E.F. With D.J. 3-D - "D.E.F." World Class Wrecking Crew - "Surgery" Egyptian Lover - "Egyptian Lover" World Class Wrecking Crew - "Juice" Unknown D.J. - "Let's Jam" Knights of the Turntables - "We Are the Knights" Chris "The Glove" Taylor - "Itchiban Scratch"