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thanksjro · 3 years

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

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

So.

This is a little different than what I usually do.

Clearly.

God, how did we even get here?

Oh, I remember.

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

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

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

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

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

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

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

Anyway.

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

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

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

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

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

Haha, I doubt it.

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

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

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

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

For loving his child.

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

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

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

No. Not at all, actually.

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

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

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

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

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

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

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

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

It’s just a shame that I don’t care.

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

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

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

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

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

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

Right???

RIGHT??????????

RIGH-

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

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

Anyway.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As if women are property to be owned.

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

We’re 17.5 minutes into this film.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can’t be fucking serious.

ANYWAY.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Which made me groan aloud.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Right???

RIGHT??????????

RIGH-

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

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

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

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

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

Ed Sheeran does not survive this experience.

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

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

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

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

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

So they try it again.

This time it works, sort of.

At the very least, he’s left now.

Tail fell off, though.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Judy doesn’t count.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For about 20 seconds.

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

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

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

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

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

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

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

Ratchet’s fine, by the way.

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

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

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

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

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

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

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

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

We still have another hour of this movie.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nope, that doesn’t happen either.

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

Repeatedly.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Being advocated for by Optimus Goddamn Prime.

We still have another 50 minutes of this movie.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oh, right, because ~girl~.

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

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

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

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

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

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

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

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

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

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

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

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

Y’know.

Like a vast, predatory bird.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Feminist icon Megatron?

Feminist icon Megatron.

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

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

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

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

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

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

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

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

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

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

Congrats on your first murder, Sam.

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

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

In tow.

In tow-

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

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

Then Bumblebee talks and he’s fucKING BRITISH.

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

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

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

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

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

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

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

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

And that’s where they leave us.

IT TOOK THREE PEOPLE TO WRITE THIS SCHLOCK.

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

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

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

What a mess.

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

COMING SOON:

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

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

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

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

#transformers #bayverse #part one #maccadam #Hannzreads #Hannzwatches #text post #long post #film analysis #off topic

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caffeinatedseri · 3 years

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Murakami and Ranpo

Some minor spoilers ahead for the third BSD LN, The Untold Story of the Founding of the Detective Agency." If you aren't concerned with spoilers, I did my best with summarizing the plot for anyone who hasn't read the novel.

In the third BSD LN, Fukuzawa and Ranpo are tasked with finding the culprit of an ominous death threat at a theatrical play. The threat is written as follows:

“An angel shall bring death, in the truest sense of the word, to the performer. —V.”

This threat fits perfectly with the play, which is a mystery play where each character gets killed by an "angel" who murders. However, the characters don't know if they're being killed by an angel or a regular person, because there's nothing supernatural about their causes of death (getting stabbed by a knife, poison, strangulation, etc.).

Each character was a former angel who had been banished from the celestial world, because they admired humans so much that God turned them into humans. Therefore, the characters in the play believed that an angel was sent after them to punish them for their sins.

This sets up two mysteries for us to follow:

1. The mystery of the real death threat, sent by "V" — who is the culprit behind it, who will they kill, and why?

2. The mystery within the play — is it an angel or real person killing each character, and why?

Paradoxes (and Things That Don't Make Sense)

The play is called, "The Living World is a Dream, the Nocturnal Dream is Reality," which is a quote from the real Edogawa Ranpo's work, but I couldn't find the exact source. The title proposes a paradox: reality is a dream, and dreams are reality.

Several other paradoxes present themselves in the story, but they appear most prominently in Ranpo's big speech where he solves the mystery of the play, and the murder simultaneously:

“The murder and the play’s story are connected on a deep level. This play reversed the tide of the narrative. A group of fallen angels tried to return to the heavens, but the angel of judgment tried to stop them. Meanwhile, the angel’s judgment was but a show, and the supposed victim, a human, faked it. The angel’s and humans’ roles were reversed, switching the judge and the judged. That’s the kind of play this was. "

"...the narrative is in reverse. Our structures have been swapped along with the victim and killer as well. In other words—he isn’t the killer, but a victim."

This reveal subverts the original expectation that the plot would follow two separate mysteries. Instead, the lines are blurred between reality and fiction, killer and killed, and dreams and reality because now the two mysteries are intertwined.

I think this part of the story is deliberately written to be confusing (or at least not very clearly explained) as to fit in with the themes found in Murakami's writing.

Who is Murakami?

Haruki Murakami is a famous Japanese author, and you may have read some of his famous works, "Norwegian Wood" and "Kafka on the Shore."

Since this is Bungou (Literary) Stray Dogs, Murakami makes an appearance in this light novel as the main actor of the play.

Before I go on to explain Murakami's role in the novel, I'll give a brief background on his real counterpart and explain how the theatrical play in the novel reflects the real Murakami's work.

Murakami writes in the genre of "magical realism", where the lines between fantasy and reality are blurred as magical elements are seamlessly incorporated into the story. I'll be using "Kafka on the Shore" as the main example for this point, since it's a great example of Murakami's expertise in magical realism.

In "Kafka on the Shore," there are 2 interrelated plot lines, alternating with each chapter, similar to the 2 supposed mysteries outlined at the beginning of the novel.

Like its moniker, "Kafka on the Shore" resembles a "Kafkaesque" style of writing due to its surreal elements that are bizarre and illogical in the rules of reality.

In an interview about this novel, Murakami said:

"Kafka on the Shore contains several riddles, but there aren't any solutions provided. Instead, several of these riddles combine, and through their interaction the possibility of a solution takes shape. And the form this solution takes will be different for each reader. To put it another way, the riddles function as part of the solution. It's hard to explain, but that's the kind of novel I set out to write."

The Outcome of the Play

In theme with Murakami's bizarre, magical-realism writings, several illogical events take place within the span of the LN:

1. Before the play even starts, Murakami (the character) and the rest of the cast completely disregard the death threat. Even though the logical and safe solution would be to reschedule the play, it is a very literal representation of "the play must go on" mindset.

2. Murakami gets stabbed mid-sentence, on stage by a white blade that magically disappears.

3. Murakami bleeds real blood and has no pulse, which would signify his death, but he doesn't actually die.

Despite all this, Ranpo is extremely good at observing various elements of a situation and putting them together to form a solution, much like how the interactions of "Kafka on the Shore"'s riddles form their own solution.

Ranpo appears on stage and makes an Oscar-worthy performance out of his announcement that reveals Murakami to be the culprit behind his own death. It doesn't make much logical sense that Murakami would fake his own death for a performance, but rather it's an action motivated by pure passion.

“I…,” muttered Murakami in almost a whisper. He raised his voice and continued, “I am an actor! I become someone I am not and live a life that doesn’t exist! My job is to expose what it means to be human! It doesn’t matter if I play the lead part or a minor part. It doesn’t matter if I am a villain or hero. I become them with every part of my body! There is no other job for me! This is the only way I can live!”

And here, Murakami reveals the final paradox of the play:

"But there is one thing that cannot be avoided while acting on the stage of life, and that is death! Death is not the opposite of life; it is life’s symbol and banner. However, it also provides a great paradox! Nobody alive has ever experienced it! That’s why to me, the greatest job of all would be performing the death of a person. Not death as a device or a mere convention, but real death that I could convey to the audience. That was the pinnacle of theatrical performance to me. And this is the outcome of my toil."

Murakami eventually gets arrested for the fake death threat and deceiving the police, among other things. The most notable moment after this comes in Ranpo's dialogue to Murakami:

“I thought you were amazing,” Ranpo suddenly said from behind as Murakami was being taken away. “I didn’t quite understand all of it myself, but I don’t think it’s something that just anyone could do. By the way, take a look at the audience. Look at their faces.”

1. Ranpo sees Murakami's act as something admirable, most likely because Ranpo appreciates a good mystery and had fun solving it.

2. Ranpo tells Murakami to look at the audience, to which he turns around and sees the faces of a broken audience who came to watch a play and instead witnessed a real not-so-real murder.

“You said your job was entertainment, right? But could you really call it that…when you look at their expressions?” For the first time, Murakami’s eyes showed a sign of weakness. “…I see.” A small voice, unlike what one would expect from a stage actor with a powerful voice, fell from the stage. “I was…only performing for myself.”

Murakami realizes that he traumatized his entire audience on his quest to reach the "pinnacle of theatrical performance." In his small world that consisted of just the stage, he failed to see the outside world and forgot to consider how his actions would impact others. It's also important to mention that it was Ranpo specifically who pointed it out to him.

The focus on the audience mirrors Fukuzawa's thoughts when Ranpo was giving his big speech before Murakami appeared on the stage:

Fukuzawa was at his wits’ end. From the playgoers’ point of view, the fact that people knew there was going to be a murder beforehand completely changed their view of the situation. Was it really okay to tell them that? But Ranpo showed no concern for the audience’s worries.

Ranpo, throughout the entire novel, is portrayed as this extraordinarily ordinary kid who means well but simply doesn't understand what others are thinking. He was taught that he wasn't special, but this only isolated him into his own tiny world, because the outside world was filled with things he didn't understand.

This leads to him upsetting a bunch of people by blatantly calling out things about them that shouldn't be called out, like the theater's owner Ms. Egawa, and even Fukuzawa at one point.

However, this moment when he calls out Murakami is pivotal because it shows how he's grown from this event. He's learned to be considerate of others. He's seen how he can upset other people with the things he says, and he's learned from that enough to show another person who's trapped in their own individual world.

Although Ranpo is depicted to be somewhat self-centered throughout this novel and even after it, Fukuzawa taught him that he isn't alone in this world. Because Fukuzawa showed compassion to Ranpo, a special fifteen-year-old kid who didn't know better in a world of monsters, Ranpo learned how to exist in a world where he was different from everyone else, and that was okay.

Thank you for reading! If you haven't read this LN yet, I would still highly recommend it because I didn't cover the entirety of the mystery, and it's a wonderful read to understand more about Ranpo and Fukuzawa's backstory.

#bsd #bsd meta #bsd analysis #bsd ranpo #murakami #bsd light novel #i actually read the LN a while ago #but didn't realize murakami was in it until i finished kafka on the shore

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youranxiousnerd · 3 years

Text

The Transformation Thoughts

bc hsmtmts said gay rights

spoilers below

yesss seb doing the recap

wait did seb just say he was crying?!?! give him a hug

cow baby!!!

wow miss jenn and seb having a civil conversation

Natalie is back!!

ej and ricky with the mask

kourtney’s outfit!!!

ashlyn’s outfit...

ahh so the awards and the show are separate, good, that’s how it works

RICKY’S SHIRT!?!?!?!

i love it

ricky is lgbt do not try to convince me otherwise

ASHLYN IS SINGING IT IS BEAUTIFUL

like pop off

ricky and the mask

that mask is the true villain in season 2

“Belle, I-” flops

Ashlyn is carrying the scene, she is such a good Belle

how is ricky allowed on stage oh my god

the cap

that damn mask

“It’s okay, it was just my face”

Miss Jenn is hanging on by a thread

finally some ashlyn and ricky content

“Which they will” buddy have you faced the music? Have you seen Ricky?

“I think I might have been playing Troy at one point”

Miss Jenn needs help from someone who isn’t a teenager

“Mother is freaking out�� High school theater at it’s finest

“There is math involved”

“OH”

sassy seb

i can’t with east high’s tech crew, what are you doing?!?!

and why are the actors figuring out the tech stuff?!? i’m sure kourt, big red, ashlyn (she knows all), and seb (he lives on a farm) know what to do.

the crew cannot be that bad

btw here are my thoughts on this scene

guys it is ashlyn’s house not yours

portwell shoulder bump

ASHLYN I LOVE YOU

OH SO NOW YOU HAVE DRILLS

WHERE WERE THEY WHEN THE TECHIES STARTED USING GLUE ON PLYWOOD!?!?!?!

I WANT ANSWERS

i. cannot. with. this. show.

lily wtf

“is this too weird” yes

like why?

lily like actually shut up

big red’s “wtf”

let her be evil damnit

“i’m just not well liked here” i wonder why

that was really weird, anyways

“he gets weird around tools”

me too

no give big red the drill he knows how to use it

someone write a fic about the girls and seb’s chaotic target run

why don’t you have a blackout and dramatic music and lights for the transformation, i know it isn’t award level but if done right it can be pretty dope

“I don’t know if my parents will be okay with me being at a co-ed sleepover”

“Chip, this is your mother speaking, go call your mother”

HE DID THE FINGER GUNS

GAY TABLE SIT AND FINGER GUNS THEY DID THEIR RESEARCH

ashlyn’s bucket

CARLOS GAY TABLE SIT

OH MY GOD

they’re so gay soulmates

let big red have his skateboards

“i need to talk to seb at some point but it can wait” honey no it can’t wait seb is on the verge of a breakdown

wait they havent talked in a week

Im a hypocrite ive been dancing around someone for three years

“You’re still at school”

“I’m worried about my children” “She means us”

such a high school theater thing (like i got married during high school theater, we had a family tree)

“ah, Sebby”

“Now I’m pretty sad” give him a hug

the girls ship seblos

“But, I guess he has to be, out of default, right... there’s not a lot of choices for a boy like Carlos, here, at East.”

alright here come the tears

why...why couldn’t he say “gay” or “queer” or “lgbt”?!?!

“Not so good at saying the feelings part out loud”

shiz that hit close to home.

Seb is just making me cry today, isn’t he?

wait so we’re just going to change the subject? coming from a queer person, opening up about your problems about your sexuality is hard. like, there are things that happened years ago im just telling people.

“You’re my sister, he’s my cousin”

it seems everyone except nina knows about the chocolates. imagine gossip time when gina told people write a fic

Nini just stop talking. It wasn’t a big deal, simple mistake. Not everything has to be big and dramatic

and wasn’t she just asking about Gina and Ej?

Nini for the love of god it is not something to read into.

“The farmer type”

Ash and Red exchanging gossip

wait... why are they texting about this?

“Why wouldn’t he say something to me?” It’s a hard conversation to have. “hey are we together just because i’m your only option?”

“Okay, pretty boy” HE CALLED HIM PRETTY BOY

RICKY!!!!!!!!!!

!!!

carlos and gina chaotic siblings

give ej a hug

“Sweet boy”

im so glad the guys are talking about their feelings.

Why a sleepover? It’s more of a hangout.

“Verging on failure”

jennzara therapy

slowwww burn

you go from hand holding to fist bump

disney please release an acoustic version of “let you go”

so it’s just carlos and ricky chillin’ at big red’s house?

do not play let you go for nini

do. not.

“You guys are a hallmark movie”

for once ricky is being smart

“the look on your face when you were talking about Seb tonight” smiles

he is so whipped

“I think you and Seb have something worth fighting for...bro”

that was so sweet and then there is bro

i love this show

“Sorry, I’m adjusting to being called bro”

him and seb being awkward about feelings... that is a high school relationship

i love ricky in this scene

“Yeah, let’s just write”

ASHLYN CALLED BIG RED BABE AWWWWW

nina shut the actual hell up

“It’s in the costume shop, somewhere” mood

“Thank you, 15″ THEY SAID THE THING

GAHHHH

I LOVE IT

howie and kourtney oh my god what is happening

“and begging”

“hi” he’s so nervous oh my lord.

he is so awkward around seb

it’s like a switch

“Do you want to get risotto with me sometime” OH MY GOD THATS ADORABLE

GINA BABY HE LIKES YOU

GINA HONEY!!!

AWWW THAT WAS ADORABLE

PORTWELL YESSSS

gina’s little run

“Am I in trouble?”

they’re so nervous

oh my god its time

“You keep it all bottled up” GUYS I CANT ARGGGG

can ricky just like, go behind a curtain?

“lookin’ for our kind of love” carlos basically just said “i love you”

seb is so whipped like look at him?

they’re so in love

seb’s little eye role at “in a heartbeat, i choose you”

the hands omfg

oh my god they’re going to dance

SHIZ THE HOMECOMING SUITS

I WAS RIGHT

OH MY GOD

SHIT GUYS IM DYING

gah the hands i cant

carlos is leading i love it

the tie

a tie just killed me

im combusting

You’re honor, they’re in love

i really thought carlos was going in for a kiss he is probably getting one later

i like how the dance isn’t big, it’s small and a little awkward bc right then it’s just them.

THEYRE SO IN LOVE HOLY SHIT

damnit big red

big red is legally required to interrupt almost kiss moments especially if it’s an lgbt kiss bc we cant have two in one season

in a heartbeat is so cute. Frankie showed UP this season with the vocals. there is no way that was all acting bc they looked so in love.

I...I love it

the lyrics are perfect

In a Heartbeat and Let You Go are probably the best OG songs of the season

“Siri, add In a Heartbeat to my gay sob playlist”

these boys are just serenading each other left and right

“Yeah”

so it’s just “yeah”!?!? That’s it!?!?! Seb could have least kissed him on the cheek or did they use all their kisses?

I love the song and love the scene, but there is so much more to discuss. Are we going to brush over the fact that Seb literally had an allergic reaction and didn’t get help because he didn’t want to disappoint Carlos!?!? Are we going to brush over “no, seb” and seb feeling like he has to get carlos big things!?! One “yeah” doesn’t erase all that. I’m hoping we get closure, proper closure, not a joke.

In conclusion, only one thing was settled (Carlos loves Seb for Seb, not because he is the only out guy in school).

“Seb and Carlos suffer their first fight” effing liars

BTW it looks like they filmed the dance scene with the homecoming suits and normal outfits so disney release the footage

Ricky is the biggest Seblos shipper

“Bro”

you morons. are you using rigging without an adult there?!?!

im pretty sure that isn’t allowed. only trained people were allowed to use the rigging. it should be Natalie since she did it in HSM

you should have gotten mats are something or stand in a circle

gahhh

RICKY

OH MY FRICKING GOD

NO ONE RAN THEY JUST WATCHED WTF

WTF WAS THAT ENDING

UMMMMM NO

i legit have no words oh my god

they just killed the lead

you guys saw the rope you should have ran

you should have gotten mats or blankets or something just in case

rigging is difficult, set rigging and people rigging

EAST HIGH WTF

Looks like the sleepover is going to be in the ER

My gay heart is full but my theater heart is screaming. The episode went by really fast. I liked it, like a lot.

To answer the question, no, I am not okay @organic-guacamole and we will have a theater kid sleepover

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actlikeyoudidntdoit · 3 years

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ASSASSIN’S MODERN DAY PROFESSIONS

—————————————————

ALTAÏR

College Professor

-We all know that Altaïr has spent most of his life teaching, so what better job does he have than a college professor?

-He knows what he’s talking about, that much is certain, but sometimes he gets a little too lost in his lesson to realize that his students are scratching their heads. So it’s normal to have students staying after class, but they leave understanding every word of what he said.

-He’s not the fun teacher, but he’ll be able to teach you what you need and still remember it at the end of the day.

-He’s pretty lenient, and even with the obnoxious students who cause a scene, he calmly gets them to at least do their work.

-Other teachers always use him as a reference when it comes to the perfect teacher.

EZIO AUDITORE

-I can see Ezio being a public speaker since he’s not all that scared of crowds and spends a lot of time giving advice, so I think he’d really enjoy being able to help a crowd of people whose lives are falling apart

-Ezio would be the single anchor in a sea of storms because he always seems to have an answer for everything. He’s a man whose words are turned into inspirational quotes that people hang on their walls.

-When he says that things will be okay, no one doubts him since they know that he lost his father and his brothers very early on and that it took years for Ezio to accept the loss the way he had. If he could soldier through it, why couldn’t they?

-He doesn’t involve himself in politics, finding them to be a waste of time and breath despite how many people ask for his input on the political status of the country he’s staying in.

-He speaks to a lot of people in private, letting them speak their minds and giving his advice if they want it. He’s a therapist without a license, and you always feel hopeful about life leaving his office.

Connor

Construction or Sports

-This boy was designed for heavy work, and I’ve heard some good points in saying that not only would he be amazing at sports, but he’d also really enjoy it too.

-In my personal headcanon, I think he’d be a good construction worker as well. Not the high end kind that build skyscrapers or anything, but I can see him building simple houses for small communities, taking the lower jobs that can’t afford much help like the sweetheart he is. He definitely volunteers to make houses for the homeless.

-Since most of the homeless he helps don’t have much money, he makes sure to offer them baked goods because he’s definitely a baker.

Edward Kenway

-As a young man, he joins the navy

-Once he’s on his own, he buys his own boat and treats it like royalty.

-He’s not a pirate himself, but he does let less legal people on board for a price. At the time, it was just an easy cash pay since people paid good money when they were desperate.

-When he’s older and gets a grip on some of the people he’s helping (like the REALLY bad criminals) he quickly lets it go.

-Yet after seeing some of the more decent people and the places they were running from, I can see him being a sort of smuggler, but instead of smuggling drugs or weapons, he sells medicines, canned foods, and clothes to the regions where they’re scarce or hard to pay for.

-When he’s older and found a fortune over time, he starts up his own official charity, hiring various sailers to sail supplies to more places than he himself could alone.

SHAY CORMAC

-Okay, I have to say it. Shay would DEFINITELY be an FBI spy. Maybe I haven’t thought of it as heavily as I could, but he just strikes me as a man who could kill someone in plain sight and still not be seen.

-He already knows everything he can about infiltrating and getting vital information

-He knows exactly how to manipulate people to get what he wants.

-He’s like Macgyver but as an agent.

-He does things that make sleeping at night impossible, but he tells himself that every long night for him is another person somewhere else having a peaceful night, and peaceful nights means he’s doing his job. Right?

-Constantly questions his morals, but he can’t bring himself to stop, not knowing that he’d do if he stopped, because at least here he’s doing something. He’s contributing.

-That and maybe I might or might not want to see Shay in a suit 🤷‍♀️

AVELINE

-Actress. And a damn good one. She’s one of the kind of people who get paid millions each job and gives most of her cash on people who really need it. Not only that, she’s a fan favorite everywhere.

-She takes extra jobs in smaller businesses barely staying afloat, and public morality boosts has nothing to do with it. In fact, she keeps her fame life out of everything, choosing to see it just as another job.

-I can see her sharing similarities of Zendaya or Zoe Zaldana

ARNO DORIAN

-High school teacher or actor, I can’t decide.

-Because let’s be honest, this guys brain is more wrinkled than a raisin. He knows his stuff.

-He’s good at simplifying what he’s saying, and that happens to be a very useful trait when it comes to teaching.

-If he was a teacher, he’d be a damn good one, that’s for sure. No one will fail his class because he’s so good at explaining things, and he’d be the one who actually cares for his students.

-When it comes to acting... just admit that Arno’s a theater boy through and through. If you need proof, he’s the only one with a crazy amount of fancy robes and colors. FOR GODS SAKE HE OWNS A THEATER! So on modern day, I could totally see him as an actor as well.

-He’d be the Ewan Mcgregor of the modern day, because everyone recognizes him from SOMEWHERE because he’s really tested his acting ability on multiple various roles. Well read, charming, and level headed, he’d totally rock being an actor. He’s good friends with Aveline, and when they both have time in their busy schedules, they stop by for coffee and fill each other in on their life.

JACOB

-Boxing

-I saw the photoshops of Jacob in boxer life, and I have not been the same because oh my god that is amazing.

-but absolutely he’d be a boxer. He’s the shortest guy in the entire match, but he doesn’t need a stool to knock you on your ass before you can laugh about it.

-His opponents are lucky shattering bones is against the rules because he knows how to make someone wish their dad wore a condom.

-A lot of people think that his rounds must be rigged, and his sister had to physically hold him back every time Jacob threatened to give him a close up of how ‘rigged’ his fights were.

-Jacobs a powder keg, so it doesn’t take much to make him explode, and a lot of the less respectful people he has to fight picks particularly sore spots to do just that.

-He might be pissed, but his punch isn’t the only thing that stings. He knows exactly what words to use, and when they’ve gone too far, he doesn’t hold back.

-Might have a temper, but he has a good heart despite it all. He visits schools and completely turns his personality around with kids. He signs autographs, takes pictures, and makes sure that every one of them have a fun day because he knows that there’s some kids in this school that don’t have those kinds of days. He pays the school for field days each time, making sure they all get out. They bring out the scooters, parachutes, capture the flag, and ‘wrestling’ matches for the kids who want to face him. He loses every time. He never has a bigger smile on his face than when he has children fans walk up to him.

EVIE

-She is totally a lawyer and you can’t change my mind.

-Logic and Facts are her strongest weapons, and so far she has yet to lose a debate.

-Every other lawyer knows that seeing Evie walk into court is an instant death sentence, because like her brother, her words are sharp as a knife and her mind is even sharper.

-If they didn’t look identical, no one would believe that she would be related with Jacob the hot headed boxer, because she was level as water and was near impossible to make angry, but god help the poor sod that presses her.

-Her clients almost always get the best case scenario with Evie by their side by how good she is.

-Also like her brother, children are her weak spot, and her hard composure melts whenever she needs to speak to a child in the witness post, making sure that the child feel comfortable unlike the others that drill the kid with questions when they’re too skittish to answer. She takes her time and gets the kid feeling safe, and gently asks their side.

-Evie might not do it as a profession, but Evie has beaten Jacob in the boxing ring in the gym. She knows damn well how to handle herself, knowing she’d need it since she’d be fighting corrupt politicians or gang members who have too often tried attempts at her life. Every time she emerged unscathed, using the attempt at even more evidence against them and insuring a spot in jail. No one dared try attacking her again after that.

BAYEK

-I’m thinking police officer or motivational speaker for trauma.

-Either way, he’s a guardian who takes care of the people he’s in charge of. He knows words well, and having been down the dark path himself, he knows exactly what people experience and what they want to hear.

-Be the change you want to see in the world, and that’s exactly what he’s doing.

-He’d be a well respected officer, and he’s not afraid of telling off a comrade if someone is wrongfully accused. He’s not very popular in the police station, but as long as he’s doing his job, he’s satisfied.

-He’s saved several people over the course in his life, and his word is well honored since he’s on no ones side. He sees things as what they are and doesn’t twist events he disagreed with to his point of view. Even if it hurts him personally, he doesn’t lie.

-He’s divorced, but they’re still best friends with each other and visit when they can.

AYA (ran out of gifs. Sorry)

-She is hands down a self defense teacher for women

-She sells hidden self defense tools for less than ten dollars, always sure to keep constantly supply of them since many have confessed that they’ve saved them from dangerous situations.

-Like her former husband, she’s a protector and makes sure she provides her students with the best.

-She teaches children what to do if they ever get grabbed, and she’s had many parents in years thanking her when that information ended up saving their child’s life.

ALEXIOS

-Hands down he is a stunt double

- Preferably Arno’s since he relies more on flexibility than brute strength. Then there’s the fact that they look similar enough in features

-He does the moves that would probably be safer if they were just CGI, but he hates those computers with a passion, preferring to do the real thing instead of giving out something fake. He’s broken more bones than he can count, and the companies he works with always have a medic on standby when something goes wrong.

-They tried convincing him that they only needed him for a few spots, but after realizing that he wanted this (and him assuring them that he doesn’t bother with suing), they let him do his thing. The results are fruitful since the most nitpicky movie fans are absolutely thrilled when there’s a particular move done right.

-He teaches Arno a good few things about how to do action scenes, and they’re definitely good friends.

KASSANDRA

-Roller Derby

-She lives for throwing people and smacking them without being judged for it, so the Derby’s her safe spot.

-Everyone on the opposing team is terrified of her, always scared when they see her devilish smile, knowing that they’re about to get their asses handed to them. Like her brother, she’s an adrenaline junky, and when she’s not doing the derby, she’s going off into car races in a water trench. She’s surprisingly very good with cars too, knowing the inside and out of a car like the back of her hand.

-She loves it when men try to catcall her. It gives her a perfect opportunity to punch them in the face.

-She loves the races themselves because no one expects it. Sometimes she pretends to act like a beginner and absolutely slaughter them, giving them a nice wink before driving out with her cash.

-Only has a soft spot for the girl who visits her on weekends. She’s practically her older sister, and there will be hell to pay if her favorite kid gets hurt in any way.

EIVOR

-BACA(Bikers Against Child Abuse)

-The moment I saw this, I instantly thought about them.

-they would absolutely be a part of this

-Looking all badass in leather while turning into a softie for children? That’s Eivors entire character right there.

-Eivors not afraid to get physical with an abuser. They’d beat the abuser to a pulp and right after take the child out for ice cream.

-No one messes with Eivor, knowing that their lenience was stretched only for children. Anyone else tried to pressure her? Your teeth would be shattered and they’d wear the bits for a necklace.

-Children are much more brave around them because they’re tougher than their parent and on their side, so they’re not afraid to give them to the police

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weheartchrisevans · 4 years

Link

BOSTON — So you're Tim Scott, the Republican senator from South Carolina who opposes Roe v. Wade and wants to repeal the Affordable Care Act, and you get a call from Chris Evans, a Hollywood star and lifelong Democrat who has been blasting President Trump for years. He wants to meet. And film it. And share it on his online platform. Can anybody say "Borat?" “I was very skeptical,” admits Scott. “You can think of the worst-case scenario.”But then Scott heard from other senators. They vouched for Evans, most famous for playing Captain America in a series of films that have grossed more than $1 billion worldwide. The actor also got on the phone with Scott’s staff to make a personal appeal.

It worked. Sometime in 2018, Scott met on camera with Evans in the nation’s capital, and their discussion, which ranged from prison reform to student loans, is one of more than 200 interviews with elected officials published on “A Starting Point,” an online platform the actor helped launch in July. Not long after, Evans appeared on Scott’s Instagram Live. They have plans to do more together.

“While he is a liberal, he was looking to have a real dialogue on important issues,” says Scott. “For me, it’s about wanting to have a conversation with an audience that may not be accustomed to hearing from conservatives and Republicans.”

Evans, actor-director Mark Kassen and entrepreneur Joe Kiani launched “A Starting Point” as a response to what they see as a deeply polarized political climate. They wanted to offer a place for information about issues without a partisan spin. To do that, they knew they needed both parties to participate.

Evans, 39, sat on the patio outside his Boston-area home on a recent afternoon talking about the platform. He wore a black T-shirt and jeans and spent some of the interview chasing around his brown rescue dog. Nearly 100 million people didn’t vote in the 2016 general election, Evans says. That’s more than 40 percent of those who were eligible.He believes the root of this disinterest is the nastiness on both sides of the aisle. Many potential voters simply turn off the news, never mind talking about actual policy.“A Starting Point” is meant to offer a digital home for people to hear from elected officials without having the conversation framed by Tucker Carlson or Rachel Maddow.

“The idea is . . . ‘Listen, you’re in office. I can’t deny the impact you have,’ ” says Evans. “ ‘You can vote on things that affect my life.’ Let this be a landscape of competing ideas, and I’ll sit down with you and I’ll talk with you.”

Or, as Sen. Lisa Murkowski (R-Alaska), who has appeared on the site, puts it, “Sometimes, boring is okay. You’re being presented two sides. Everything doesn’t have to be sensational. Sometimes, it can just be good facts.” Evans wasn’t always active in politics. At Lincoln-Sudbury Regional High School, he focused on theater, not student government. And he moved away from home his senior year, working at a casting agency in New York as he pushed for acting gigs. His uncle, Michael E. Capuano, served as a congressman in Massachusetts for 20 years, but other than volunteering on some of his campaign, Evans wasn’t particularly political.

In recent years, he’s read political philosopher Hannah Arendt and feminist Rebecca Solnit’s “The Mother of All Questions” — ex-girlfriend Jenny Slate gave him the latter — and been increasingly upset by Trump’s policies and behavior. He’s come to believe that he can state his own views without creating a conflict with “A Starting Point.” When he and Scott spoke on Instagram, the president wasn’t mentioned. In contrast, recently Evans and other members of the Avengers cast took part in a virtual fundraiser with Democratic vice-presidential nominee Kamala D. Harris.

“I don’t want to all of a sudden become a blank slate,” says Evans. “But my biggest issue right now is just getting people to vote. If I start saying, ‘vote Biden; f Trump,’ my base will like that. But they were already voting for Biden.”

(In September, Evans accidentally posted an image of presumably his penis online and, after deleting it, tweeted: “Now the I have your attention . . . Vote Nov. 3rd!!!”)

Evans began to contemplate the idea that became “A Starting Point” in 2017. He heard something reported on the news — he can’t remember exactly what — and decided to search out information on the Internet. Instead of finding concrete answers, Evans fell down the rabbit hole of opinions and conflicting claims. He began talking about this with Kassen, a friend since he directed Evans in 2011’s “Puncture.” What if they got the information directly from elected officials and presented it without a spin? Kassen, in turn, introduced Evans to Kiani, who had made his fortune through a medical technology company he founded and, of the three, was the most politically involved.

Kiani has donated to dozens of Democratic candidates across the country and earlier this year contributed $750,000 to Unite the Country, a super PAC meant to support Joe Biden. But he appreciated the idea of focusing on something larger than a single race or party initiative. He, Kassen and Evans would fund “A Starting Point,” which has about 18 people on staff.

“There’s no longer ABC, NBC and CBS,” Kiani says. “There’s Fox News and MSNBC. What that means is that we are no longer being censored. We’re self-censoring ourselves. And people go to their own echo chamber and they don’t get any wiser. If you allow both parties to speak, for the same amount of time, without goading them to go on into hyperbole, when people look at both sides’ point of view of both topics, we think most of the time they’ll come to a reasonable conclusion.”

“What people do too often is they get in their silos and they only watch and listen and read what they agree with,” says John Kasich, the former Ohio governor and onetime Republican presidential candidate. “If you go to Chris’s website, you can’t bury yourself in your silo. You get to see the other point of view.” As much as some like to blame Trump for all the conflicts in Washington, Sen. Christopher A. Coons (D-Del.) says he’s watched the tone shifting for decades. He appreciated sitting down with Evans and making regular submissions to “Daily Points,” a place on the platform for commentary no longer than two minutes. During the Supreme Court confirmation hearings, Coons recorded a comment on Judge Amy Coney Barrett and the Affordable Care Act.“ ‘A Starting Point’ needs to be a sustained resource,” Coons says. “Chris often talks about it being ‘Schoolhouse Rock’ for adults.”

It’s not by chance that Evans has personally conducted all of the 200-plus interviews on “A Starting Point” during trips to D.C. Celebrities often try to mobilize the public, whether it’s Eva Longoria, Tracee Ellis Ross and Julia Louis-Dreyfus hosting the Democratic National Convention or Jon Voight recording video clips to praise Trump. But in this case, Evans is using his status in a different way, to entice even the most hesitant Republican to sit down for an even-toned chat. And he’s willing to pose with anyone, even if it means explaining himself on “The Daily Show” after Republican Sen. Ted Cruz of Texas posted a selfie with Evans. (Two attempts to interview Trump brought no response.) Murkowski remembers when Evans came to Capitol Hill for the first time in 2018. She admits she didn’t actually know who he was — she hadn’t yet seen any Marvel movies. She was in the minority.“We meet interesting and important people but, man, when Captain America was in the Senate, it was all the buzz,” she says. “And people were like, ‘Did you get your picture taken?’ I said, ‘Yeah, I sat down and did the interview.’ ‘You did an interview? How did you get an interview with him?’ ”What impressed Murkowski wasn’t his star power. It was the way Evans conducted the interview.“It was relaxing,” she says. “You didn’t feel like you were in front of a reporter who was just waiting for you to say something you would get caught on later. It was a dialogue . . . and we need more dialogue and less gotcha.”

“Starting Points” offers two-minute answers by elected officials in eight topic areas, including education, the environment and the economy. This is where the interviews Evans conducted can be found. “Daily Points” has featured a steady flow of Republicans and Democrats. A third area, “Counterpoints,” hosts short debates between officials on particular subjects. Eric Swalwell, a Democrat from California, debated mail-in voting with Dusty Johnson, the Republican congressman from South Dakota.

“Most Americans can’t name more than five members of the United States House,” says Johnson. “ ‘A Starting Point’ allows thoughtful members to talk to a broader audience than we would normally have.”

The platform’s social media team pushes out potentially newsworthy clips, whether it’s Sen. Mike Lee (R-Utah) discussing his meeting with Barrett just before he tested positive for the coronavirus, or Angus King, the independent senator from Maine, criticizing Trump for his comments on a potential peaceful transfer of power after November’s election. Kassen notes that the King clip was viewed more than 175,000 times on “A Starting Point’s” Twitter account, compared with the 10,000 who caught in on CNN’s social media platform.

“Because it’s short-form media, we’re engineered to be social,” says Kassen. “As a result, when something catches hold, it’s passed around our audience pretty well.”

The key is to use modern tools to push out content that’s tonally different from what you might find on modern cable news. Or on social media. Which is what Evans hopes leads to more engagement. He’s particularly proud that more than 10,000 people have registered to vote through “A Starting Point” since it went online.

“If the downstream impact or the byproduct of this site is some sort of unity between the parties, great,” says Evans. “But if nobody’s still voting, it doesn’t work. We need people involved.”

#chris evans #mark kassan #joe kiani #a starting point #the washington post #news

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whenisitenoughtrees · 4 years

Note

Might I suggest “I don’t want to be alone.” with Royaliceit?

okay um. this one really got away from me, as i’m sure you can tell from the word count, so i really hope you like roman angst (w/ a happy ending, bc i’m not a monster)

Title: we are not alone (in the dark with our demons)

Word Count: 5,888

Content Warnings: roman-typical self-worth issues

(fic masterpost)

Roman has never really known what love is.

Oh, he pretends well enough. That’s his job, after all. He is Thomas’ hopes and dreams, his most romantic fantasies, and he performs that role well, spouting off suggestions about grand gestures and acts of true love and deeds of valor and honor and bravery. And it’s not as if he’s lying; based on every story he’s ever read, every Disney movie he’s ever watched, that is the epitome of what romance should be. And he thinks he would like that, would like to execute these grand gestures for someone, would like to sweep someone off their feet, be their savior, their hero.

Someone becomes Patton so gradually that he doesn’t notice for a very long time. Doesn’t notice how his heart beats faster whenever Patton is in the room, doesn’t notice how he hangs off Patton’s every word, doesn’t notice how he would do just about anything to get Patton to smile at him. Or rather, he does notice, sort of, in a vague, curious way. He’s just not sure what it means.

And then comes the wedding. And Roman thinks he understands what love is after all. Because the words of the others have always hurt him, their criticisms and mockery never as easily shaken off as he likes them to think, but this? This is something different. He watches as Patton sides with Deceit, with the side he was told not to believe, was told was in the wrong, was told was bad for Thomas, so you shouldn’t listen to him, Roman! He watches as Patton sides with Deceit, as Thomas sides with Deceit, upending everything he thought he believed, and the betrayal hits him like a knife to his chest. And he knows that it wouldn’t sting nearly so much if he didn’t trust Patton, if he wasn’t willing to follow him anywhere, if he didn’t love him, and the realization is far more bitter than sweet.

So, love is this: heartbreak, the stifling silences between breaths, and the words, we love you, said as if he is supposed to accept them.

He doesn’t. And why should he? He works so hard, tries his best every hour of every day, and this is what it gets him? A blow to the back of his head, faded and empty promises, a snake whispering in the dark, and Thomas turning away from him. You are! rings in his head, stuttered, placating, a lie.

And perhaps Thomas is right. Perhaps they are all right. And if Deceit is right, then he must be wrong. Isn’t that how it goes? Someone has to be the villain, after all. What else is he, if not a washed-up prince, a hero that has never managed to save anyone, a Creativity that is not nearly as good as he portrays himself to be?

God. No wonder they don’t love him.

So he throws himself into being better, into being more. He swallows his pride and apologizes to Deceit— to Janus, he supposes, though something about using the name still leaves an acrid taste in the back of his throat— and if the apology is a bit halfhearted, not entirely meant, Deceit doesn’t call him out on it, and he doesn’t call out Deceit’s apology in turn (and he has no idea, none at all, whether he means it sincerely or not. He can never tell, anymore, whether the words out of Deceit’s mouth are lies or truths, and sometimes, he thinks it doesn’t matter either way).

He asks Logan for input more often. He tries harder not to antagonize Virgil, or at least, not in the ways that truly bother him. He smiles at Patton when Patton approaches him, smiles and insists that he’s fine, even though he feels like his heart has been ripped out of his chest and dropped into oncoming traffic.

And Patton believes him. That is, perhaps, what hurts worst of all, that he doesn’t see the way he’s falling apart beneath the thin veneer of bravado.

But he can’t blame him for that. Roman is, if nothing else, a good actor. A good liar.

He spends more time working, coming up with ideas that are bigger and better than any of his previous ones. He presents them to Thomas, and acts like his entire being isn’t screaming for some form of validation, any scrap of affection, any crumb that might tell him that Thomas doesn’t think he’s too much of a failure after all. And sometimes, he gets that. Sometimes, the ideas are good. Sometimes, Thomas grins and thanks him and congratulates him on a job well done.

More often, the ideas aren’t good enough. More often, it’s back to the drawing board. He barely sleeps these days, can barely be bothered to try.

And he thinks about love a lot. Thinks in the privacy and secrecy of his own mind that maybe, love isn’t worth it, if it hurts this much. Thinks that he wishes that these feelings would go away, and then maybe, he could begin to claw his way back toward normalcy.

But he’s too aware of it, now. Too aware of the way that Patton smiles and moves, too aware of his kindness and his concern and the way he always tries to take such good care of everyone. The betrayal still sits heavy in his chest, but it’s like an old wound, now, one that still pains him but one that he can ignore most days, because in the end, he’s not sure that Patton was wrong at all in what he did, in choosing Deceit over him. He thinks that maybe he was wrong, that he still is, and he’s doing his best to change that, but he has never known how to be anything different from what he is. He has only known how to cover it all up, how to wrap himself in glittering paper and a shiny bow and hope that no one looks too closely at what lies underneath.

Perhaps he’s getting too lost in his own head. Perhaps that’s why he doesn’t see it coming.

It’s the only explanation he can think of. He should have noticed it, otherwise, should have seen the way that Patton and Deceit inch together, like two stars sliding into each other’s orbits. He should have seen the cautious glances, charged with so much more emotion than words could say, should have seen the tentative touches, should have seen the way they angle themselves toward each other whenever they’re in the same room. He should have seen it, should have guessed it, but he didn’t, so when Patton announces one night, over dinner, that he and Janus have decided to begin a relationship, he is taken completely by surprise.

Logan extends congratulations. Virgil’s blessing is far more cautious, still very wary of Deceit’s increased presence in their lives, but he appears glad for Patton, at least. And Roman offers the loudest, most boisterous well-wishes he can think of, professing his joy for Patton’s newfound happiness, putting forth anything and everything he can think of to direct attention away from the fact that on the inside, he just feels—

Numb.

Numb. Cold. Empty.

He knew he couldn’t have him. He knew that Patton could never return his affections. But apparently, there is a great deal of difference between knowing and knowing, and that difference is sobbed into his pillow in the early hours of the morning.

He falls into an uneasy sleep, and his dreams are of Patton, Patton smiling, Patton laughing, Patton telling him that he did good, Patton kissing him and tasting of citrus and cotton candy. And then, the dreams change, and Janus is there, too, sliding around the edges, smooth and confident and beautiful, his every motion poetry, his every glance a caress, and Roman takes his face in his hands and kisses him just as soundly as he did Patton, and then, he wakes up, shaking.

This cannot be right. This cannot be right, because these are all the emotions he pushed deep, deep down inside of him, never to see the light of day again. These are the emotions that he rejected after the theater, after the courtroom, after everyone told him time and time again that Deceit was wrong, that Deceit was bad, and if he wanted to be right, wanted to be good, he needed to treat Deceit like the villain he was. And so he did, and pretended that he has never wondered what Deceit’s lips would feel like on his, what it would be like to trace his fingers down those glimmering scales.

It seems that the time for pretending is over.

Once ended, an illusion cannot be reformed. The audience knows the trick now, would see right through any further conjuration. And Roman, too, can no longer fool himself into believing that what he feels does not exist, or that it will go away if he ignores it. He watches Patton, and he watches Janus, and he watches them together, cooking in the kitchen or cuddling on the sofa or simply sitting near each other and enjoying the company, and he burns for them, bright and hot and never-ending, fueled by the sheer force of his want. Roman is passion and Roman is desire, and he desires them, desires their attention and their affection and their love, and it’s like an arrow to his heart to know that he cannot have them, cannot have this.

Because they already have each other. And even if he were worthy of them in the first place, there is no space for him between them.

So, he does the hardest thing he has ever done in his life, and he pulls away.

He tries not to be obvious about it, tries not to do anything that might arouse suspicion or concern. He works longer, harder, makes excuses to miss meals and family gatherings. Loneliness settles into him like a physical weight, one that presses against his chest and makes it hard to breathe. Sometimes, he feels as though he stands on the edge of a precipice, a yawning chasm below, and all he has to do to fall is take one step forward. Sometimes, he feels as though he’s already falling, the wind whistling in his ears, gravity dragging him ever downward.

They give him looks, sometimes. Patton more often than Janus, though that might just be because Janus is more subtle. He can never interpret these looks. They’re always contemplative, perhaps a bit confused, perhaps a bit sad, and he doesn’t know what that means. Part of him fears that they’ve figured it out, figured him out, him and his hopeless, stupid love. Part of him wants them to, wants them to see right past him to all his dirty secrets, wants them to rip the bandage off, to let him down gently, to tell him what he already knows.

Part of him wants to fall.

The loneliness becomes tangible, surrounding him like a fog. He’s surprised no one else can see it. But then, that is the point, isn’t it?

He’s chosen this.

And it all hits him one evening, as the sun has just begun to set and he’s skipped yet another dinner, claiming to be off on a quest in the Imagination. He hasn’t been on a quest for a while, hasn’t been able to muster up the energy, or the persona. Quests are for princes, for heroes, and these days, he’s not so sure that he’s either of those. He certainly doesn’t feel like one. He plans to work instead, to churn out a few more video ideas for Thomas in the hopes that one is usable.

He finds himself curling up in a ball in the corner of his room, tears stinging in his eyes.

There’s no particular reason for it. Nothing about today has been any worse than any other recent days. This feels like something that has building for a while, like a rubber band stretched until it snaps. And he feels like he’s snapped, like something essential in him has broken, and he knows that he should be able to move past this, should get back up and get back to work, but he can’t, and that fact just sends him spiraling more, because if he can’t create anything and he can’t love properly, then what good is he?

He shudders, choking on a sob and sucking in a desperate breath. He stuffs his fist in his mouth, trying to muffle the cries that seek to escape him, as if from a wounded animal, and perhaps that’s exactly what he is. A wounded animal, begging for comfort, for solace, and finding nothing at all.

He wants someone here. Just, someone. Anyone. Someone to hold him and tell him that everything will be alright, even if it’s a lie. Someone to dry his tears, to grasp his hands, to touch him. He wants it and he can’t have it, and he feels so, so alone.

Even if he deserved reassurance, he wouldn’t seek it. He’s supposed to be strong, supposed to be a prince, for heaven’s sake, and even if he knows just how weak he truly is, the others don’t.

He can’t let anyone see him like this.

And that is when the knock sounds on his door, as if summoned by his thoughts. Four times, a light, quick beat. He freezes, alarm coursing through him.

“Hey, Roman?” It’s Patton. It’s Patton, and he sounds worried, and Roman hates himself for becoming a source of stress. “I, uh, I brought you dinner. I know you said you’d grab something later, but you haven’t been down for a meal with everyone in a while, so, uh. I’m getting a little bit worried about you. Could I come in?”

He takes a steadying breath. He needs to respond, because if he doesn’t, Patton will likely enter anyway, just to check on him. So he needs to reply, and hope for the life of him that whatever he says is good enough to persuade him to leave, to persuade him that all is well.

“Just leave it outside the door,” he calls out. His voice sounds thick and clumsy even to his own ears. It’s because of the tears, but perhaps he can claim he just woke up from a nap, if Patton asks. “I’ll grab it in a bit.” And then, he winces, because that sounds rude, sounds callous, sounds like he doesn’t care that Patton has made the effort to come up here and bring him food. It’s quite the opposite; he cares far too much. So he tacks on, “Thanks, Pat,” hoping that at least some of his gratitude will come across.

Instead, his voice breaks, and his breath hitches as he forcibly suppresses another sob.

For a long moment, Patton is silent.

“Are you… okay?” he asks. “I’m coming in, Roman.”

No.

“Please don’t,” he says, and realizes even as he does that his voice is too frantic, too desperate, and it won’t fool Patton for even a second. “I’m fine.”

The doorknob turns, and the door slowly swings open. Not all the way, just enough for Patton to poke his head through, his brows furrowed in concern. There is a plate in his hands, and the room fills with the scent of cooked pasta. Spaghetti, he thinks. One of his favorites.

“You don’t sound fine,” Patton says, and then his gaze finally lands on Roman, and Roman would like to melt into the floor in shame. He knows what he must look like, knows he must seem an utter disaster, with his rumpled clothes and tear-stained face, curled up in the corner like the pathetic mess of a side he is.

“Oh,” Patton says, eyes widening. He seems shocked for a moment, but then, he is moving, entering the room all the way and rushing to Roman’s side, setting the plate down on his desk before kneeling next to him, hands outstretched but not touching, not quite, as if he’s unsure of his welcome. “Oh, sweetie, what’s wrong? What can I do?”

He shakes his head, staring at him, because how is he supposed to tell Patton the truth? How is he supposed to tell him that he aches for him, him and Janus both, longs to disrupt the happiness they’ve found in each other? How is he supposed to tell him that he’s pulled away to try to get over himself, to prevent himself from doing something rash, to attempt to make the problem disappear, and instead has only succeeded in making himself feel worse? How is he supposed to admit any of this?

How is he supposed to admit that he’s a failure?

“It’s just…” he starts. “It’s too much, right now. I’ll, I’ll be okay, I just need…” He cuts himself off, burying his face in his hands, because he knows exactly what he needs, and he can’t let himself say it out loud, but if he voices anything else, it would be a lie, and he’s already lying to Patton so much, and he’s so tired.

“What do you need, honey?” Patton asks, but he just curls in on himself more.

New strategy: maybe if he doesn’t answer at all, Patton will get fed up and leave. It’s unlikely, because that’s just not the kind of person that Patton is. But it’s the only viable plan he has left.

Patton doesn’t leave.

“That’s okay, Roman. You don’t have to say anything if you don’t wanna.” Patton hesitates, and Roman is tempted to look at him, to take the measure of whatever expression is on his face. “Would it be alright if I touched you?”

And he does look then, looks and finds that the only emotion on Patton’s face is concern, a desire to help, so he nods, and Patton reaches out to him, gathering him into his arms, and Roman can’t remember the last time he was touched like this. He feels so safe, so warm, and so terribly, horribly guilty, because he can’t feel like he’s taking advantage of him, because Patton has no idea about the feelings that flutter in his chest, traitorous and excited by something so simple as mere contact, and his mind is so eager to twist this situation around, to make more out of it than it is.

Patton cares about him. He feels more secure about that than he used to. But it is the same kind of care that Patton offers to everyone, and he feels so selfish and awful for desiring more than that, and for not having the courage to even own up to doing so.

But he still relaxes into the embrace, lets Patton rub soothing circles into his back, even though it makes him sob harder, this moment that is so close to what he wants and yet so far.

“It’s gonna be okay,” Patton murmurs, “I promise. Everything’s gonna be okay.”

He shakes his head mutely. It’s all he can do.

Nothing is going to be okay. But he doesn’t have the words to explain that.

But maybe, if he can live in this moment for just a little while longer, he will regain the strength to pretend.

“Patton?” The voice floats in from outside his room, and he stiffens. “You’ve been gone for a while. Is everything— oh.”

Roman shifts his head, and his vision is blurry, but he can just make out the figure standing in his doorway, awkward and discomfited, his hands twitching as if he doesn’t know where to place them. It’s Janus, because of course it is Janus, come looking for his boyfriend, and here Roman is, taking up both of their time, now, and there is a part of him that selfishly delights in it, that insists that if this is all he will ever get from them, he might as well make the most of it.

“I can—” Janus shuffles his feet, oddly hesitant. “Here, I’ll just—”

He moves as to leave, and close the door behind him, and suddenly, that is the last thing Roman wants. It is too late to pretend that this never happened, too late to prevent him from seeing his humiliation in the first place. At this point, what is a little more selfishness?

“You can stay,” he murmurs, and he’s sure he doesn’t sound at all convincing, but Janus pauses anyway, a crease forming between his brows. When he enters the room, he does so cautiously, as if expecting Roman to change his mind at any moment, but he does enter, and that is what is most important. He kneels beside Patton, and Roman is certain that they exchange a glance over his head, some silent communication, before Janus tentatively reaches out and places a hand on Roman’s arm. It is clear that he is not practiced in offering comfort, but the fact that he is willing to try at all is enough to add to the tears still streaming down his face.

“Would you like to tell us what’s wrong?” Janus asks, and even when Roman doesn’t answer with anything more than hitching breaths and shallow sobs, turning his face back into Patton’s shirt because he can’t face this kindness, Janus doesn’t push him for more. Just sits there and offers silent support and a single source of contact.

It’s too much, really, having the both of them here, having Patton hugging him and Janus touching him, both of them offering care but not the kind of care that Roman wants most. And it’s so wrong of him to fool them into giving this to him, because this means so much more to him than it does to them and they have no idea. He’s essentially tricking them, tricking them in the worst kind of way, and the longer he sits there, crying against Patton’s chest, the worse he feels about it.

And eventually, his tears run dry. And he knows he has to end this.

“I’m okay now,” he mumbles, turning his head so that he’s no longer speaking into Patton’s shirt. “You guys can go.”

Janus arches a brow, and belatedly, Roman remembers that lying to the Lord of the Lies is an inadvisable move at best.

“Is that right?” Janus asks, doubt dripping from every syllable. He’s not aiming to wound, but Roman flinches anyway. “You’ve spent the past twenty minutes sobbing your heart out, and there’s absolutely no underlying reason that needs to be dealt with? Everything’s all hunky-dory?”

He wriggles out of Patton’s hold with no small amount of regret, shifting backward until there is a few feet of space between him and both of them. He tries to fix his expression into some semblance of a glare, though he’s certain it’s not very effective. He must look like a train wreck.

“All hunky-dory,” he confirms, and has to pause, because literally who says that anymore? He shouldn’t find that endearing. He shouldn’t. “I was just… overwhelmed. That’s all.”

It’s not technically a lie, so Janus shouldn’t be able to sense anything off. But he narrows his eyes in suspicion, reminding Roman that he’s still perfectly capable of detecting half-truths the normal way, though plain observation.

“You have been putting an awful lot of pressure on yourself lately,” Patton says, and Roman turns to him in surprise. Patton winces, wringing his hands. “I mean… I don’t wanna overstep any boundaries here, but it seems to me that we barely see you anymore, ‘cause you’re always holed up in here working. And I’m not saying that you need to stop or anything like that, especially not if you’re feeling a lot of inspiration these days, but, um. We miss you.” He pauses. “I miss you.” He says the last in an undertone, glancing at his lap, and Roman blinks.

“I didn’t…” He stops, trying to get his thoughts in order, but it’s a hopeless task. His thoughts are flying every which way, no rhyme or reason to them. “That is, I didn’t mean to—”

“If you’re going to finish that sentence with something along the lines of, I didn’t mean to avoid you, you needn’t bother,” Janus interrupts. His voice is smooth and unreadable, and something about it makes Roman want to crawl under a rock and hide there. “It’s fairly obvious to me that that’s exactly what you’ve been doing.” Patton frowns then, looking at Janus and opening his mouth to say something, but Janus holds up a hand, forestalling him. “What I don’t understand is why? Or at least, why Patton? Me, I get.”

It takes a moment for him to realize what Janus is saying, his mind taking far too long to wrangle his words into something approaching sense. “Wait, what?” he blurts out. “Why would you… why would you ‘get it’ if I was avoiding you?”

This is, perhaps, not the most urgent question he needs to ask. But he’s confused, now, confused and beginning to realize that once again, his actions may have had unintended consequences.

Janus looks at him like he’s crazy. “Roman, I am not unaware that you dislike me. And that’s… perfectly fine. After everything I’ve put you through, I… well, as I said, I understand.” He pauses, inhaling deeply, seeming to steady himself. “Again, I’m not asking for me. And I would appreciate an answer.”

Roman can only stare, his horror mounting as he realizes that Janus means every word of what he’s saying, that Janus truly believes that Roman doesn’t like him, and oh god, he’s gone and fucked all of this up, hasn’t he? He didn’t think they would notice him stepping back, much less draw the wrong conclusions, but apparently they have, and he’s stuck between a rock and a hard place. He can lean into this, pretend to be angry with them, pretend not to want them around, no matter how much that would break him. Or he can tell them the truth, and be broken in an entirely different way when they reject him, kindly at best and in disgust at worst. There’s no good option, and it’s all he can do to keep his breathing even, to keep his lungs functioning.

But he looks at Janus, his face set into hard lines. And he looks at Patton, who doesn’t meet his eyes, whose dejection is shining through every inch of his slumped posture and in the way he fiddles with his fingers, anxious and discontent.

He didn’t think this would hurt them. Frankly, he thought they were too wrapped up in each other to notice much of what he was doing at all. But evidently, he has miscalculated, badly, and there is no good option, but he knows which one will hurt them less.

He’s been selfish enough.

He releases a shuddering breath, shaking his head and staring at the floor. He doesn’t have it in him to look at them, to watch their reactions to what he’s about to say. “I’m really sorry,” he says, and his voice emerges as a miserable whisper. “I didn’t, I didn’t mean to make you think that—” He cuts off. Gathers his thoughts into a coherent sentence. By the nine muses, this is difficult. “I don’t… I don’t dislike you. Either of you. Um, it’s the opposite. I, uh, like you a lot. Both of you. Too much.” He curls in on himself, wrapping his arms around his stomach, as if to hide, though he knows that there is no hiding from this, no going back. “I just, you two were so happy, and I didn’t want to, to get in the way, or ruin something, but I guess I failed at that too, huh? I… god, I’m so sorry.”

He stops talking. There’s nothing more he can say. It’s out in the open, now. No take-backs.

He’s not sure what he’s expecting. But it’s not for Patton to lunge forward, to grab him by the shoulders and jerk him upright, to force eye contact, sudden and startled.

“You could never,” Patton insists, and to Roman’s dismay, his voice is choked with tears. “Do you hear me? You could never, ever ruin anything.” He sniffles, then, losing some of his intensity, and leans forward, pressing his forehead against Roman’s. “I thought that I’d messed up,” he says. “I thought that it was still too much, after the wedding and everything that happened, and that you still wanted space, or time, and I felt so guilty because I didn’t want to let you have that, but I thought that if it was what you wanted, then I shouldn’t—” He sighs, cutting himself off and closing his eyes. A tear slips out from between his eyelids.

Roman, for his part, barely dares to breathe. Patton is so close.

“You,” he says, a stuttering start, because he doesn’t know what he’s saying, doesn’t know what Patton is saying, “you, what do you—”

“I like you a lot, too,” Patton says, and Roman can see the way his eyes shine and swirl, his irises a smeared mixture of Thomas’ brown and his own signature blue. “I have for… gosh, a really long time now. I guess I never thought there was a good time for me to do something about it, and then with the… everything, I thought for sure that you didn’t… I’m so sorry, Roman. You’ve been hurting all this time and I didn’t… I couldn’t…” He trails off into a sniffle, and as much as Roman would like to comfort him, he is frozen, working through the words that echo in his ears and in his brain.

Because he can’t have said what he thinks he’s just said, right? Because that would mean—

Unable to help himself, he looks over to Janus, expecting to see anger or dismay or something of the like, because if Roman is hearing this correctly, if Roman is interpreting this correctly, then Patton… Patton has just confessed to having feelings for him. And that in itself is difficult to process, impossible to accept, but surely Janus can’t approve of this, can’t allow this to happen, can’t let Roman get between him and his boyfriend—

Janus is staring, his eyes flitting back and forth between the two of them, and his expression is open and unguarded but there is no anger there, no fear, and when he catches Roman looking, it softens, suddenly, inexorably, and Roman can’t hope to understand it because he must be seeing wrong, because it looks an awful lot like—

Well. It looks an awful lot like the way he looks at Patton.

“You’ve always captivated me,” Janus says, simply, like it’s the easiest thing in the world. “I… I know that I’ve flattered you in the past, but I, ah. I might have meant more of it than I wanted to let on.” He glances away, as if embarrassed, and Roman feels as though he’s floating. “I’ll be the first to admit that I haven’t acquitted myself well, and for that, I am truly sorry.”

“We’ve talked about this, a little bit,” Patton says softly, and Roman drags his attention back to him, little though he wants to look away from Janus, from this confession that he can scarcely bring himself to believe. “You, that is. We both love you a whole lot, Roman. We didn’t think you’d be interested, so we didn’t bring it up before. But we’d be really, really happy if you’d join us, honey.”

He shudders, tearing himself away from Patton and immediately feeling the loss, the cold air against his forehead. He doesn’t know what to do, or what do say, and most of him can’t absorb the fact that this is happening, that this is real, that after so long being on his own, they’re both here, they know that he loves them, and they want him in return.

He should be ecstatic. Over the moon. Jumping for joy. But he has never once allowed himself to believe that he might have this, has never so much as entertained the possibility, so now, presented with everything he has longed for, he feels so terribly overwhelmed.

“It’s up to you,” Patton says softly. He reaches out, and when Roman doesn’t move to stop him, he takes his hand, and Roman could cry, he really could. “Whatever you’re comfortable with, whatever you want, we can do.”

He shakes his head desperately, a multitude of words springing to his lips but all of them falling short of being spoken, because he doesn’t know how to explain this, how to explain that it’s too much, being asked this, being asked what he wants, because he wants anything and everything, but he has spent so long telling himself that he can’t that he doesn’t know what to do now that he’s being told that he can.

And some of that must show on his face, because Patton scoots closer, concern driving a furrow in his brow, but then, suddenly, Janus is there, a steady presence at his side, one hand gently resting on his shoulder.

“It’s alright if you’re not ready for that,” he says, and Roman has never heard Janus speak so tenderly. Not like this, not to him. “It’s alright if you’re not ready for anything at all. But if you’d like, you could try starting with what you don’t want.”

At first, he’s not sure what Janus means, not sure how that will help. But then, his perspective flips, and he finds it easier, somehow, to focus on that, rather than the alternative. He wants so much, and he is too used to denying himself, but at this point, he knows very well what he doesn’t want.

“I don’t want to be alone,” he gasps out, and it’s practically a sob, weak and shattered. “Please, don’t leave me alone.”

Patton shifts closer once again, wrapping his arms around him for a second time. And Janus is here, too, pressing up against his side.

“Never,” Patton swears. “You never have to be alone, not ever again.”

“And that’s the whole truth and nothing but,” Janus adds, a bit wry but somehow still infinitely soft.

And they stay. With him. Just because he asked. And slowly, their proclamations sink in, the idea that perhaps they really do love him return, and goodness, he’s been so foolish, hasn’t he? Pushing them away because he thought it best, because he was so sure they wouldn’t want him, when really, it was the opposite. He hovers somewhere between laughing and breaking down into tears once again, but ends up doing neither, relaxing into the warmth of Patton’s arms holding him, of Janus right by his side.

Perhaps he was wrong, before. Perhaps even now, he has never truly understood what love is. He has spent the last weeks and months defining it by heartbreak, but perhaps it was never about that at all.

So, perhaps love is this: acceptance, the rhythm of three hearts beating as one, and the words, we’re not leaving, said aloud and finally, finally, Roman thinks he can accept them.

General Taglist:@just-perhaps @the-real-comically-insane @jerrysicle-tree @glitchybina @psodtqueer @mrbubbajones @snek-boii @severelylackinginquality @aceawkwardunicorn @gayerplease @elizabutgayer @dwbh888 @thatoneloudowl @sanderssides-angst @gayboopnoodle @wildfire5157

#royaliceit #roman sanders #ts roman #patton sanders #ts patton #janus sanders #ts janus #my fic #long post #cat does prompts #these prompts are supposed to be like... 2k words #idk what happened here #my pathological inability to be succinct strikes again

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delaber · 4 years

Text

Just Friends (Part 9)

Story Summary: After moving to America for a 3-month long internship, you meet two interesting characters on a boring night out.

Word Count: 4.6K

Pairing: Rafael Casal x Reader

Warnings: Alcohol, minor drug use, smut, slight dom!Rafa, swearing, and loads of British references (sorry not sorry lol)

Chapter Note: smut smut smut smut smut smut smmmmmuuuuttt

Tag List: lonelydance mysearchforgratification ramp-it-up blndspotting summerofsnowflakes exrthangel honeysucklechocolatedrippin captaintightpants58

Other Parts: See Masterlist

"What did I tell you?" He laughed as he closed the door behind him, "you don't have to take off your shoes when you're here."

"It's the polite thing to do," you smiled goofily up at him, "what if I stepped in something icky earlier."

"I suppose I'd have to clean the floor tomorrow then," he shrugged, his eyes still bloodshot from the joint, "it's a risk I'd be willing to take."

Easy to giggles, you shot him a laugh.

"You want a drink?" he asked you and held up his index finger, "a quick word of warning; my margarita game is off but I do make a mean Long Island."

You arched an eyebrow at him, "Long Island? Are you trying to get me drunk?"

He sent you a smirk, "Your senses are already dulled from the reefer. How much more could a strong drink possibly do?"

"Okay," you laughed, "Long Island it is then - I do hope it's better than the 'Rafa Special' that you made me on New Years."

"Ouch, you big bully," he pretended to be hurt, "I lay down my guard and show you my true self and this is what it gets me? Some ignorant European tearing apart my cocktail game? I'm telling you; if I had just an ounce of self-respect, you'd be in an Uber on your way home right now!"

"I guess I'm lucky that you're completely spineless," you shrugged.

"Did you just say that?" He put down the lime he'd been holding and sent you a bemused smile.

"Let me just check; uh yes I did."

"Say it again and I'll definitely throw you out," he took a step closer to you trying to look dangerous but failing miserably.

"You're spineless," you whispered.

"One more time for Big Rafa, come on," he motioned a come on sign with his hand, stepping even closer to you.

"Spineless," you squealed and ran away from him as he started running towards you.

"I'll get you for this," he chased you into the living room where he grabbed you around the waist and threw you down on the sofa. He sat down on top of you and grabbed your wrists, "say it again," he urged you, as he easily forced your hands above your head, pinning your wrists together with just one hand. It reminded you of the night after New Years and you became strangely aroused by it.

"Okay, I'll stop," you squealed as he tickled your sides, "just let me go."

He stopped tickling you and went completely still, "never," he leaned in and whispered, lips hovering dangerously close to yours, his right hand warm against your ribs. He could feel your fast heartbeat through your black t-shirt as you made a quick decision and lifted your head up to kiss him softly on the lips.

He gladly reciprocated your tender kiss, looking pained as you withdrew your face after just a couple of seconds.

"I'm sorry," you whispered, "I don't know what just came over me."

Rafa let go of you and got up from the sofa, "Yeah," he cleared his throat, "I'm sorry too," he took your hand and helped you up on your feet, "I'll go mix us those drinks," he said quietly.

While he went to the kitchen, you studied the guys' living room. You had only been in here once before and back then, you had been far too concerned with locating your clothes to really have a look around at the colourful posters and their personal belongings scattered around the room. Your eyes were drawn to a small shelf at the back of the room where miniature figures of Calvin and Hobbes stood. You took Calvin in your hand and examined him more closely before putting the figure back on the shelf, moving along to the next item; a gilded gramophone reading 'National Academy of Recording Arts and Sciences, Daveed Diggs, Principal Soloist, Best Musical Theater Album - 2015, Hamilton (Original Broadway Cast)' along with what appeared to be a Tony award inscribed 'Best Performance by a Featured Actor in a Musical: Daveed Diggs as Marquis de Lafayette/Thomas Jefferson, 2015 - Hamilton.'

You did a double take as you read the text on the two awards again.

Rafa came in with two drinks in hand, "I see you've found Diggs' awards," he smiled, handing you a drink.

"Are these real?"

"Very real," Rafa smirked.

"Why didn't you tell me? I had no idea!"

"I wanted to see how long it took you to figure out where you know us from," he shrugged.

"Were you in this... Hamilton as well?"

"Oh, god no," he laughed, "and by your tone of voice I'm guessing you have no idea what it even is."

"Not a clue," you shook your head and took a big gulp of the drink, "So let me get this straight: Daveed is a hardcore rapper and a Broadway musical star? I never would've guessed that!" you laughed.

"Yeah, remember the first night when you came up to us and you couldn't remember where you'd seen us before?"

"Of course."

"We thought it was a weird trick just to get us to talk to you. Ever since performing in Hamilton, Daveed has been dubbed as America's fast-rapping sweetheart," he rolled his eyes.

"Are you jealous?" you chuckled.

"Not the least. But we can never go out anymore without people feeling the need to constantly come up to him and introduce themselves. It was fun at first but now it's kind of lost its glory."

"So you thought I was a groupie or something?" You laughed, "yeah, your reactions definitely make more sense now."

"Sorry for being a dick," Rafa looked pained, "Sometimes it's necessary when you just want a quiet night out with your best friend."

"So you were a dick on purpose yet you still came over to me and apologised?"

"I did," he laughed, "I thought you were too sassy to just let go. Especially after I realised that you'd been completely innocent and that you actually thought you just knew us from work or something. It was kind of cute so I felt bad for acting like a douche."

"I still feel like I know you from somewhere else apart from that night though," you mumbled.

"Yeah, I know. Come here," Rafa said and took your hand, leading you to a room in another part of the house where you hadn't been before. The room was lined with different recording equipment and movie posters.

"What is this?"

"Our workspace," Rafa said matter-of-factly, "We record music in here or write lyrics, scripts for sketches or plays. You know. Anything creative."

"I've never met anyone with a workspace like this," you took in the room with awe.

"...and this," Rafa continued, "I'm guessing is where you know us from," he pointed to a poster titled Blindspotting with a laughing Daveed and a tough-looking Rafa facing you.

"Yeah! Yeah that's it! I remember seeing this at the movies back home," you said excitedly as you took in the poster. You remembered thinking that the two leads were cute even back then, "so you're a musician slash actor?" you looked back at Rafa who was smiling at you.

"I prefer creative genius, but whatever..." he hugged you from behind, "your term is just as good I guess."

"Why didn't you tell me that I'd probably seen you in a movie."

"You were so unfazed by me and Diggs. And I knew it wouldn't impress you so I kept my mouth shut and told Daveed not to say anything," he snickered from over your shoulder, "I wanted you to spend time with me because you like me. Not because I'm semi-famous."

"I can't believe you thought I was a groupie," you chuckled and leaned into his arms.

"You're so much more," he groaned. His lips brushed against your neck and he kissed you softly below the ear.

His movements brought you back to reality, "Rafa," you sighed, "I know you're drunk and high but we can't be doing this."

"Mmh..." he hummed against you as he pushed your hair aside, his lips still tracing along your neck.

Slowly, you turned around, his arms still around you. "I'm serious," you said.

"I know," he groaned and let his arms fall flat to his sides with a sigh.

"Maybe I should go," you said, "this was clearly a bad idea. And I have to work tomorrow."

"On a Saturday?" he arched an eyebrow at you, "or are you just saying that so you have an excuse to leave early?"

"As I told you; I'm not even halfway done with the project I came here to do, so I actually do have to work tomorrow," you booped his nose, "I'm probably going to be quite busy the next week to be honest."

"So I really won't get to see you?" Rafa furrowed his eyebrows.

"Minimally," you frowned back.

"Okay, I have an idea; since my place is closer to your lab, I'll cut you a deal; how about you stay over, I cook you a nutritious breakfast tomorrow morning and then I take you to work?"

"I don't know," you said even though you really wanted to spend the night.

"No funny business, okay? This time I'm serious," he grinned.

"You said that last time as well," you laughed, "and the time before that."

"Look, I'll even take the couch and let you have my bedroom. I just want to spend the last few hours with you if I won't get to see you for the next couple of days," he shrugged.

"Okay," you gave in, "on one condition!"

"Anything," he said honestly.

"You go for a dip in the pool," you laughed devilishly up at him.

"What, now?"

"Yep!"

"You're not serious?"

"As serious as a heart attack," you said as seriously as you possibly could in your high.

"Okay. If that's what you want," he sighed dramatically before he turned around and discarded his t-shirt in one swift motion.

"Oh, you're really doing this," you laughed as you followed him out to the pool via the sliding doors in the living room next door.

"There's a lot at stake," he said as he pulled off his sneakers and socks.

"So for this you take off your shoes?" you teased him.

"Shut up," he grinned up at you before his hands started unbuckling his belt, his pants falling onto the tiles with a loud clank.

"Okay, I was kidding," you said as he was standing on the edge of the pool wearing only his boxers, "you don't have to do this."

"Oh, I'm not taking any chances. I'm definitely doing this," he said before he took a deep breath and jumped into the freezing water. He emerged spluttering, "shit, it's so cold," he bellowed as he whipped his hair out of his face and took a few strokes, "are you just going to stand up there and admire me?"

"Oh, the deal was for you to jump in. Not me!"

"Boo, you chicken!" he grinned up at you.

"Well, you're not exactly making a single selling point."

"If you don't jump in, you're not allowed to sleep over."

"You're not serious."

"As serious as a heart attack," he grinned up at you, as he mimicked your words from earlier.

"Oh my god. I cannot believe you're making me do this!" You squealed involuntary but ended up taking off your t-shirt and jeans, dipping your toe in the cold water as you stood in front of the pool in just your underwear.

"Just jump in," Rafa laughed, "What you're doing up there is pure torture."

"Okay. You're right," you took a few shallow breaths before counting to three, jumping in the pool close to Rafa. As you emerged, you pushed your hair out of your face, "so cold!" you squealed, "why did we do this?"

"I did it for you," Rafa laughed, treading waters in front of you, "I actually don't find it as bad as I had anticipated."

"You stay then! I'm getting the hell out of here," your teeth clattered as you began climbing the ladder, a laughing Rafa following close behind you.

You were shivering as you reached the top of the ladder, desperately clutching your arms to keep what little warmth you had left.

"Hot shower?" Rafa laughed.

"Yes, please," you nodded and followed Rafa to the bathroom where he turned on the shower for you as you immediately started undressing, ready to step in as soon as the water turned warm.

"It'll only be a minu- Oi!" Rafa said and quickly looked away. He had turned around from the faucet only to be met by you standing in front of him wearing only your soaking panties.

"Oh relax," you rolled your eyes at him, "you've seen me naked before."

"That doesn't mean it isn't just as... exciting," he gulped, desperately looking at the ceiling, "Uh, there are towels over there and I'll - uh - I'll find you something comfortable to wear for afterwards, okay?" he edged out the door still not looking at you. From the other side of the door he bellowed, "Uhm, on second thought. You can just use my bathrobe - if that's alright with you."

"It's fine Rafa," bellowed back with a laugh as you stepped into the warm water.

You stayed in the shower for a couple of minutes until you felt the heat return to your fingers and toes. You quickly dried yourself off, and pulled on the only bathrobe you could find, assuming that it was Rafa's. "That was lovely," you said as you met him in his bedroom. He was wearing the same trackies you'd seen him in before. "No shower?" you lifted your eyebrows at him.

"We have a cold shower by the pool," he said slowly with a laugh, "and I desperately needed it."

"Oh how old are you?” You laughed at him, “you can't even see breasts without getting turned on?"

"Not when they're yours," his face reddened slightly suddenly matching his eyes, "and especially with your nipples all hard like that."

A cold shiver went down your spine. "Yeah, sorry," you ended up saying.

"Oh don't be," he grinned, "it was a marvelous sight that I'll definitely cherish when I'm alone in bed at night," he winked at you, "it just excited me... Excites me now just thinking about it to be honest," he looked away from you with a small grin, clearly uncomfortable in his own skin.

"Yeah me too," you admitted, "it feels stupid to not be allowed to touch when we're so close to each other in so little clothes."

"We could just say 'to hell with it'?" He smirked.

"No, Rafa," you said sternly as you sat down on the edge of his bed.

He sent you a challenging look, "...or we could - you know - just... talk about it if you want to?"

"Talk about what?" you arched an eyebrow at him. Your decision was non-negotiable.

"Just talk for a while about what we'd like to do if the situation was different," he shot you a wink, "That's innocent."

"No it's not?" you laughed, "Not at all."

"I know," he smiled at you, "I'm just trying to get creative. We have to work with what we got, you know."

"Friends don't talk about what sexual stuff they'd like to do to each other," you shot him a look.

"Hey - can we just cut the bullshit for a few seconds?" Rafa said quietly, his Adam's apple bouncing in his throat as he swallowed hard, "don't call us friends when we clearly aren't,"

"Maybe this wasn't a good idea," you looked at him carefully

"You keep saying that," he sighed, "yet you're still here."

You put your hand on his arm, "I'm having a hard time too, you know. You're not the only one who wants this."

He shot you a sideways glance, "why can't we just say to hell with it then?"

"Because I know myself and this is what I have to do if I want to return to England with a somewhat sane mind."

"Whatever you say," he groaned as he threw himself down on the bed, his legs dangling over the side.

You lay down next to him and you put your hand on his chest, playing with the straps of his hoodie. He pulled you close and caressed your back with his fingertips, "do you want me to go sleep on the couch?"

"You can sleep in here with me," you said softly, "I'm going to miss you the next couple of days."

He kissed the top of your head, "yeah, me too," he said, "the last time you stayed over, my pillow smelled like you for days. It was pure torture. But it came at a price; your hair was everywhere. It was like having a dog again," he laughed.

"A small souvenir," you laughed, "sorry."

"I forgive you. But only because you look so soft in my bathrobe," he brushed his fingers over your back, "do you want me to get you a t-shirt to sleep in?"

"Yes please," you said and let him go to his closet where he pulled out an old tee with the words Raiders written on the front.

"A pirate shirt?" you eyed the logo.

Rafa shot back his head and laughed whole-heartedly, "Damn girl, don't you dare disrespect my favourite football team like that."

"You mean American football team. Your favourite football team better be Chelsea!"

"I'll be partial to Chelsea in soccer if you're partial to the Raiders in football."

"I can pretend I like the pirates," you teased him.

"Oh shut up," he chuckled and walked towards the door, "I'll let you get changed," he said and closed the door behind him.

You disrobed and pulled on his Raiders shirt, glad that it covered you like a dress as you didn't have any dry underwear to wear. A short dress albeit, but still a dress.

"Are you decent?" Rafa asked from the other side of the door.

"Yep," you said and let him in.

"Ah!" he said when he saw you in the Raiders shirt, "my favourite girl sporting my favourite team."

"Don't get any ideas," you grinned as you crawled under the covers.

He stripped down to his boxers and joined you under the covers, pulling you close, "just a bit of friendly cuddling," he whispered against your neck, his hand trailing up and down your sides.

"Okay," you whispered back, enjoying his arms around you.

His fingers brushed from your waist and down your sides all the way below the hem of the t-shirt, fingers coming to a halt on your upper thigh. He lifted his head from his pillow and whispered, "are you not wearing any panties?"

"Uhm no," you said sheepishly, "they were all wet from the pool."

You felt the outline of a bulge emerging against your backside right before he pulled back from you with a groan.

You turned around and faced him, "I didn't mean to torture you on purpose," you snickered.

"I know," he said in a strained voice, "just give me a minute to calm down." He blew out some air and stared determined at the ceiling.

"What are you thinking about?" you asked him after a couple of seconds.

"I'm trying to remember all the players on the Raider's team," he said, "and I definitely try not to think about you on top of me."

A familiar warm feeling spread in your abdomen. Now you were thinking about riding him as well.

"Too much?" he looked over at you when you didn't answer him.

"Ehm," you cleared your throat, "no. No, it's a... nice image," you smiled at him, the heat between your legs growing more and more.

"It got to you too, huh?" he laughed at you.

"Uhm, yeah," you said, "it's probably because we're high."

"That Long Island didn't exactly help either."

"Definitely not. It's too bad we're not allowed to touch..."

"Yeah..." he agreed, "we could... you know... just go to sleep."

"Yeah..." you said. His suggestion from earlier about talking dirty to each other without touching flashed in your mind. It wasn’t as if it would break your code. “Or we could just lie here next to each other and talk for a while..."

"Yeah?" he looked over at you with an excited smile, "what do you want to talk about?"

"Definitely not riding you slowly," you grinned, "or your lips around my nipples."

He gulped, "Yeah, and not your mouth around my cock either. Let's not discuss that."

"Or how you feel when you're inside me," you breathed heavily.

"Oh fuck, no, no we definitely can't talk about that. Or how I'd start off by kissing you all over your body. All the way from the top of your head and down your neck, leaving small teasing kisses down your breasts and all the way down to your ankles. And then back up again to your little hotdog," he said darkly.

"Yeah!" you imagined his warm lips against your skin and felt the goosebumps emerge on your arms, "...and we can't discuss how I'd respond to your teasing lips by pulling your hair while I open my legs for you. Or what you'd do next.”

"Well... in that case, we probably shouldn't discuss how I'd bring out my tongue and taste you while my fingers were slowly working their way in and out of you," he panted. You let out a moan as you arched your back and Rafa continued, "yeah, and you'd moan just like that for me."

"But regardless of how good it felt, I'd still push you away from me and get on my knees in front of you."

"Fuck!" Rafa hissed beside you, fighting hard to keep his hands above the covers.

"I'd take you in my hand and lubricate your glistening head with pre-cum before I slowly move my hand up and down you a couple of times to warm you up."

"I'm already warm, love" Rafa chuckled.

"Good! I'd grab you by the root and I'd lick you all the way from the root to the tip, bringing extra attention to that particularly sensitive spot just below your head," you said slowly, "my soft tongue would be all wet and sloppy as I run it up and down your length while I maintain eye contact with you, showing you that you're in complete control of the situation. And I'd make sure to massage your balls as I continue to pleasure you with my mouth," you breathed heavily, "and you'd look down at me and caress my hair while my mouth was full of you, slowly bucking your hips bringing you further down my throat. And I'd groan around you as you hit the back of my throat, sending vibrations all the way up to your balls."

"Okay, fuck it, I can't take this," Rafa said resolutely and pulled the covers away to reveal the enormous erection tugged away in his boxers. He pulled out his cock and started stroking it slowly in front of you with a few shallow breaths. He shot you a look, "not... against... the rules," he panted as he continued to pump his hand up and down his length.

"Well, if you're doing it, I'm doing it!" you said as you spread your legs, your fingers immediately flying to your core as you looked at Rafa's movements. "What happens next?" you panted.

Rafa took a couple of shallow breaths before he continued, "I pull out of your mouth just before I come down your throat because you know I'm close and you beg me to fill you up instead. So I pick you up from the floor and throw you on the bed and you're looking at me with this hungry look. And I kiss your tits while I slide inside you. And you're so warm and so wet for me," he groaned.

You moved your fingers up and down your slit, fidgeting with your clit with your right hand, while your left hand pushed up the Raider's t-shirt and started massaging your nipple. A small moan escaped your lips as you imagined what Rafa was explaining to you, "and you fill me up completely," you panted, "and you turn me around before you slam into me from behind, smacking my ass and pulling my hair. And you're so good that I grow tight around you, begging for you to let me cum."

"Yes," he groaned.

"- and you pull my arms and fixate them around my back so you have the perfect angle to fuck me while I grow tighter and tighter around you as you slide in and out of me. And I feel this raw heat starting in my stomach and it's spreading fast to the rest of my body as you fuck me faster and harder than you ever have before. And you pull my hair and I moan helplessly for you."

Rafa started moving his hand faster and faster as he was looking at you narrating your own orgasm.

"- and when you finally let me topple over the edge, I scream out your name with my release like this; Rafa," you moaned, "oh Rafa".

"Fffffuck," you heard Rafa hiss beside you right before he came with a loud groan, cum staining his stomach and chest, "fuck!" he continued to pant beside you with his eyes screwed shut, cum still leaking from his tip. His hand was still laced around his throbbing cock, but no longer moving when he desperately opened his eyes and turned his head. "Fuck," he repeated when he looked towards you with your fingers still at work.

"Fuck you're hot!" you panted beside him, looking at him as you drew in sharp breaths, your fingertips slowly entering yourself.

Rafa's eyes flooded with lust once more, "Fuck this," he spat, "come here," he took your hand and pulled you on top of him, your back lying flat against his cum-stained chest. His right hand found your core immediately and he started working his long fingers in and out of you while his left hand was circling your clit.

"Not... part of... the plan," you panted on top of him while his fingers moved in and out of you, his lips kissing your throat and neck.

"Oh, do you want me to stop?" he said and removed both of his hands from your throbbing core.

"No!" you whimpered on top of him, moving around desperate for friction.

"Shut the fuck up then," he whispered darkly against your neck as his hands resumed their positions. He worked like this for a couple of minutes while you writhed and moaned on top of him, your walls tightening around his fingers as he kissed and licked your neck.

"Fucking cum for me," he whispered as he hit your g-spot repeatedly and sent you over the edge crying out his name with pleasure.

His hands moved slower and slower, until he pulled his fingers out of you, his palm travelling all the way up your body, coming to a halt as he cupped your breasts lovingly, "I could get used to this," he whispered, kissing your neck and sending shivers down your spine.

You stayed on top of him for a couple of seconds while he continued to caress your breasts and nipples, kissing your neck occasionally with small sounds of affection.

When you had come down completely from your high, you climbed down from him and positioned yourself under the covers. Rafa pulled on his boxers and snuggled up against you.

"That was not part of the plan," you yawned as he held you tight.

"It won't happen again. Now shut up and go to sleep," Rafa smiled against your neck

#rafael casal x reader #rafael casal #daveed diggs #blindspotting #rafael casal imagine #smut #rafael casal fanfiction #bay boys

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letterboxd · 3 years

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Siren Song.

Undine writer-director Christian Petzold talks to Reyzando Nawara about modern-day mermaids, Tinder culture and finding the magic in life.

“Love stories always change. A kiss in Berlin 1933, for example, is not gonna be the same kiss in Berlin today, right?” —Christian Petzold

“If you leave me, then I’ll have to kill you.” Undine’s threat to her soon-to-be ex-boyfriend Johannes, after he has told her that he has met someone else, seems at first like an over-the-top reaction to the breakup. But it is a curse that Undine must fulfill, for she will become human only when she falls in love with a man who is doomed to die if he is unfaithful to her.

From Splash to Ponyo to The Lure to Song of the Sea, mythical water spirits, usually female, sometimes horse, have powered many film plots. The sixteenth-century European myth of Undine, in particular, lies behind many screen adaptations of Hans Christian Andersen’s The Little Mermaid, though the Danish writer was not the first to popularize the fairytale in his century. Decades earlier, around 1811, Friedrich de la Motte Fouqué of Germany had produced his romantic novella, Undine.

And it is to Germany—specifically modern-day Berlin—that writer-director (and fellow German) Christian Petzold transports Undine in his contemporary magical-realist take on the myth. There, she does not take the form of a mermaid or siren, but a beautiful young woman (played by Paula Beer), who works as a historian at a museum, where she guides tours of Berlin’s architecture and its reconstruction. The breathtaking cinematography, by regular Petzold collaborator Hans Fromm, crystallizes both the romance and the beauty of Berlin, while Petzold’s leads root every scene in reality, even as aquariums explode and giant catfish drift past.

Paula Beer and Franz Rogowski fire up the streets of Berlin in ‘Undine’.

Water may be the dominant element in Undine, but Beer and her co-star Franz Rogowski bring fire to their scenes together. Where Beer brings charisma and intensity to the titular role, Rogowski, as Undine’s new love interest, an industrial diver named Christoph, offers charm and sweetness.

In the frenzy of Parasite’s world domination, it is easy to forget that Petzold’s previous feature, Transit, appeared in two of our 2019 Year in Review lists—the 50 highest-rated films and the highest-rated international films—and was one of the top romance films of the 2010s. His riveting Phoenix is still his highest-rated film on the platform—one of many to center a complex female character in search of love at a time of personal and/or political crisis. In Undine, Petzold does it again, a welcome departure from other adaptations, including the Colin Farrell-starring Irish romantic drama Ondine (2009), that have mostly told the myth from the perspective of its male characters. Petzold also revises the fairytale, by giving Undine a chance to try to emancipate herself from her curse.

We recently had the pleasure of speaking with Petzold about his fascination with water, the magic of Berlin history, modern dating and of course, his ongoing collaboration with Beer and Rogowski.

Spoiler warning: this conversation contains plot details regarding the ending of Petzold’s film ‘Transit’ (2018).

Your movie is inspired by the myth of Undine, but you reinvent it by giving it some modern twists. How did the main narrative for the film come about? Christian Petzold: I think the idea of the story first came to me around twenty years ago when I had a project in Germany. It was together with Claire Denis and also Kathryn Bigelow, and everybody had to make a ten-minute short film for a project based on the museum near the Rhine River. I had written a little dialogue—oh, by the way, Steve McQueen was also part of the project—and it was the scene that we can see in the movie in the first few minutes where Undine’s boyfriend, Johannes, said that he doesn’t love her anymore and that he wants to leave her and she said to him, “If you leave me, then I’ll have to kill you.” Then she goes back to work, and later when she comes back to try to find him again, he isn’t there—so she knows that she has to kill him now.

Then when I made Transit with Paula Beer and Franz Rogowski, I told them after a very lucky and happy time of shooting, that I had written a short story and wanted to make a 90-minute feature movie out of it together with them. I wanted to keep working and making movies with them because we’ve had an amazing experience together in Transit. This was basically the start of how the movie and my collaboration with these two actors came about.

Paula and Franz are actors who didn’t come from the basic German acting school; their backgrounds are dance and theater. But they both have so much curiosity about cinema—when I met Paula for the first time, for example, she told me that she had bought 50 movies by Alfred Hitchcock and wanted to see all of them, and to me, this is the best kind of school to learn about cinema.

So to some extent, Undine is a spiritual sequel to Transit? Yes, you’re right. It has so many things to do with Transit. Marie, Paula’s character in Transit, finds her own death in the sea—she’s drowned. And Franz’s character, he’s waiting at the land, hoping that she may come back from the land of the dead. So I said to them, “Okay, the next movie is gonna be about a woman coming out of the sea and going to the land to search for love and also about this young man who is a diver, who is going underwater, to find love as well.” So to some degree, it’s a sequel, you’re right.

Beer and Ragowski in ‘Transit’ (2018).

You mentioned earlier that you had a great experience working with Paula and Franz in Transit. Can you tell us what it was about these two actors that you thought would capture the story you wanted to tell in Undine? Paula is a very young actor—she was 23 when we started Transit, and she was around 24 when we made Undine—but when you’re filming her, she has this ability to make her characters much more mature beyond her real age. In one second, she’s 45 years old, with a whole experience of someone who’s had a hard life and has gone through so many bad things, then one second later, she’s thirteen and innocent. And to have that kind of ability—to go from one point to another—is just really fascinating to me. I’ve never seen other actors do this before in my life.

Franz was a dancer, and if I remember correctly, I think he was also in a clown school for a circus, so he can do everything with his body. It’s unbelievable what he can do. He has this amazing physicality that I admire and haven’t seen before in other German actors. When they’re together sharing a scene, they dance with each other. And this is the thing that I like so much about them and the thing I need in Undine, because I need actors who can float from one scene to another as if they’re dancing underwater.

In literature and pop culture, the myth of Undine has been mostly told from the male perspective. You reframe the narrative, to give Undine the opportunity to maybe emancipate herself from both the male figure in her life and the curse. Tell me more about that choice. Two or three years ago, I had a retrospective in New York, and I had the chance to see some of my previous movies again—[laughing] I’ve actually never done it before, revisiting my own movies. And at that time, I realized that I’ve always tried to rewrite the stories centering on women, which were made by men in the ’40s, ’50s, ’60s and ’70s, from another perspective: the perspective of the women.

When I was in Venice for the first time, Claude Chabrol [was] in the same hotel as me, and he had a Q&A. I wanted to say hi and tell him how great he was but I couldn’t do it because I was very young and too shy for those things. I heard what he said when asked why in his movies, the women are always the main characters. His answer was, “Men are living, women are surviving. And cinema is about surviving.” It was such a fantastic answer.

All the movies I [have] made, including Undine, are about surviving. Undine wanted to survive her curse—she tries to, every time, since centuries ago. In so many iterations of the myth, Undine always has to go back into the lake and to the life the curse has set for her. I really wanted to zoom in on that, to liberate the character of Undine from the myth and the curse.

In the movie, Undine works as an historian at a museum, and in her tours, she talks about Berlin’s architecture and its reconstruction throughout the years. How is this related to the romantic aspect of the movie? Everybody says you can take a love story and put it in the sixteenth century or the nineteenth century, and it’s always gonna be the same kind of love story. But I think that’s not entirely right. Love stories always change. A kiss in Berlin 1933, for example, is not gonna be the same kiss in Berlin today, right? Therefore I want to take the historical aspect of Berlin architecture and its reconstruction to tell the story of two young people in Berlin nowadays, to see the evolution of both this love story and the myth of Undine itself.

What’s the significance of all the buildings Undine mentions in the movie? The buildings serve a very important role in the movie because Berlin is between two rivers on an island, and the city is built on dried-out swamps, so the element that Undine is coming from, which is the water, is destroyed in Berlin. It doesn’t exist anymore. And therefore Undine doesn’t have any habitats, so she has no choice but to adapt and to live on the land.

In some way, I always think that the modernization in Berlin erases history, and when there’s no history, there’s no magic, which means magical creatures like Undine won’t exist. That was the main idea of the architectural elements in the movie.

Is that also the reason why there are two locations in the movie: Berlin, and the small town where Franz’s character, Christoph, works and lives, which is still full of swamps? To show that in this small town, magic still exists? That’s a good question. The romance and the myth of Undine is a part of German and European history. It’s a unique enchantment. But in Berlin, where modernization and civilization keep growing and changing, there’s no enchantment anymore. So I want to show how in this small town where everything is still kept as closely natural as possible, the enchantment and the charm of Germany are still there.

There’s a beautiful and romantic poem by Joseph Eichendorff that says, “You must find the right world, so everything can sync again.” To me, that line encourages us to find the magic of the world back. We live in this world surrounded by retro buildings and retro behavior and retro music, but it’s all actually just an illusion of magic. The real magic, that’s something that we have to find—either by movies or camera positions or poems or even by preserving the naturality of a city. And the Undine myth actually has a lot to do with this.

Another thing that fascinates me about the movie is how the dynamic between Undine and Johannes, in some way, reflects the state of modern dating. Is this something that you also wanted to capture when you wrote the script? [Laughing] Funny story, when Paula read the script for the first time, she told me that she liked it so much because the story reminded her of Tinder and modern dating. And on some level, it’s true; part of Undine is about modern dating. I always think that in the era of dating apps, everything gets much simpler—you meet someone, you have sex (or perhaps not), and if you feel like this someone is not handsome or beautiful enough for you, you can keep scrolling until you find someone new. So, dating right now is like going to the supermarket.

Johannes leaving Undine to be with another woman, who for him is better-looking than Undine, reflects the culture of Tinder. And the line I mentioned earlier, “If you leave me, then I’ll have to kill you,” is the opposite of that kind of dating life. And Paula, who hates Tinder, loves that line a lot. Some of the actors are on Tinder, I’m sure, and that’s understandable. Actors are sometimes very lonely because for six to eight weeks, they are deep inside of a character, and when they’re on break, they’re in some sort of “black hole of loneliness”.

Writer-director Christian Petzold.

Undine being a water nymph, of course, makes the water element very important in this movie. But water has actually been heavily featured in some of your previous features as well, like in Yella, Barbara and Transit. Can you tell us why you find water fascinating? I’ve seen a documentary by Agnès Varda, and in [it] she said, “The place where one element is touching one another is the place where cinema builds its stories.” That’s why she loved the beach, because on the beach, there’s water and there’s the earth and there’s also wind, and they’re touching each other. So to her, the beach is the perfect place where you can tell a story.

For me, however, the reason I like featuring water or the other elements in most of my movies is because it has something to do with seeing my characters coming from one element then going to the other elements; to see them act and react in a new and sometimes uncomfortable place. Also, when you see pictures or paintings, so many of them are about people looking deep into the sea. I always feel like that kind of painting is actually about a desire. And most of my movies, at [their] core, are about desire. That’s why water is so important to me. Deep under the water, there’s the place of desire.

What’s the first movie that made you want to become a filmmaker? The first movie I loved very much as a kid was The Jungle Book, but the first movie that made me want to become a filmmaker was by Alfred Hitchcock, The 39 Steps. I was fourteen or fifteen years old when I saw the movie for the first time, and I loved it from the first moment. The movie is about a man and a woman who are bound by handcuffs, and they don’t like each other, but because they’re on the run, they have to communicate and come to an understanding. And the love story starts because of that communication, not because of looks, and I love the movie so much for that reason.

If you could program a double feature with Undine, what movie would you pick? Good question. I would say The Night of the Hunter. Also maybe Creature from the Black Lagoon or 20,000 Leagues Under the Sea or The Son’s Room by Nanni Moretti. These are the movies that I would recommend for a double feature with Undine.