#i am not including their first actual scene because that shit made me UNCOMFORTABLE

[cerealbishh]

"Do you wanna kiss me?(...)"

"Yeah, I- I'll kiss you."

#mr. & mrs. smith #mr. & mrs. smith prime #maya erskine #john glover #john x jane #mr. & mrs. smith spoilers #i am not including their first actual scene because that shit made me UNCOMFORTABLE #michael x alana #tw: blood

[rallamajoop]

On Mia Winters, misogyny, and abuse

As should be pretty obvious by now, I love Mia Winters. I honestly think she’s one of the most compelling characters in this whole damn franchise.

But let me make clear: you don’t have to love her. Mia’s canonically done a lot of shady shit in her time, and her relationship with Ethan has real problems. There are perfectly viable interpretations where the only thing really holding it together is his own denial. Only I never seem to get to read any of those takes, because the most common characterisations Mia gets in fic are an irredeemable monster, or a cardboard cutout who exists only to be written out as quickly as possible. And to write Mia out to that degree doesn’t just do her character a disservice, it does Ethan a disservice, and a big one.

The amount of Mia-bashing I see out there in this fandom turns my stomach. It’s not just the slash fans who’d rather ship Ethan with another dude. I have seen Mia loudly bashed in tags on het or gen fic in which she does not even appear. I have seen male fans reviewing these games on youtube who treat her the exact same way. But it’s never more frustrating than when that hate comes from the same fans who’ll turn around and talk about characters like Chris or even Lady Dimitrescu (she who canonically abuses her and murders her servants, and, y’know, eats people without a shred of remorse) like they’re perfectly forgivable and have done no real wrong. And don’t get me wrong: I love Lady D, but I love her because she’s magnificently evil. Mia? Mia’s a whole lot more complicated.

But to really explain why this hate makes me so uncomfortable, I’m going to have to start with the start of Resident Evil 7, and Mia’s very first scenes in this whole franchise.

Let me quickly summarise the opening of that game. A man whose wife disappeared without explanation suddenly gets a message about her whereabouts. He travels to an isolated location, breaks in, and finds her. She denies ever sending him that message, and seems incredibly distressed that he’s there at all. They fight. It ends with him sinking an axe into her neck and shooting her several times with a handgun. But see, he didn’t do anything wrong! It was all self-defence! She started it! She was acting crazy!

If you didn’t spot it, the whole opening of RE7 reads uncomfortably like a story about a woman escaping an abusive relationship, then being tracked down and murdered by her ex.

Obviously, I am not here to tell you Ethan’s abusive. He’s not, we’ve got no reason to imagine he is. He was legitimately acting in self-defence.

But the fact the first thing Ethan has to do in this game is find the balls to kill his own wife ‒ that a whole new era of Resi games has opened with a sequence so easily read as a sympathetic justification for how a man might perfectly innocently track down his missing spouse and "have" to kill her – that made those opening minutes into by far the most uncomfortable part of this whole franchise for me. Shit like this really happens. I mean it, I will track down the fucking statistics on women who are murdered after trying to leave an abusive partner if I have to.

What happens to ‘Mia’ in the opening to RE8 isn’t much better: it's as textbook a fridging as any I’ve ever seen. Yes, it’s a fridging that gets retconned away later when she turns up alive, but the fact that’s even possible speaks to just how awful and confusing her death is. The game opens with Mia’s violent murder at the hands of this series’ longest running ‘hero’, and the event is framed entirely in terms of how awful it is for her husband. That's as frigid as a fridging gets.

The eventual reveal that the real Mia was just trapped alone in a cell being experimented on by a madwoman for god knows how long doesn’t actually make it better. The horror Mia goes through in both these games is a footnote, barely explored.

I bring these events up not to condemn the RE franchise, not to say that including these sequences was unconscionable, or that violence against women can never be shown in a horror title. A quick glance at my tumblr should demonstrate how much I adore these games. Tropes like fridging become problems only because they’re so ubiquitous they can come to define almost the only roles women get to play, not because any individual example is necessarily grounds for outrage. If anything, there’s just as much to analyse in all the hate thrown at characters like Ethan Winters (or his predecessor, Jonathan Harker) as a archtypical examples of sexism against men – backlash against the very idea of a male character in the disempowered role of horror victim, usually reserved for women.

But with this context in mind, my god is it uncomfortable to see people talk about Mia as irredeemable monster who deserves to suffer more. People who will valorise the likes of Chris Redfield, who didn’t even bother to stop to tell Ethan that’s not Mia, yet talk about Mia like being shot to death in her own living room was only what she deserved. That is just a whole load of yikes.

And given that both games open with Mia being violently killed by a male protagonist (twice in RE7, with the player in control), it sure is convenient how so many people have managed to ‘find’ the evidence that proves she’s the real villain. You don’t have to think too hard about Chris Redfield as a violent maniac or Ethan Winters being forced to kill his own wife if it’s okay to inflict violence on this woman. “Yes, but she shouldn’t have done [X]…” or even “But what if she’s the real abuser” is a narrative that gets thrown at real women in abusive relationships all the time – especially when the man is a friend of whoever’s casting judgement, or even a celebrity. Real world examples of this shit in the wild run the gamut from wild fan-takes on The Shining ‘proving’ that actually the abused wife was the ‘real’ abuser all along, right up to the ongoing hate campaign against Amber Heard. People don’t want to have to think badly of someone they admire, and will take any excuse to shift the blame. The stakes are infinitely lower when we’re talking about fictional characters, but the same pattern plays out.

And look, I do get it. It’s easy to go into these games and come out with a negative opinion of Mia. She’s the one who lures you into danger in RE7, acts all innocent, and then comes at Ethan with a chainsaw – and when you finally find out her big secret at the end, it turns out she was working for the people who created Eveline from the start! You’re really not given a lot of reasons to invest in Ethan and Mia’s relationship before she’s suddenly coming at him with a knife, and the fact she never does get to come clean to him in canon leaves a bad taste in the mouth.

It’s really easy to go into RE8, note all the glaring signs that Ethan’s relationship with Mia isn’t healthy, and draw your own conclusions about a woman we don’t hardly even see again for most of the runtime of the game. Half this goddamn fandom still seems to think Heisenberg is actually a lycan, ffs – most of what people think they know about Mia is more meme than fact, and the rest is pretty surface level. Basic media literacy is not exactly high out there in the tumblrweeds (let alone the rest of the internet).

But as for the idea that Mia’s responsible for all the horrors Ethan went through, people seem to forget that Mia herself went through so much worse. Ethan spent a day in the Bakers’ property, and a day in the village. Mia spent years trapped in the Bakers’ property, and days at least imprisoned in Miranda’s lab, knowing exactly how much danger her family were in, helpless to save them. She’s no innocent herself, but ye gods has she already suffered for her crimes.

So with all that out of the way, well, what’s the actual ‘evidence’ that Mia herself was abusive? No-one's coming into this one without some bias, but let’s at least give it a fair shake.

Right upfront, I want to recognise that in both fiction and reality, women can be abusers, and men can be victims. Abuse in heterosexual relationships is far more likely to occur with the man as the abuser, but the reverse does happen, and the fact culture at large can be so eager to cast the woman as the villain doesn’t make it any easier for the real male victims of abuse to get recognition and help. Society as a whole is still just really shitty about enabling or excusing real abuse.

But the idea that Mia was abusive has very little to back it up. Whatever you make of “her” interactions with Ethan at the start of the game, the fact remains: that’s not Mia, and the fact she’s acting so strangely is meant to be our clue that something much bigger than a little marital strife is going on here. Knowing all this doesn’t really make the scene where she’s violently executed less disturbing, but you can’t miss the hints we don’t yet know the full story.

So the question becomes, is there any evidence that the real Mia was abusive? I’ve dug into this one a bit before in my post about trying to figure out the timeline of exactly when Mia was replaced, but there are no definitive answers as to how long Miranda's been living in their house. To summarise a long post (and a surprisingly lively timeline of events from the days before the game begins): the most likely intent seems to be that Miranda’s been posing as Mia for less than a week, though a lot of the vibes of the scene give me the impression it’s been several weeks at least. Ultimately, that’s going to come down to your own interpretation.

The Mia mentioned in Ethan’s diary who blew up at him at the hospital could be the real Mia, but more likely isn’t: you can’t really use her to argue anything definitive, one way or another. The Mia from the flashback where Ethan gets the call from Rose’s doctor is the real Mia, but if you think getting upset when your husband brushes off your obvious distress over your daughter’s health makes you abusive, then nothing I say here is going to convince you otherwise.

The only ‘real’ evidence that Mia might be a problem is one line you might hear from Ethan while taking Rose to bed, and it is admittedly a red flag: your mother’s scary when she’s angry.

And to anyone whose whole hatred of Mia has been built backwards from this one line – especially anyone who’s grown up in a dysfunctional household themselves – hell, I get it. It is one really yikes thing for Ethan to say about his wife.

But in Mia’s defence, I can only point out that, well, yes, canonically, she is scary when she’s angry.

Oh, did I say angry? I meant fucking possessed.

And if Ethan’s bringing up the spectre of that time, even subconsciously, maybe that should be an even bigger clue that the Mia in this house right now isn’t Mia.

But what really shows this line for what it is is that we’ve seen the real Mia angry. We’ve seen her cold fury at Eveline, daring to go right back to asking ‘can we be a family now?’ within hours forcing Mia to assault her own husband with a chainsaw. We’ve seen her frustration at Ethan’s own denial, and we’ve seen her stalk out of the room when he blows off an important conversation for a call from work. We’ve seen her advance on Chris after he shut her down, demanding, Where is my husband? Where is my daughter?!

We have never seen her angry without real justification. Her anger is neither violent nor disproportionate. It’s consistently purposeful, focused, and contained. There is nothing scary about the real Mia’s anger, unless you’re threatened by the very idea she might have something valid to be angry about.

There is evidence of tension in the Winters’ marriage from before Miranda’s arrival, but it takes a very different form – most evident in the flashback scene where Ethan receives the call from Rose’s doctor. Far from Miranda’s brusque, dismissive copy of her, the real Mia is anxious and depressed, scared of what Rose’s results might reveal. Here, Ethan’s the one brushing her concerns aside (“We talked about this […] Rose is fine!”) He recognises there seems to be something Mia’s not telling him, says they should talk about it, but then immediately brushes the conversation off when he gets a call from work, while Mia storms out of the room.

You can certainly read Mia as a hypocrite here, getting angry at Ethan for not knowing things she’s deliberately kept from him. But it’s Ethan who decides a call from work is more important than a conversation with his wife – someone who is obviously distressed, canonically still on a regime of drugs after the traumatic events of RE7, very likely suffering PTSD along with Ethan, and maybe even some form of postpartum depression. We don’t know anything about Ethan’s work, so there’s no point in speculating about how much he ‘needs’ to take that call. Mia’s no clear villain here – quite the opposite.

Personally, I tend towards taking this scene as evidence that Mia has tried to talk to Ethan about what really happened to him, but hasn’t managed to get him to face the truth. For all that Ethan supposedly wants to talk about the past, it’s a defining plot point that he’s badly in denial himself.

Or they could both be at some fault here: Ethan unwilling to face the truth, while Mia is reluctant to force him to face something she knows will hurt him and bring him distress. Even when Mia says outright that she ‘tried to keep this a secret, but…’ to Chris at the end of the game, the implication is as much that she’s tried to keep it a secret from people like Chris, who might decide Ethan is dangerous. She’s lied to protect him before, and if she’s still lying to him about her past with the Connections, then the fact that knowing the truth will hurt Ethan is obviously among her reasons. Protecting Ethan has always been among Mia’s top priorities ‒ even at her own expense.

The only other real hints we get about Mia’s inner life come from the glimpses of her we get in Donna’s domain. But I’m hesitant to read too much into these, given how unclear it is how much is just a manifestation of Ethan’s own anxieties. If anything, the ‘Mia’ in these scenes almost seems to have some far worse secret than simply having not told Ethan something he really ought to have put together on his own, and I’d kind of love to see that explored too – at least as long as that goes somewhere more interesting than round umpteen of ‘and that’s why Mia sucks’.

But my point here isn’t that you have to read any of these scenes the same way I do. I do think it’s important to recognise that nothing written for a game like RE is truly character-driven; scenes exist to serve the plot far more than to reflect consistent character motivations or hold up to fridge logic (which, let’s face it, is the real reason for most of Chris’ horrific behaviour in this game, let alone anyone else’s). The result is rarely super consistent, and leaves ample space for multiple interpretations of anyone’s motivations. Regardless, the idea there’s any hard evidence that Ethan and Mia’s relationship is dysfunctional, or that whatever’s wrong is Mia’s fault alone, is going to be incredibly hard to justify.

Any assertion that Ethan and Mia are somehow on the verge of divorce also needs to be weighed against the masses of evidence of how much they love each other – the number of times Mia has said she loves Ethan, up to and including (yes, I’m bringing this up again) how ready she is to die for him in RE7. Her speech to Chris at the end of RE8 states explicitly that being together with Ethan and Rose is the only thing that matters to her. “Mia, I’m sorry, I love you,” are some of the last words Ethan ever speaks – and I can’t help but read into how the moment he finally pushes Rose into Chris’ arms so they can get away with him weighing them down is right after he learns that Mia is alive, and thus implicitly that Rose won’t be alone if Ethan doesn’t make it. And good god does that scene break my heart every time.

It’s worth recognising that the fact Ethan and Mia love each other doesn’t inherently mean their relationship is healthy, or that you have to love them together as much as I do. Like I said up top, you don’t have to like Mia, and you don’t have to justify not liking her if you don’t. I would genuinely like to see fics where Mia and Ethan’s supposedly-necessary break up feels in character. Where Ethan loves her but just can’t deal with the resentment and the fallout over all the lies she told him, where he's been clinging to his 'happy ending' with Mia after surviving the Bakers so hard he can't face the fact things just aren't working, or where he’s having to face that their relationship only ever really worked because she was away so much. It will break my heart, but fiction is allowed to do that.

But god, it would be nice if people could just take the bashing below an eleven around this place. The number of times I’ve had to sigh and back-button out of reading something, because yet another author has decided to project their own hatred for Mia onto the husband who’s still reeling from watching her being violently murdered in front of him… it gets fucking old, y’know?

I would really like to think that in the year of our lord 2024, fandom would be a bit past this thing where they bash the canonical female love interest in the name of shipping the hero with another dude. People will bend over backwards to try and cast Heisenberg and Chris as guys who really care about consent and worry about Ethan getting hurt, because heaven forbid anyone be caught shipping something slightly problematic. And yet misogyny still somehow gets a pass.

You do not have to love Mia. You don’t even have to like her. But ye gods, the hate she gets is baseless and absurd.

Hasn't this poor woman suffered enough?

(And on that note, I promise I am finally done soapboxing in defence of Mia Winters, thank you for bearing with me for this long.)

#Mia Winters #Ethan Winters #mithan #Resident Evil Village #Resident Evil #Resident Evil 7 #RE lore #meta #Mia Winters week

[iris-sistibly]

I look like shit right now, but hear me out: Episode 12 drove me NUTS!!!

📍For a moment, Hong Hae-in gave me a heart attack. I really thought that she wanted to spare Hyun-woo the heartache of her not being able to recognize him anymore and just went with Eun-seong. My brain cells weren't brain cell-ing, of course she had other reasons...duh. But it is really terrifying that she has moments when she can't recognize what's real and what isn't. I do however love the part when she knew that she was with the real Hyun-woo. In any scene or in any situation they've been, Hyun-woo radiates that kind of warmth that makes Hae-in feel relieved, secured, and loved. That right there is, "The heart recognizes what the mind can't."

📍I forgot to include this in my last post because I was in a hurry to finish it, but I laud Kim Soo Hyun for doing a great job during the final scene of episode 11. You can instantly recognize that something felt off with the way "Hyun-woo" called Hae-in, like I said earlier, the real Baek Hyun-woo radiates so much warmth, meanwhile the fake Hyun-woo was cold and I can say that he made me feel uncomfortable. What an amazing performance KSH!

📍Hyun-woo and Hae-in using their baby's due date as their pass codes just means that they still think about him/her. 🤧 Oh that baby could have been so loved by them had they been given the chance.

📍Eun-seong's delusion is worsening. When he was confessing all of his bullshit to Hae-in, I was like...so what? So what if he fell for her first? If he kept her necklace all these years, if he had "loved" her all this time? The point is, HAE-IN DOESN'T LOVE HIM AND DOESN'T WANT TO BE WITH HIM!

📍All the while, I thought that Eun-seong is a dangerous man. Turns out Mo Seul-hee is far more unhinged than him. You can see in Eun-seong's eyes that he was taken aback when his mother confessed to being the person behind the deaths of the people who abused him as a child. Bitch wasn't kidding when she said that she'd go as far as eliminating Hae-in for using him, and Eun-seong may be dumb but not-so-dumb to not know what Seul-hee is capable of. I still feel like he's going to betray his own mother to save Hae-in by either helping Hyun-woo or helping Hae-in in his own twisted way.

📍BAEKHONG IN THEIR MARRIED COUPLE ERA!!! I love that Hae-in can now freely say what she truly feels about Hyun-woo and the hubs gushing when she said that she'd still marry him in any lifetime.

📍The sunset proposal was the reason why I had to pause because I was bawling my eyes out, I kid you not. Hae-in wanting to be officially Mrs. Hyun-woo again so badly but stopped herself because she knew her condition was worsening and she doesn't want to burden him anymore. She wants to spend the rest of her life with him but it's far from possible, she wants to be the wife Hyun-woo deserves but the future holds no guarantee. She was torn between following what her heart wants and not wanting to rip Hyun-woo apart more than she already has (because of her illness). It was such a heartbreaking scene that's why I was crying so hard.

📍And then, the writer and the director decided to shift the scene to Aunt Beom-ja and (future) new husband, the part when they were looking for (future) new hubby's mother and they were kinda like too close to each other, I was smiling because they looked so cute together so you can imagine that I was smiling from ear to ear with tears still running down my face. Also, I did mention before that Aunt Beom-ja is a more unhinged version of Hae-in, actually...auntie and future new hubby are kinda like the older version of BaekHong, only crazier and more chaotic.

📍Da-hye finally realizing that she sided the wrong people. I'm just glad that she was able to get out safely and return to the Hongs. But I am so proud of Soo-cheol for manning up and defending Da-hye and baby Geon-u, he's really growing up 🥹.

📍But I didn't really expect that Hong Man-dae aka grandpa Hong would make such a huge sacrifice to save his family. He was an idiot for trusting Mo Seul-hee but I never wanted him dead. He didn't even get to see his family before passing (except Hae-in but it wasn't like a happy reunion) which was so fucking tragic. Though, I do hope that Papa Hong would finally have the courage to step-up as the head of the family, he's their pillar now and they need him more than ever.

📍Can we talk about the last clip for a bit? I know the show apparently loves to give us viewers cliffhangers and mind boggling shit but I'm overthinking rn. What if they found nothing in the panic room? Or Yoon Eun-seong found it first? This story is unpredictable, anything could happen, but what I do know is that Hae-in is gonna wear the ring Hyun-woo gave her in the next episode. Iykyk.

📍THE EPILOGUE!!! BaekHong has crossed paths many times already and in those times Hyun-woo has saved Hae-in. They're really meant for each other!!

#kdrama #tvn #netflix #queen of tears #kim soo hyun #kim jiwon #kwak dong yeon #lee joo bin #park sunghoon #baek hyun woo #hong hae in #hong soo cheol #cheon da hye #yoon eun seong #baekhong #my roman empire

[theabyssgazesalsointoyou]

📖 but with songs :3

📖: If you had to remove one book from the series, which would you choose?

i am so so sorry for this possibly controversial insanely long rant but. dywh. it is so unfair to both chloe and jeremy it drives me insane i wish the scene never existed and maybe the fandom would be a much more peaceful place. rant under the cut

i genuinely hate dywh so much you have no idea. it literally serves no purpose to the story. if it was intended to be a metaphor for how men can be sexually assaulted because they often are not allowed to deny sexual advances, then it should've actually addressed how it affected jeremy instead of just brushing everything off and 'redeeming' chloe in vimh. don't get me wrong, it is very important to raise awareness about that, but it doesn't work in be more chill because the entire message of the musical is that people- especially teenagers- aren't who they seem because external and internal factors influence how they act. that they can make bad choices but they can also learn from their mistakes and change for the better. if chloe didn't end up being redeemed and the musical wanted people to dislike her then fine, whatever. it's still highly debatable considering how jeremy's trauma was never properly addressed but at least it makes sense for the scene to be included in order to really drive it home that she's an awful person. but she did end up being redeemed and they're trying to tell the audience even she's forgivable. and guess what! a lot of people don't agree with this because of course the audience is going to have a hard time buying that when the severity of chloe's 'mistakes' stick out like a sore thumb.

because if you think about it, all that the plot required was that the couples (aka upstage and puppy love) break up. and god there were better ways to do that. even if they had to include a scene like dywh they could've played it off in a tame way like chloe drunkenly attempting to 'seduce' jeremy (aka just a weird vaguely suggestive dance, nothing else involved). just asking him and backing off when he says no, because there is no reason for chloe to actually try to force jeremy to do anything. jeremy was not her concern, she doesn't even like him, it was brooke and jake. she couldn't give less shits about jeremy, all that mattered was that brooke thought he cheated on her and jake thought chloe had sex with someone else in his parents' room. like hell if they'd know what was going on behind closed doors?? all she had to do was just stay in the room with him for like half an hour then later subtly drop something about fucking him. is that not more in character for her? she's manipulative. she lies.

or they could've just stayed true to the book and made it 'consensual' (as 'consensual' as it can be while under the influence, that is) and nothing about the plot would've changed. brooke would still have thought jeremy cheated on her and jake would still have gotten mad at them for invading the sanctity of his parents' room and chloe would absolutely have still twisted the situation to her advantage because that's who she is. it's not out of character for her at all to rub it in jake's face- why turn down such an opportunity to hurt him? or for her to claim jeremy kissed her first? because she always puts the blame on someone else and manipulates brooke.

i would like to make it clear that i do think she should be held accountable for those actions, because 1) whatever her intentions were doesn't matter, the fact that it made jeremy feel uncomfortable & threatened does and 2) her entire reason for doing that was so incredibly selfish and cruel. she wanted to crush her best friend's self-esteem knowing brooke had already been cheated on and she wanted to hurt her ex-boyfriend in the worst way possible by tainting his memory of his parents who abandoned him. all that and jeremy was nothing to her. she didn't care what he thought, he was just a pawn. that is incredibly fucked up.

BUT. i am also saying that this scene was so not necessary. above all it's offensive that jeremy's trauma is never seriously taken and he's just expected to get over it in literal seconds after the scene takes place. but also- bitchy mean girl characters are already hated enough. a lot of people wouldn't have sympathized with chloe even without dywh in the picture. by literally making up that scene- it wasn't part of the source material, remember- the musical chose to put her on full blast. now we can't discuss her character without feeing like stepping on a landmine because dywh is a serious subject that some people are righteously triggered by. and the slight differences in how the actors of each production deliver that performance and how people interpret that scene is the root of all controversy.

#orca answers #bmc #be more chill #chloe valentine #very tempted to make this one unrebloggable. we'll see

[dwobbitfromtheshire]

If it had been Eddie there for the six kids conversations. ❤️‍🔥

MINORS DNI

Warning: smut, Steve being called mommy, breeding kink. Also, when you get to the bandana scene I am not sure if this will work but it is fanfiction so whatever goes, you know? It's a thick bandana, okay. Also, this is my first time writing smut in detail so be gentle with me please. This actually wasn't supposed to turn into smut but everywhere you go there you are. 😂

"Six kids?! We already have six. Well seven if you include Erica but I think that kid might just be her own mom. But hey, if you want another kid then I'll give you another kid. So, when do you want to do this? I know Daddy's always ready to go but what about Mommy?" Eddie asked winking at him.

Eddie was messing with him, Steve knew, but he couldn't help but nearly choke when Eddie called himself daddy and Steve mommy. He tried to focus on driving straight because he certainly wasn't thinking straight. It was difficult with Eddie right there next to him and heat pooling in his stomach because of what he said. The image of baby making with Eddie was crazy because they were two men and yet, he could see Eddie on top as he pounded away inside of him. . .filling him up. Eddie's long hair glistened with sweat and his doe eyes were dark with arousal. Fuck. Steve’s pants were suddenly tighter than before as he thought of Eddie's hips rolling into his as he gripped Steve’s thighs, locking his legs behind him. In his mind he could see the sweat dripping off of Eddie's face and he swore he could feel it drip onto his own skin.

"Whatcha thinking about over there, Harrington?" Eddie's voice breaking through his vision.

Steve looked over at him to find the metalhead grinning wickedly at him. He knew, the proof evident in Steve’s lap.

"Fuck you," Steve whispered.

"That can be arranged," he said and leaned closer to him. "Everyone nodded off back there. Let me take care of that. You're going to need to cum in this. Unless. . .you don't want me to."

He tossed him his bandana as he reached over to hover his hand over Steve’s hard cock.

"I want you," he whispered softly and Eddie smiled.

Eddie helped Steve move his pants and boxers down and wrapped the bandana around his length, slowly pumping away at it. Steve bit his lip to contain his moan and Eddie grinned at him.

"You like that, big boy?" He asked pausing. "OH, big boy is definitely a good nickname for you."

It was a weird position for Eddie to be in but he knew how much uncomfortable Steve would be if he had left him like that. It was hard to believe that Steve Harrington was letting him do this. . .that he wanted him to. It was his wet dream come to life minus the kids in the back and the impending doom that they were about to face. Eddie did feel guilty about doing this with the kids so nearby but they were asleep. Hopefully they stayed that way while mommy and daddy were busy. This situation needed to be dealt with.

He stroked away, his thumb brushing over the tip and Steve let out a guttural moan as he thought of Eddie's tongue licking it. Eddie sped up, hoping to get him there quicker.

"What do you need, mommy?" Eddie asked. "What do you want?"

"Keep calling me mommy. Please, daddy?" Steve asked, tears leaking from the corners of his eyes.

Eddie tried not to imagine a wrecked Steve trembling and moaning beneath him. It was difficult not to when he made that face, when he asked him to call him mommy. . . Shit.

"You like that, mommy? You like the idea of me filling you up with my seed? You want me to get you good and pregnant, babygirl? You want the freak to make you a mommy? Mommy, mommy, mommy, mommy," he whispered harshly.

Steve let out a relieved sigh as he came into Eddie's hand and bandana. Eddie grinned as he tried not to spill any of it as he maneuvered it to his mouth, tipping Steve’s cum down his throat. Eddie turned to him and showed that he swallowed all of it.

"Okay, now, you're going to have to not look over here while daddy takes care of himself otherwise it's going to be a back and forth situation here with no end in sight," he said and turned away.

Later, after they came back from the War Zone the party settled in an empty field to prepare for what was about to happen. Eddie was alone in the RV while everyone was outside when Steve came in and locked the door. He stood in front of Eddie, so close that the metalhead could feel his breath on his face.

"You were wrong," Steve said to him.

"I'm generally wrong about a lot of things, Stevie, you're going to have to be more specific," Eddie said, booping him on the nose.

"About Nancy. It hasn't been like that for a very long time and I doubt it will ever be again," Steve told him. "I don't want her."

"Yeah, then what do you want?" He asked and Steve cupped the other man's face, his thumbs brushing softly against his skin.

"Thought that was obvious, daddy," he said teasingly and pressed his lips to Eddie's very quickly. "I want you, pretty boy."

"Pretty? Me?" He asked, blushing.

"Very pretty," Steve said.

It was Eddie's turn to kiss him, pressing his body against Steve’s and wrapping his arms around his neck. Steve’s arms enveloped Eddie's waist as he deepened the kiss and suddenly Eddie's feet was leaving the floor as Steve picked him up.

"Fuck me!" Eddie exclaimed as he broke the kiss and wrapping his legs around Steve’s waist.

"That can be arranged," Steve said with a smirk as he leveraged Eddie against the wall of the RV.

"Goddamnit! That was hot. You're hot. Fuck. I think I can die happy," Eddie said rambled.

Steve ignored the knawing feeling in his gut when Eddie said that last part. He wasn't going to let this man die if he had anything to say about it and he did have something to say about it. Vecna was killed, brought down before he could harm Max while Steve carried a bleeding Eddie out of the Upside Down. He refused to leave his side as he healed, leaving only to eat and tend to his own wounds. This man he had only really known for a few days but he had made such an impact on him that Steve that he couldn't imagine a future without him in it. When Eddie opened his eyes Steve cried and kissed him, not caring that their friends were in the room. Dustin was the one that hollered.

"I could have set you up with each other THIS WHOLE TIME?! I didn't know that was an option, I would have done it a long time ago!" Dustin exclaimed and everyone laughed as he put his hands on his hips. "My two favorite people. . . Goddamn."

#stranger things #eddie munson #joseph quinn #stranger things s4 #eddie stranger things #eddie munson lives #steve harrington #steve x eddie #steddie #steddie fanart #steddie fanfic #steddie fan fiction #eddie munson fanfiction #eddie munson fanart #steve harrington fanart #steve harrington fanfiction #stranger things fanart #fanart #joe keery #steddie fanfiction #steddie smut

[oh-my-damn]

Wow. You're sure putting in a lot of time and effort into a man you claim not to like. A normal person, with a normal, rational brain, would simply walk away and pay him no mind. Say you're jealous and go because girlie, it's embarrassing as fuck and so many blogs on here laugh at you behind the scenes. There's a whole ass group chat dedicated to just laughing at you and your friend's nonsense. That's how embarrassing you, and your friends, are. ///

Okay. Here we go.

First: this is absolutely not about jealousy. Bringing up problematic behavior and people needs to happen. Here’s the best part: you don’t like what’s being said, so you probably are part of the fucking problem.

@oh-my-damn has done nothing but listen and share experiences POC, myself included, have had with this, and why our feelings are the way they are. We may not agree on real or PR, but that doesn’t affect shit between us because we are fucking adults who can have grown ass conversations.

What she’s done, just by listening and not speaking over POC voices and experiences is way more than other mods on here have done. She posts the food and the bad. And if you’re uncomfortable with that, you’re part of the fucking problem.

Do you really think she nor anyone else who is friends with her actually care that there’s a ducking group chat made just to talk shit? No. Wanna know why? You probably don’t, but I’m still going to tell you.

It’s because she and her friends address the shit talking head on. There are no passive aggressive posts or asks, they don’t need to go on anon to say their piece. They talk about it to and in front of the people that cause the fucking issues in this fandom. Creating a group just to shit talk cause you’re too fucking scared or hypocritical to actually say it outright is being a fucking coward and a child.

Run back to your fucking group chat. You belong there. And trust, that’s not a good thing. Get the fuck on and outta here with this bullshit

Listen. Y'all can make as many group chats about me as you fucking want. Y'all can even try to blame me for doxxing, or talking shit, or being jealous, or being a hater, or whatever the fuck you want.

At the end of the day, I'm here doing me. I'm living my fucking life, I come on here when I have time, but otherwise I go to Law School (yes, you read that right. Keep that in mind next time you want to harrass, honeys. Oh, and that's not even my first degree. It is my second one. So yeah, come suck my dick), I write occasionally about characters or storylines that intrigue me, and I talk to my friends (and also people who are more than friends but I digress), and SOMETIMES I speak about topics that MATTER. They matter to a lot of people and they SHOULD matter to you. And the reason they probably don't, is because you're a bigoted racist. There, I said it.

Fucking hell. Make that fucking group chat. I hope you even put my pfp as your fucking cover photo. I hope you name it "Mandy's Hate Squad". I hope you talk about me all day.

ALL DAY. TALK ABOUT ME ALL DAY.

I am proud that I, little old me who started a blog without even knowing how to fucking use tumblr, am on your mind enough that you NEED A WHOLE ENTIRE CHAT TO DISCUSS ME AND WHAT I DO.

God. What an honor.

I will be handing out headshots and autographs soon.

Stay tuned for my con dates!

And @adulting-sucks? I love you. Thank you for being you, always ❤️

Oh, and I also want to add... That this entire ask from the original anon was created to, once again, DEFLECT. from the REAL ISSUES. Because that's what the Defenders do. They are apologists of REAL SHIT THAT SHOULD NOT BE EXCUSED. LIKE RACISM. AND ANTI-SEMITISM. AND FATPHOBIA.

I am sure they don't understand what it means when people start excusing that kind of shit. But luckily a lot of us do.

So fuck them.

Come suck my big sweaty balls you losers 🥰😘

#mandy answers #chris evans #fandom #im sorry #i cant be your man #I'm sorry #SHE A FUCKING FAN #cant believe i have a fandom #oh my gosh #if you want to speak to me book a time with my assistant #apparently im that important #💅

[rin-yellow]

OKAY OKAY OKAY TIME TO DO WHAT THIS ACCOUNT WAS MADE FOR

Welcome to the true Reader In Yellow experience, I am your host, and it's time for us to SUFFER.

Context first.

SO someone on Twitter (or whatever the muskaloid is calling it now, I ain't fucking know) brought back memories of a book I read like WAAAY long ago and so now I have to share my trauma with y'all.

Prefacing this with trigger warnings: A lot of mentions of human excrement, critiques of odd writing choices, twitter mentioned, mentions of SA, mentions of slavery, mentions of possibly misogyny. Also spoilers for the book I'm gonna be talking about

I'm gonna out myself as a twitter user here (if any of y'all know me on twitter, hi! I am so sorry.) but uhh:

Yeah anyways to sum up the situation Fighting Iron flashbacks are not fun and so I have to rant about this fucking book in a place without a goddamned word limit.

Jake Bible, if you somehow have a tumblr account or a twitter account, you're reading this right now, I'm very sorry.

But also what the fuck, man?

Anyways this was actually a double jumpscare coz I was on the kindle Marketplace recently and Mr Bible brought the book back! But under the title "A Fistful of Mechs" and it has a pretty and fancy new cover. I kinda wonder if he kept the pissing and shitting scenes in.

'Coz it's been a minute since I read the book and I'm wondering if maybe the shitting part was something I was misremembering because there's no way an author is THAT crazy.

But then again I THINK Dead Mech (also by Jake Bible, interesting concept but odd read) also had those kinds of scenes so yeah.

Without further ado it's REVIEW TIME

Okay technically one final further ado,,, FISTFUL OF MECHS ACTUALLY HAS REALLY PRETTY COVER ART

Like I really do like the vibes, although

Ngl it was goofy seeing it with memories of getting THIS on Kindle Unlimited all those years ago:

So anyways.

Because all review ppl summarize their books, and if you don't wanna go to the Bezosinator website to read the back blurb or zoom into the photos of it I included, essentially:

Fighting Iron is a book about cowboys and massive fucking robots. It follows this douche named Clay and his big robot Gibbons, who is a robot who can think. Not sure if Fistful changed the terminology, but in Fighting Iron, Gibbons is referred to as a titular "fighting iron", his thinking AI capabilities having been a thing that was outlawed.

Which is funny, because they do lean into a sort of "lawless wastelands" sort of aesthetic but I guess thinking robots are just a step too far.

It's not even like a good argument against thinking robots either, and I think the author knows it. For the dense: AI irl should be regulated due to its use as fucking parasiteware to collect data. AI in fiction is often just person but robot and in this case, person but really big robot.

If I remember the sequence of events correctly, what happens is that Clay needs fuel for his robot and food for himself and he gets essentially kidnapped or captured or something by this one woman who also ends up like turning him into a slave and (tw) raping him, iirc.

OH and a lot of people REALLY wanna steal his robot.

The rape scene is very uncomfortable and I'm not sure if I remember it correctly but it felt oddly sexualized and just no. Obviously a rape scene isn't SUPPOSED to be comfortable to read otherwise there's something VERY wrong, but it's also like really odd.

(random sidenote: I'm gonna go serious mode for a sec and talk abt myself irl, sorry. Around 2 or 3 years before I read that book I had dealt with being sexually harrassed by some mfer who would constantly hold me in a chokehold and say shit that I'd rather not repeat or remember with any vividity. That sort of shit is never okay, however, this experience may have clouded my judgement when reading that book because the wounds were still somewhat fresh at the time so yeah.)

(worst part is that this was BEFORE I realized I was trans but like god I used to present myself pretty femme back then. I think that experience mighta set me back a few years due to the stigma of that combined with y'know. Idk why I'm even talking abt this, it's a horrible memory. This was meant as a joke review god fucking dammit)

(sorry for getting off track but I felt I had to point this out because it directly contributed to my odd puritan phase because I did NOT want that to ever happen to me again so I like did not trust sexual shit for a minute there.)

AAAANYWAYS, it's rare that sexual assault on males gets tackled in fiction though, so points for that. I don't exactly remember if it was handled too well though.

If I remember correctly, after escaping the slavery lady he then gets kidnapped by a "resistance" faction and then after claiming he hates them, he fights on their side in a big robot rodeo duel thing and in a really cool scene where the robot finds a loophole in the rules of "No AI copilots" by saying that HE is the pilot and that Clay is his copilot.

THis is also the scene where Clay pisses down his robots leg.

I think Clay also shits himself at some point but I can't be bothered to check. So yes, unlike other mecha anime, this one is a book about explosive diarrhea indeed.

Not exactly great.

They then proceed to kill the shit out of the rapist woman who I think they kinda sexualized like as a character but I could be wrong because I read it in my puritan phase where I thought even the MENTION of sex in a book was something terrible and a flaw. So I'm not a reliable source here.

OHHH there was also a cool lady with like burn scars all over her body who fights Clay a few times but I think they kill her off before the big rodeo duel thing. It's a cool death but iirc she gets done in by a construction mech I think, not even the thinking robot, which was sad.

Anyways, things I liked:

-the loophole twist was fun

-Mr Bible sure knows how to write robot fights at times

-Gibbons and Clay had a fun dynamic iirc

-Surprisingly, the main male and female lead do not fuck, which was refreshing because I read this in the middle of binge reading a bunch of borderline-misogynistic kindle unlimited mecha novels I found and those weren't great,,, No clue abt whether or not they do it in the sequel tho

-small points for having them say SLAVERY IS BAD. I shouldn't be awarding points for this but like. Some other kindle novels do not do this?? Especially The Isekai Ones. Ew Ew Ew.

-COOL BURN SCAR LADY. Sadly she supports the rapist woman tho which was fucked up but her character description was still cool af. I'm a sucker for grizzled veteran mecha pilots. I may be horribly misremembering it because I'm fucking gay as shit lol.

speaking of

THings I DIDN'T LIKE:

-they have this really weird fucking scene abt gay people like there's a total of one person in the book iirc who is explicitly stated to be gay and it's played as the butt of a joke (I think???)

-Bible tries REALLY hard to be edgy like some fucking RR Martin knockoff. It doesn't always work and sometimes it gets annoying imo

-Not alot of the resistance faction subplot was too memorable I think

-The rape scene in general

-Guy can NOT find creative ways to describe dead mecha pilots, do NOT let his ass cook.

-The odd descriptions of pissing and shitting. I get the guy wanted a grimy lived-in world but this was NOT exactly my cup of tea.

RAW REACTION FOOTAGE OF MY OLD READTHROUGH NOTES, featuring me from like three years ago:

Note that I was a fucking puritan back then so my notes are NOT great. I censored like ALL my cussing and I'm not sure what I meant by the "communists" part but I think there actually WERE communists in the book and that was a plotpoint?

That mighta been the "resistance faction" I was thinking of

OH I was reviewing this back2back with United States of Japan by Peter Tieryas, which I didn't actually enjoy that much, sorry USJ fans in the chat. Maybe I'll reread and review it here at some point tho!

Also yeah

The book was odd to say the least.

Fighting Iron for y'all. Lot of cowboy, lot of mech, lot of pissing and shitting and weird sex shit and "human jelly" which I dislike that descriptor. Parts of it were fun, parts of it uncomfortable, but it is kind of a formative memory for me lol. I don't recommend it too hard, maybe at some point I'll read the remake "Fistful of Mechs" and its sequel, "A Few Mechs More" and write a REAL review of it that isn't a half-remembered mess. Maybe.

Overall, 4.5/10 read for me, still better than some books I've read. And by some I mean Unity by Jeremy Robinson do NOT get me started on that one because I WILL rant for twelve hours about my irrational hatred for that book do NOT tempt me.

Anyways, that was a wild trip down memory lane.

Maybe I'll do this again some time idfk

But without further adieu, if you'll excuse me, I'm gonna go and collapse on my bed because this rant took a LOT out of me. This has been your monthly Reader In Yellow Experience, and I bid y'all to stay safe, stay sane, and most importantly, stay Funky.

That last bit is an inside joke that only Three (3) people will get.

#THE READER IN YELLOW LIVES AGAIN! #this is full of inside jokes that only my few IRLs will understand #tw: sa mention #tw: bad writing #tw: book review #book review #Fighting Iron #A Fistful of Mechs #Jake Bible #random kindle unlimited novels moment #UNLIKE OTHER MECHA ANIME #the true reader in yellow experience #inside joke #twitter moment #I apologize #I am going #i am going insane #i am going to explode #remembering this was horrible thank you twitter user JEGANMANHUNTER for that #I will not be able to stop thinking about this now #oh forgot a few tws sorry #uhh #tw: twitter #tw: long post #tw: human excrement #tw: human trafficking mention #tw: misogyny mention #booklr #books and reading #mecha

[anndramarama]

I was taking a break from all things Ted Lasso but someone who hadn't seen the finale wanted to watch it with me, so I watched it again and I think I've executed an almost 180° turn with my feelings since the first time I watched that scene in Rebecca's kitchen.

I'm still relieved that nobody in that kitchen actually slept with anybody else,* and on the surface I do still find the scene funny but I have to say that some things I've seen posted including this recent post by @cherish--these--times made me unpack my discomfort, and it wasn't what I thought it was at first. I do remember thinking how nasty when that initial scene did turn out to be a fake-out, because of course they had to know that so many fans were rooting for Ted and Rebecca to get together in the end rom-com style, but I put those feelings away and just glided through the rest of the episode. And I do think that their relationship subverted a lot of tropes in a positive and very refreshing way because we do expect a female and male lead to get together, and those expectations are often very problematic. I would also still argue that Ted and Rebecca are platonic soulmates who will always be there for each other regardless of distance and I am more than content with that outcome. However.

The second time I watched the kitchen scene I couldn't help but think that it was a cruel, cruel thing to do to the TedBeccas, and nothing more than that.

I know others have said this but I think it could stand to be repeated: that scene was unnecessary, there was no narrative reason for it to be there and it's never mentioned again. Ever. Ted, Beard, and Jane were there because of a gas leak? Hmm. Help me out here, in the larger world of TV and fandom isn't "gas leak" code for narrative mistakes, sloppy or uncharacteristic writing, or just plain batshit insanity?

Community used this literally as an ongoing joke to explain away a season when a new team of writers took the show/characters in a strange narrative direction, and I think Sherlock used this as well at some point. And speaking of Sherlock, which was a show where some of the more adamant shippers made me decidedly uncomfortable, I can't help but recall how that show did occasionally engage with its fans through the narrative in a way that was, again, unnecessarily cruel and on the nose. ("You. Repel. Me." Oof.) I don't think I've seen a show go to great lengths to flick a group of its fans on the nose so pointedly since Sherlock, but this certainly happened in the opening scene of the Ted Lasso finale.

All this to say: just like in Sherlock back in the day, some of the hardcore shipping forTed Lasso did give me an ick, but that's fandom. And I would never see the fact that I don't get or even oppose a ship as a reason to be vicious, cruel or, if I was a writer or producer with the power to make narrative decisions, decide to serve up a shit sandwich followed by a shiv to the heart to some of my creation's most passionate and vocal fans. I know that some fans take it too far and I'm sure there were a great many assholes on Twitter last week, but even if they had decided not to have Ted and Rebecca get together as a means of defying fans' expectations the figurative violence was unnecessary.

* not counting Jane and Beard of course. But do we think they actually slept together?

#ted lasso spoilers #ted lasso #rebecca welton #meta #Is this meta? or a rant?

[turanga4]

😅💥

Thanks, anon!

A story or a scene that I am embarrassed about: honestly a lot of my initial stuff, when I look at it now in the light of what I've learned from many more skilled writers over the course of the past six months, is a Festival of Cringe. I used to do this thing that I thought was So Cool where I put a high faluting disclaimer at the top of each fic saying "words in italics are the unspoken thoughts of the character closest to them": I thought this allowed me to then head hop all the time. Spoiler alert: it does not actually absolve you, it just makes you look a bit pretentious as well as unskilled. I had so little understanding of POV-- I thought the voice was omniscient, but it was actually limited, and as a result, I would do shit like have Harry referring to his own damn eyes as green.

How do I feel about criticism? This actually came up today in a Discord server which I am so amazingly privileged to share with my gods and heroes in fan fic, including many if not most of the people whose criticism of my work has shaped it greatly for the better. My comment was, "I am a person who loves and welcomes genuinely CONSTRUCTIVE critical feedback, but I find that is an art and sometimes needs a relationship. Like, if someone I do not know from a hole in the ground blows into one of my pieces and is like, ‘yo, this sux’…not helpful, not interested. I have been incredibly blessed, though, when writers I do have that relationship with take the time to share with me things they think, even and especially when they are not entirely glowing thoughts."

I remember the very first time someone whose work I admire to pieces actually made the effort to offer me specific critical feedback: I was utterly floored, to be honest, and squirmed so very much, because I want to be Beloved and Perfect and So Beyond Reproach. I had to kick my own arse to get past my defenses, and I am so glad I did, because holy shit, that changed something in me and opened me up to where I am now--much more able to trust and try, and as a result, a lot stronger. Aware both of how much more I need to grow, and willing to put in some of the uncomfortable work to do that.

I do best--I think everyone does best, so it's always what I endeavor to do for others--with the sandwich mode of feedback, where you are careful to also put your efforts into praising what you like.

#ask game #writer’s craft

[5-seconds-of-bucky]

The Dock

A/N: So I’m writing for Bucky now...☺️ I wrote this for @wkemeup’s 9k writing challenge but also not? I’ve had the idea in my head for a while now so I thought I’d participate! I included the prompt, but it’s not so much the plot of the story so much as just part of it. Anyways, happy reading!

Pairing: Bucky Barnes x Female Avenger!Reader

Summary: After a long time of mutual pinning, a night on the dock helps you and Bucky finally confess your feelings for each other

Word count: 4.5k+

Warnings: Swearing, reader gets catcalled, violence, excessive usage of the middle finger

Prompt: Character A is the target of harassment on the street. Shamed, they pretend it doesn’t bother them. Until it happens in the presence of Character B, who reigns hell on whoever dared to upset [A]

---

You awoke to your head bobbing on the car window and the sound of crunching gravel as the car pulled into the driveway of Tony’s lake house. Your neck ached from leaning over in a strange position for so long and you groaned as you rubbed the sleep out of your eyes.

Bucky grinned from the seat beside you. “Sleep well?” he asked, nudging your calf with his foot. “You got a little drool there.”

“Oh, shut up.” You stuck your middle finger up in his direction. “I slept very well, actually. Thank you for asking.”

“I can tell.” You lifted up your other hand to flip him off again, causing him to chuckle. “Ooh, two middle fingers. I’m really scared now.”

The two of you were too busy teasing each other to realize that the car had stopped and Sam and Natasha had already gotten out of it. A knock on the window your head was resting on made you turn around, seeing Sam’s face a little too close for your liking.

“Are you two gonna stop flirting and help us with the bags or should I let you bake in the car?” he asked. With a roll of your eyes, you opened the car door, making sure to bump Sam in the process. Bucky felt heat rise to his cheeks, glad that you weren’t looking over towards him to see it. “I’m taking this silence to mean that you do want to roast in the car.”

“Sam, would you shut up?” you laughed, casually sticking a middle finger up behind your back as you walked past him to the trunk.

“You and these middle fingers today,” Sam muttered.

“I have another one if you’d like to see it.” You grabbed your backpack and slung it over your shoulder.

“I’m good.” He picked up his bag from the ground before heading towards the house, which the rest of the team was already situated in. You went to grab your suitcase but Bucky swatted your hand away, grabbing it himself and closing the trunk.

“I got it,” he insisted like the true gentleman he was. As much as you wanted to argue, you knew it wouldn’t get you anywhere.

“Why thank you, good sir.” You bumped his shoulder with your own and walked ahead, jumping up the three steps to the porch and opening the door.

“All in a day’s work.” He lifted the suitcases up the steps with ease and slipped past you to get inside. The feeling of air conditioning inside the cabin was a major relief from the heat outside.

“Glad to see the lovebirds finally showed up,” Tony said once you and Bucky were completely inside the cabin.

“You better watch out, Tony. Y/N’s got middle fingers for days over there.”

“Shut up, Sam!”

A chorus of laughter rang out throughout the cabin and you made sure to shoulder check Sam as you passed him to get to the kitchen.  

---

“Okay, I have the perfect plan to get you and Barnes together this weekend,’ Natasha said as she pulled out clothes from her suitcase. You two were sharing a room for the week and you weren’t sure if it was a good thing or not. You loved Nat to death but lately she had been trying especially hard to get you to make a move on Bucky and it was only slightly annoying.

“The perfect plan, huh? Even more perfect than the last perfect plan?” You raised an eyebrow.

“I forgot to account for the fact you both have a tendency to wake up at ungodly hours in the morning last time. I promise it’s foolproof this time.”

“Well then, let’s hear it.”

“Alright. Before you got in here--you know, when you were busy flirting with Bucky.” She winked, to which you rolled your eyes. “Well Tony was talking about taking the boat out and going tubing. So what we have to do is get you and Bucky to go on the tube together. Tony’s a crazy driver so you’ll get thrown off pretty fast. Bucky will get so worried he’ll just have to confess his love to you.”

“Two issues.” You pointed a finger at her. “One, how am I going to get Bucky on a tube? It will be hard enough to get him on the boat alone. Two,” You held up another finger. “why would he confess his love at that very moment? That’s insane.”

“One,” She grabbed one of your fingers and put it down. “he’s whipped for you. I guarantee that if you ask, he’ll do it without a second thought.”

“Sure he would,” you scoffed.

“Uh, I know he would.” She gave you a knowing smirk. “Two, he gets worried about you all the time and I’ve seen him get close to confessing every time. We just gotta push him over the edge.”

“Bucky getting protective is just him being my best friend. He used to be just like that with Steve too.” You put your arm down, shuffling over to your own bed to take some clothes out of the blue suitcase on top of it.

“No, it’s definitely more than best friend love.” She moved to sit down on your bed.

“Either way, it usually ends in some kind of fight and I’d like to avoid that this weekend.”

“Who’s he gonna fight? Tony?”

“I mean, you never know.” It wouldn’t be the first time.  

~

“I can’t wait to get back and shove these things in my mouth,” you said with a grin as you exited the bakery behind Bucky, a bag of donut holes in your hand.

“Gee, really? It’s almost like you haven’t been talking about it for the past three days,” Bucky chuckled, reaching for the bag.

You pulled the bag away from him with a fake scoff. “Oh, I don’t think so, mister. We have to wait until we get back. The anticipation makes them taste better.”

“You’re insufferable.” He elbowed your side and you stuck your tongue out at him.

“Damn, you looking fine over there, mama!”

You took in a sharp breath. It wasn’t all that uncommon for you to get cat called while out and about. You were in New York City, for fucks sake. That didn’t mean that it made you feel any less uncomfortable, though.  

As much as it stung, you didn’t want to start anything. You stared straight ahead and prayed Bucky didn’t hear it. Much to your dismay though, he stiffened next to you, subtly glancing back to see who was talking to you in such a vulgar way. Damn that supersoldier enhanced hearing.

“Hey, sweetcheeks!” You felt a tug on your shoulder. “Didn’t you hear me?”

You huffed, shaking the harsh grip off your shoulder and picking up the pace. You expected Bucky to keep going with you so you continued walking, frowning when you noticed he wasn’t beside you anymore.

“Listen here, you little shit,” Bucky seethed, stepping in front of the man and blocking you from his sight. “She obviously doesn’t want to talk to you. Leave her, and every other woman you ever lay your beady little eyes on, alone.”

“And what’re you gonna do about it?” the man smirked. “She need her boyfriend to defend her?”

Bucky stepped closer, crossing his arms and giving the famous ‘Bucky stare.’ “Doesn’t matter who I am. You better back the fuck away before I make you life hell.”

A few onlookers started lingering around, some with their phones out and recording the scene, almost as if they wanted to see a fight break out between the two men. ‘Winter Soldier vs Everyday Pedestrian  was sure to be trending somewhere soon enough.

“Buck,” you said quietly, placing a gentle hand on his shoulder and ignoring the obvious stares you were receiving, most notably from the man whose face Bucky was ready to punch in. “Let’s just go.”

You could see the gears turning in his head, trying to decide if he should let it go or punch the living daylights out of the guy. He let out a soft sigh after a moment, relaxing into your grip. With one last look at the man, he turned around and placed his hand on the small of your back, gently pushing you forward.

“Aye, it’s all good. I’m sure I’ll see that tight ass ‘round here soon anyways.”

That was the last straw for Bucky. He growled with a ferocity you hadn’t heard before and whipped around, not even hesitating to use his metal arm to punch the guy. The crowd gasped, more bringing their phones out to capture what was sure to be a great fight.

“What the fuck was-” Bucky grabbed him by his collar, pushing him up again the exposed brick of a restaurant.

“There’s plenty more where that came from and, judging by the way you’re looking at me, I bet you don’t want to see it. So do the rest of humanity a favor and fuck off.” He let go of the man’s collar and stepped back, unclenching his fist and pivoting back towards you. “Come on, doll.”

You shook the shock off your face and fell into step next to him. His arm warped around you, pulling you into his side. You could feel the fumes radiating off of him as you walked back to the tower, choosing to stay quiet as you let him cool off.

You paused once you reached the entrance of the tower. Tony probably already knew about what happened and he sure wasn’t going to be happy about it. Bucky’s media presence hadn’t necessarily been bad lately, but it wasn’t perfect either. The public was still wary. To many, the Bucky Barnes and the Winter Soldier were still the same person.  

Things definitely felt off when you entered. You got the side eye from a few people in the elevator and you weren’t sure if it was because of the fight fiasco or because of how tightly Bucky was holding you to his side.

“Want to eat these in my room?” you asked once you stepped off the elevator.

“Sounds good.” His voice was distant as his eyes searched the room.

“Mr. Barnes,” FRIDAY’s voice startled the two of you, making you drop the donut holes. “Mr. Stark has requested to see you in his office.”

Bucky sighed. “I’ll be there in a few.” He picked up the bag and handed it back to you. “Apparently, I have business to attend to.”

You simply nodded. He went in the other direction towards Tony’s office pausing at the door before knocking. You sent him a thumbs up before he went in, but he didn’t look back at you to see it. You retreated to your room, placing your wallet on the dresser and popping a donut hole in your mouth.

“Maybe I should get a plate,” you wondered aloud. You needed to grab your water bottle anyways. Might as well make the trip. You put the donut holes on your bed and started making your way to the kitchen.

“She’s perfectly capable of handling herself, you know.” You couldn’t help but stop as you heard Tony’s voice through the door of his office.

“But she shouldn’t have to.” Bucky sounded stressed and you could only imagine the hell Tony was reigning on him. “Her ignoring him wasn’t going to do anything. I didn’t want to beat the guy up but he was harassing her and it needed to stop.”

“And this doesn’t have anything to do with any particular feelings you have for her, right?” The sarcasm was heavy in his voice.

“Tony-”

“I don’t want to hear it, Barnes. You know how the public sees you. I don’t know how we’re going to fix this.”

“That guy harassed her! I couldn’t stand there and just let it happen!” God, you wanted to give him a hug so bad right now.

“I don’t care what it was, Bucky. Having heart eyes for Y/N doesn’t mean-” You took that as your cue to leave. You grabbed a plate and two water bottles from the kitchen and made sure to take the long way around to your room in order to avoid whatever was going on between the two of them.

Bucky showed up a half hour later, plopping down next to you on your bed with a little more space than usual.

~

“I’m just saying, it could work.” Nat got off your bed. “The cookout’s starting soon. Put on something cute.” She was gone before you could respond, leaving you to look for an outfit that would, as Nat liked to say, “knock Bucky off his ass.”

---

“Ooh, Y/N, looking to impress someone?” Sam called out as you walked out into the backyard. It seemed that most everyone else was already out there, helping make dinner or sitting on the dock.

You stuck up your middle finger in reply, knowing exactly what he was trying to do.

“Oh stop it, Sam,” Wanda said as she walked towards you. “You look amazing!”

“Aww, thank you! You look absolutely stunning yourself.” Wanda reached out her hand and nodded towards the dock, urging you to come with her and join the group. You grabbed it and let her drag you down there, giving a small wave to Bucky as you passed him near the grill.

Bucky waved back, a grin spanning the expanse of his face at the sight of you. He kept his gaze on you as you made your way down to the dock, not even realizing just how intently he was staring.

“Someone’s staring at you,” Nat said with a suggestive smirk once you were close enough to the dock.

“He has a starting problem. We all know that,” you argued, sitting down across from her.

“I don’t know. He looks like he wants nothing more than to-”

“Nat, I love you, but please shut up.” She raised her hands up in the defense and Wanda giggled.

“I’m just saying.”

“You okay over there?” Steve shifted his focus from the burgers to his 100-year-old friend for a second, of course noticing the sudden silence that ensued the second you entered Bucky’s line of vision. “Buck?”

“Huh?” Bucky’s head turned sharply in Steve’s direction.

“You alright?”

“Yeah. Yeah, I’m okay.” A shy smile.

“Are you going to ask her out soon?” He flipped some burgers over and pulled the lid of the grill closed.

“I’m getting to it, yeesh,” Bucky chuckled.

“That’s what you’ve been saying since forever.”

“And it’s what I’ll keep saying every time you pester me about it.”

“Well if you don’t make a move soon, maybe I’ll swoop in-”

“Nope! You will not do that.” He nudged Steve in the shoulder and started making his way to the dock. “You absolutely will not do that.”

Soon. He was going to do it soon.

---

“Who’s next?” Tony called from the driver’s seat of the boat. You handed Sam a towel as he got back on the boat, drenched from flying off the tube a second earlier.

“You should go with Bucky.” Wanda nudged you with a teasing smile. You glanced over to the man in question, seeing him sitting next to Steve. He wore a t-shirt and swim shorts with a pair of sunglasses perched on his nose, and he looked damn good.

“I’ll go,” you announced, standing up and taking your t-shirt off, leaving you in your favorite swimsuit and a pair of shorts. You handed Wanda the shirt so it wouldn’t get wet. “Anyone wanna go with me?” Wanda jabbed your leg and gave you a playful glare.

“Go with her,” Steve muttered to Bucky, bumping his shoulder with his own.

“I don’t know, Steve.” Bucky sighed. Steve rolled his eyes, knowing that his best friend just needed a little push. 

“Bucky will go with you,” Steve said a bit louder than necessary. Bucky groaned quietly at his friend, taking off his sunglasses and putting them in his seat. He made sure to give Steve a certain look before making his way towards the back of the boat. You both grabbed your life jackets and started securing them as Sam moved out of your way.

“Cyborg!” Tony called out. “You going to take your shirt off?”

You felt Nat snort as she helped you off of the back of the boat and onto the tube. “Yeah, Bucky. Why don’t you show off your muscles for your girlfriend here.”

“Nat!” You paused for a second to look back at her with fake betrayal.

“Yeah, I don’t think so.” He snapped the last clasp on the life vest and checked to make sure you were all the way on the tube so he could start getting on.

“Oh, come on, Buckaroo!” Sam laughed. He started a chant of “take it off” with the rest of the team (even you, though you’d never admit it).

“Fine,” Bucky grumbled, hastily taking off the life jacket and shirt. He threw the shirt to the middle of the boat and resecured the lifevest, ignoring Nat’s hand offered out for help as he climbed on the tube. His famous Bucky glare melted off his face the second he saw your bright smile and he found himself smiling too.

“I don’t know how well this is going to go but it’s gonna be fun,” you said as he grabbed onto the handles.

“What’s that supposed to mean?”

“Tony’s a crazy driver and we’ve never been able to get you on a tube before. I’m betting you’ll fly off in the first three minutes.”

The tube jerked forwards before Bucky could say anything else. You started picking up speed quickly and soon enough, Bucky was holding the handles with a death grip. You ended up being right and about two minutes in, you hit a wave that threw him off.

“Are you okay?” you asked in between laughs as he struggled to get back on.

“Yeah,” he muttered, a hint of annoyance on his face. You threw a thumbs up to Tony, who nodded and started moving again. “It’s like he’s trying to throw us off.”

“Well half the fun is falling off.”

“You people have strange ways of entertaining yourselves on Sunday afternoons.”

“What would you suggest we rather do then?”

“I don’t know. Something that doesn’t involve giving myself whiplash for ‘fun.’”

“You’re such an old man.” You let go of a handle to smack his arm. Of course, at that exact moment, you hit a wave strong enough to throw both of you off. You shrieked as you flew off of the tube before smacking the water. Whether it was the lack of paying attention or a scheme by Nat and Steve, the boat kept going, leaving the two of you floating in the middle of the lake by yourselves.

“Where are they going?” You furrowed your eyebrows, though a grin was still evident on your face.

“Are you okay?” Bucky ignored your question as he swam over to you, worriedly grabbing your face and checking for injury.

“Buck, I’m fine,” you said, though you didn’t do anything to stop his injury check. He sighed and looked towards the direction the boat went. It seemed that they were already long gone.

“That shriek had me worried there for a second, doll.” His hands dropped from your cheeks and you found yourself missing his touch.

“No need to worry. I’m all good over here.”

“Good.”

A lull of conversation fell over the two of you as you treaded water. You slowly moved closer, noses almost touching when Bucky glanced down to your lips. You nodded. I want this too.

His lips brushed over yours: eyes closed and hands dipping under the water to grab your waist.

“There you are!” you heard Sam’s voice shout. You quickly separated, looking awkwardly down at the water as you tried to focus on anything but each other. “Thought we lost you. Didn’t interrupt anything, I hope.” He smirked at Bucky.

This time, it was Bucky flipping him off.

---

You tried to be quiet as possible as you tiptoed through the hallway, hoping that you wouldn’t step on any particularly squeaky floorboards in the dark. You started opening drawers once you made it to the kitchen in search of a flashlight. Did Tony even own basic technology like that?

“What are you doing, doll?” A soft voice broke you from your thoughts. A pair of blue eyes stared back at you.

“Did I wake you up?”

“No.” He shook his head.

“Oh, okay.”

“You look like a deer in headlights.” His lips turned into an almost smile. “Are you running away?”

“Just down to the dock. Need to clear my mind.” Nightmares.

He nodded. An unspoken understanding. Maybe that’s what made you such great friends.

“Mind if I join?”

“Sure.” You finally found a flashlight and grabbed it, sliding the drawer shut with your hip. You slid the glass door to the porch open, leaving Bucky to follow you out.  

Warmth surrounded you as you made your way to the dock. The humidity was atrocious during the day but at night, it was somehow comforting. The buzzing of bugs in the surrounding woods brought you a level of peace that the hum of air conditioning inside couldn’t. You sat down at the edge of the dock, dipping your toes in the cool lakewater.

Bucky sat down next to you a moment later. Your silence contrasted with that of the busy summer night, but it was comfortable. Nothing needed to be said; the presence of each other was more than enough.

“You know,” he started, his gaze not leaving the shoreline across the way. “I’m here if you ever want to talk about it.”

You glanced over to him for a second, taking subtle notice of his features when his guard was down. The dark circles under his eyes mirrored yours, yet he looked relaxed.

“And what if I don’t?” The slight stain of your voice didn’t go unnoticed by him.

“I’m not going anywhere.” His head turned to meet you eyes. The soft upturn of your lips and content sigh told him that was the right answer. Your hand inched closer to his, your pinkies brushing on the splintered wood of the dock.

“How do you always know what to say?” Your gaze followed his across the lake, catching sight of a few deer grazing on the grass at the edge of the woods.

“I guess being alive for 106 years has to give me some kind of wisdom, right?”

You snorted, breaking the quiet atmosphere the two of you had created for the first time that night.

“I dunno. You’re still kind of a dumbass.”

“And you're still kind of a smartass, so where does that get us?” A grin spread across his face and there was no sight you loved more.

“God, I love seeing you smile.” A blush coated his cheeks at your words and he prayed you couldn’t see it in the dark of the night.

Your hands inched closer for a second time that night. A metal hand reached across to grab yours, his other arm going around your waist to pull you closer. Your head rested beneath his chin as he rubbed circles into your side.

“Thank you,” you mumbled after a few minutes of quiet.

“For what?”

“Your face.”

His chest rumbled with laughter and he squeezed you just the slightest bit tighter. “Glad I could be of service, doll.”

“Seriously, though . . .Thank you for being around. I know we joke around a lot but it really means a lot that you’re willing to sit out here with me.”

“I mean, technically, it was more of me inviting myself than putting myself through the torture of sitting here with you.”

You pulled away from his chest, shifting yourself so you could look at him better. “For real, Buck.” You put your hands on his cheeks. “I don’t know what I’d do without you.”

Just do it, Bucky. Now’s the time.

He let out a breath as he smiled, looking anywhere but in your eyes as he contemplated what to do next. The hand not holding your waist came to brush back a piece of hair that had fallen in your face.

“Can I kiss you?”

You looked shocked for a moment, leaving him to wonder if he’d been reading it wrong all along. “Shit, Y/N, I’m so sorry! I thought that-”

You cut him off, pressing your lips against his. Your hands moved to wrap around his neck as his grabbed your hips. It was everything you needed and yet it still wasn’t enough.

“You have no idea how long I’ve been waiting for this to happen,” you breathed once you pulled away. This grin on your face mirrored his as he pressed his forehead against yours, wanting to keep you as close as possible.

“Actually . . . I think I might.” He dipped back in for another kiss, this one a bit softer than the first, but just as passionate.

A sudden breeze swept through the night and you shivered. It would have been a relief from the heat if you weren’t already having chills due to the man in front of you.

“Let’s get you back inside, doll.”

You were reluctant to let go of him. The moment you’d been waiting for for so long finally happened and you felt yourself scared to be too far from him.

You shifted your weight back so he could get up, not realizing just how close to the edge of the dock you were. Bucky let go of your hips before you could warm him and you felt yourself falling backwards in slow motion. A small yelp left your lips and Bucky’s attempt to save you was futile as your hands slipped through his.

“Cold, cold, cold!” you chanted once you surfaced, barely hearing yourself over how loud Bucky was laughing.

“Are you okay?” he choked out in between his laughter, kneeling at the edge of the dock and holding his hand out towards you. You grabbed his hand with a glare.

“I have half a mind to yank you in here with me.” His eyes widened at your words.

“Don’t you dare!” You tugged his arm lightly, just enough to get his face closer to yours.

“I guess I can spare you. Just this one time.” You pressed a chaste kiss to his lips before pulling yourself up onto the dock. “But I think I deserve a hug for my troubles.”

“Can’t deny my girlfriend that, now can I?” He pulled you into a hug, cradling your head on his chest and pressing his lips to your hairline.

“I’m your girlfriend, huh? Damn, we’re moving fast! Do you have the wedding planned already?”

“Oh please. I think we all know we’ve basically been dating for a while now.”

“Perhaps.” The two of you stayed in that position for a moment longer before another breeze came.  “Should we go in now that we’re both wet and cold?”

“That sounds like a fantastic idea, doll.” Keeping an arm around each other, you slowly made your way back to the cabin, already making plans for a proper date once the trip was over.

---

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[xslytherclawx-writes]

The Charm Offensive & plagiarism

I've been mulling this over for a while, and while I did make a brief post about this initially, I'd like to name names because, frankly, I don't see any reason why not

Allison Cochrun, the author of The Charm Offensive, a widely-praised LGBT romance novel, seems to have based her novel on a Harry Potter fanfiction I published between 2018-2019.

I never gave consent for publishing my work or using my work as a base to edit for publication.

The main plot of my fanfiction is the same as the novel - though the novel also "borrows" many minor details to a point that it is impossible to believe that it is simply coincidence. My fanfiction predates the actual novel by over a year. In the fanfiction, a Harry Potter character goes on the Bachelorette and falls in love with one of the crew members - and then announces it on the televised finale.

Sound familiar?

Details below.

The fanfiction was the result of an inside joke with a friend, and I only posted it on AO3 (rather than keeping it in my google drive, in which case I can just about assure you: there would be no Charm Offensive) because I thought a handful of people familiar with some of my original characters might be interested in reading what is doubtlessly one of the silliest things I've ever written.

I wrote the fanfiction over the course of a few weeks in October 2018, while I was between jobs and looking for something to occupy my time waiting for HR to process my upcoming job offer.

At the time I found The Charm Offensive on Barnes and Noble's website, the fanfiction had around 700 hits. It isn't widely read, and, frankly, this isn't the first time that someone has ripped off my fanfiction, but this is the first time I've seen it monetized and acclaimed.

It is, quite honestly, an infuriating position to be in. I write fanfiction as a hobby; this is not my career, but why should that mean that I should sit idly by while someone else gets praise for my idea?

I found The Charm Offensive while looking for books to add to my cart so I could buy another romance novel without feeling guilty about paying for shipping. I saw the description and thought it sounded uncomfortably familiar, so I managed to get my hands on a copy without giving the person who ripped me off money. Because I needed to see if it was, perhaps, a strange coincidence.

It was not.

That became even more evident the more I read it.

The changes made are the sort of deliberate changes that are apparent when one reads other fanfiction that has been turned into published novels - but the key difference here is that Cochrun did not write the fanfiction, I am not her, and I did not consent to this.

And like, to be clear, this is a non-exhaustive list of the similarities between this novel and my fanfiction that was published between October 2018-January 2019 - so also before Cochrun says in the acknowledgments that the novel was actually written:

- bachelor-style setting - relationship is a participant on the show/a member of the crew (the “bachelor”/his handler vs a contestant/make up artist) - character A is a minority and specifically one often seen as a Model Minority (Indian vs Jewish in the fanfic) - character B is white & culturally christian and grew up with super homophobic parents - character A, however, grew up with super loving and supportive and slightly hippie parents who sought diagnoses and treatment for his neurodivergency and mental illness from a young age - all main cast in mid-late 20s (almost exactly the same age; they're 28 in the fanfiction and I believe 27 in the novel?) - character B went to a top university (Stanford vs Columbia) - character B (appears to? in the novel) speak German - special reassurance scene at a home visit with character B and someone who isn’t character A - character B has severe anxiety including panic attacks and thinks he’s unloveable (which isn’t unique but come on) - character B’s best friend is a woman who takes no shit and is also LGBT in some way (Pansexual vs lesbian) - character B is super into science fiction and exercise - character B is drop dead gorgeous and muscular with grey eyes - character B is sexually inexperienced - character A is very tall and skinny and often wears shorts (to a point where other characters use it as a defining thing) - character A is a hopeless romantic who desperately wants to find true love but can’t seem to find it - character A is sexually experienced (especially compared to character B) - character B / character B’s brother leaves home at 15/16 to get away from abusive, homophobic parents (LITERALLY. WHAT. THE. FUCK.) - subplot of the producers / show runner trying to make an extremely chill bisexual contestant’s sexuality into drama fodder - the entire plot about editing the footage after the fact to include scenes with characters A & B together because… - character B comes out on television, and says the words “I didn’t expect to find love here” (or similar) and then details that he did fall in love with one of the crew - also one of the women is a bisexual medical student (novel) / doctor (fanfiction) which is just. a lot. It’s a lot of little things that all seem to add up to more than coincidence, and given the way I've seen the author react to claims about the Desi rep in the book (it's not good, and I can tell you that much as someone who has just had Desi friends since she was 9), I doubt anything will come of this, but I thought I'd say it outright and make it clear that this is not anything I signed off on or was aware of prior to publication.

But hey! Don't just take my word for it. I've kept the fanfiction up with a disclaimer, so you can read it here! (Edit: originally linked the wrong fanfiction; the link has been fixed!)

#the charm offensive #charm offensive #allison cochrun

[thanksjro]

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

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

So.

This is a little different than what I usually do.

Clearly.

God, how did we even get here?

Oh, I remember.

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

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

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

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

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

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

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

Anyway.

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

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

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

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

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

Haha, I doubt it.

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

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

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

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

For loving his child.

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

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

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

No. Not at all, actually.

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

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

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

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

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

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

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

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

It’s just a shame that I don’t care.

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

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

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

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

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

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

Right???

RIGHT??????????

RIGH-

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

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

Anyway.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As if women are property to be owned.

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

We’re 17.5 minutes into this film.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can’t be fucking serious.

ANYWAY.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Which made me groan aloud.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Right???

RIGHT??????????

RIGH-

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

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

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

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

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

Ed Sheeran does not survive this experience.

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

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

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

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

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

So they try it again.

This time it works, sort of.

At the very least, he’s left now.

Tail fell off, though.

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Judy doesn’t count.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For about 20 seconds.

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

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

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

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

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

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

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

Ratchet’s fine, by the way.

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

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

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

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

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

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

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

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

We still have another hour of this movie.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nope, that doesn’t happen either.

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

Repeatedly.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Being advocated for by Optimus Goddamn Prime.

We still have another 50 minutes of this movie.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oh, right, because ~girl~.

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

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

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

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

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

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

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

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

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

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

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

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

Y’know.

Like a vast, predatory bird.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Feminist icon Megatron?

Feminist icon Megatron.

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

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

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

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

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

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

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

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

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

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

Congrats on your first murder, Sam.

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

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

In tow.

In tow-

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

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

Then Bumblebee talks and he’s fucKING BRITISH.

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

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

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

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

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

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

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

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

And that’s where they leave us.

IT TOOK THREE PEOPLE TO WRITE THIS SCHLOCK.

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

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

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

What a mess.

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

COMING SOON:

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

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

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

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

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

[lochnessies]

ok here’s a dissection of a post an anon sent me the link to and bc i have the worst time management possible and i completely forgot i had it lol so sorry anon here you go ❤️🧡💛💚💙💜

I am constantly thinking about how Edelgard just doesn’t seem designed to appeal to cishet men.

i hate to be the one to break this news to you op but just because a character doesn’t show skin like charlotte fire emblem doesn’t mean she isn’t designed to pander to men. she’s very much designed to pander to the (majority straight male) player base with her ‘uwu i only trust you professor omg did u see that rat? pls don’t look at my painting of you uwu’.

then there’s the whole edelgard c support in japanese where byleth makes reference to having come to her room for ‘yobi’ which is

there’s also the scene where byleth can make an unsolicited comment about edelgard’s breast size. which is… uhh… gross.

edelgard also has cipher cards that go from slightly fanserviceie to full on suggestive

and also her breast armor that my sister relentlessly mocked lol

and here’s a chart from the 3h subreddit about gender/sexually in regards to edelgard and edeleth. it’s extremely straight male. op might have just overlooked this since they probably don’t go on reddit and stay on tumblr (which unlike reddit is mostly female and has a high lgbt demographic).

Like the joke is that Bleagles is the Gay House, but everything about her feels deliberately non-hetero.

i don’t like where this is going…

She’s dressed in sharp outfits covering her upper body, with proportions that don’t seem exaggerated.

so women who cover up must be lgbt because straight women are naturally more revealing? oh y i k e s

Her poise and the way she effortlessly flourishes her axe exhibits an air of coolness. While titties out =/= character of no substance, Edelgard being dressed more modestly suggests that she wasn’t designed with male-centred fanservice in mind.

“titties don’t equal no substance but here’s my post on how she has more substance because she doesn’t show titties” ok

And she still looks absolutely stunning in her more modest attire (like seriously, I haven’t felt the need to return to cosplay in years but I want to do her academy look so bad). 

yes she does. amazing design 10/10. i have a feeling this is the only part i’m going to agree with

Edelgard is intense. She does not mince her words and she is constantly evaluating you. Though she tries, she has a difficult time understanding her peers initially. Early on, she talks about how she would sacrifice herself and others in the name of some greater good. She is terrible at communicating with her peers. She has to be seen as infallible. Her heart has been hardened for years and she assumes she has to stay that way. She also assumes everyone mourns the same way she does - which is why she (kind of insensitively) insists you move on when Jeralt dies. Because to her, grief has to be channeled towards action, or else you’ll get lost in it. This attitude is demonstrated time and time again as she presses on. It can make her come off as cold and unfeeling - but look closer, and she’s anything but.

don’t really have anything to say at this part. it is pretty on the nose though i would slightly disagree with that last sentence a bit. i wouldn’t say she’s as i feeling as hubert is but all of her talks of the war boil down to how she feels and never her victims.

Her story is ultimately about her realizing that to achieve her goals, she needs to let people in and allow herself to want things like cakes and tea parties and lazy days in peace. 

????? what ????? her goals include imperialism, ethnic and religious targeting. her story is about having a set of beliefs and mowing down anybody who stands in her way. that has nothing to do with tea, friends, and lazy days. also am i supposed to be sad that she has to get up everyday and work? i do that and i didn’t start a war and only throw a pity party for myself

The game leaves the player guessing as to how involved the Flame Emperor was in each Part I event, makes you feel hurt by her betrayal, and leaves you with a choice: do you follow the orders of the woman who tried to make you a god without your consent, or a young girl with questionable morals about to throw the world into upheaval?

this isn’t an ideal situation but i think i’m going to stick with the woman who tried to make me a god since i’m not selfish and i know it’s not only my desires and life at stake here. plus the green hair slaps ngl

Choosing her of your own volition (not for completionist reasons) requires the basic ability to sympathize with a woman’s pain. It also requires the player to read beyond her unwavering will and dubious methods to get a sense of how deep that pain goes and how the theme of humanity relates to her differently in each route.

i’m not going to touch this since @nilsh13 made a post on it that i’ll link here. i agree with everything he said so to repeat it would be redundant.

The player must be able to see a young woman’s desperate resolve to change the world so it stops exploiting people and ruining lives. They must be able to accept the fact that women can make the same morally wrong and ambivalent decisions that complicated male characters get to make all the time and still be the one to root for.

literally the same reason i love rhea lol her goddess experiments are dubious at best but her reasons are the same you mentioned. i would say that i like this quality in edelgard too if her ending, while bloody, actually ended in a good outcome for fodlan.

This is not unique to LGBT+ people, but this population is likely to understand why Edelgard feels so strongly about why she has to change the system. 

i understand wanting to change a system, i really do. like edelgard, i’m an opinionated bisexual woman (who’s also physically disabled) so yeah i get it. and change can be good but it can also be terrible. even if the church was the boogeyman edelgard treats it as she still replaces it with her own shit regime. so it’s the same circus just with a new conductor.

I don’t think “Edelgard gets undue criticism because she’s a woman” captures the full picture. An important aspect of her treatment by certain parts of the fandom is that she’s a radical woman.

or maybe she does some pretty fucked up shit and it goes unacknowledged in her own route. and yeah she’s radical but in all the worst ways.

Her hatred of the Church and the Crest system resonates way harder with people who have been hurt by institutions that are deeply engrained in our society. 

and what about people who have been hurt by systems where their ‘merit’ didn’t measure up and they were left behind? what about people from nations that experienced imperialism?

Siding with her means siding against the Church - which, while different from real world religious institutions, still invokes language about “sin” and “punishment.

yeah the ‘sins’ and ‘punishments’ are used in relation to attempted murders which i think everybody can agree is a bad thing that needs to be condemned.

Choosing Edelgard will likely hit different if homophobic and transphobic Christians used that rhetoric against you.

it has literally nothing to do with ‘sins’ and ‘punishments’ in regards to being gay or trans. that’s you projecting. especially since the church has 2 canon gay characters and two coded ones.

like i can understand why having a church condemn you can be uncomfortable but i’m begging you to please look at the context of what’s happening.

I’m willing to go out on a limb and say that the reason F/F Edeleth is the more popular iteration of that ship because most people who would choose to S-support Edelgard are LGBT+ themselves. This is not a revelation. To anyone in the community, it’s fairly obvious. 

i was talking to nilish and he said

so yeah… while there is definitely sapphic femleth shippers out there, there’s still a whole lot of weird fetishizing going on from straight men about edelgard.

Crimson Flower was my first route. I went into the game knowing absolutely nothing. I played it during the last week of 2020 and hoo boy was it cathartic. 

i can tell. this wasn’t supposed to be a dig but it came out that way and i’m not taking it out.

I felt like I was living out a gay revolution power fantasy, where I could truly change systems of oppression while fighting alongside a group of troubled students I’d shaped the lives of.

so a gay revolution power fantasy (cringe) goes hand in hand with imperialism and installing a dictatorship? also the war had nothing to do with sexuality.

Through your unwavering support, Edelgard learns that she needs to be human, that she must listen to her friends, and that she’s allowed to enjoy the world she’s creating.

edelgard gets to learn how to be human all while hunting those who don’t. and she doesn’t listen fo her friends. she doesn’t even trust them. she’s willing to talk to byleth but keep the people who’s been by her side for five years in the dark about everything. and yeah she gets to enjoy her new words since she’s on top. hate to be a commoner under her rule after she burned down my village in her war.

I love this character so much.

clearly. and i honestly don’t care if somebody likes her. i do as well even if my sometimes scathing words can make it seem otherwise.

It has been six months since I first played and I am still analyzing her,

me too. please help me escape i’m losing my mind

because there’s so much depth. Yet so many people fail to see that depth and dismiss her as evil,

i mean, she does some fucked up shit that goes beyond any of the less than desirable actions of the other main characters and does an extremely poor job in trying to make herself seem innocent. i personally don’t think she’s pure evil but i completely understand where the people who say she is are coming from.

because they never had the will to understand complicated women in the first place. 

that’s big talk from somebody who implies that a gay pope is comparable to homophobic and transphobic irl religions and that leads an oppressive regime all because she uses the vague terms of sin and punishments that you have to gay power fantasy your way out of

#i finished this at 1am so sorry if i’m incoherent #mine

[meanautisticenbian]

Fuck it, I'm gonna dissect all the bullshit in that one Lilith post bit by bit

TW// Lilith hate, victim blaming, abuse, cult mention, ableism towards Autistic people, sexualization of minors (briefly mentioned)

I'll be putting my text in bold just in case it's hard to distinguish between the pictures and my commentary

Here's the post I'm referring to in case you're curious

Moving on and starting with this bit

People pay attention to Eda all the damn time, she's literally one of the main characters. Funny how you only mention tik tok and nothing else. Is that the only other social media you have? Because fans on different social media platforms act much differently; on IG and Reddit stuff like the sexualization of minors and fucking ODALIA AND ALADOR STANS are normalized, where everywhere else it's pretty much universally agreed that that stuff is bad. I don't know a lot about what toh Tik Tok is like just because I don't usually go on tik tok, but even if it is like this, it's not the same for the rest of the fandom. A lot of the fandom still hates Lilith and blames her for her abuse and not being able to leave

You say that like she's a bad person, she's really not. The curse she placed on Eda wasn't intended to be permanent and probably wasn't even supposed to take the effects that it did. She was most likely scammed. I mean look at how she reacts when Eda transforms for the first time. She also feels guilty enough about it to throw herself into an abusive situation and spend almost her whole life trying to make up for it. Lastly, yes she hurt Luz, but let's not forget that Belos threatened her life upon Eda's capture and Lilith was running out of time and had no other option. Obviously what she did was wrong but she's not the real monster here.

"I do like Lilith" this entire essay says otherwise.

Literally none of us ignore any of the bad shit she's done, stop lying about us.

Yes, Lilith did mock her for her curse, which was messed up, but we don't actually know for sure if the curse is basically canonically a disability in that world, so if that's the case then for now it's technically not ableism until we get confirmation otherwise.

"it was an accident and I forgive Lilith" no you fucking don't. First of all this entire essay is you talking about how evil you think she is and secondly, if it really was as bad as you view it, you wouldn't be that forgiving.

Ah yes the victim blaming, the one thing that almost everyone does to Lilith and barely anyone talks about.

There is literally not a single Lilith stan out there who blames Eda for getting cursed. You're just mad that your victim blaming towards Lilith got called out so you silence us by lying about how we do the same thing to Eda.

No one is making Eda out to be the villain either, the only example I can find of this is a few fanfics where she treats Lilith a lot more harshly than she should, and even then, scenes like that are written in a positive light as if you're supposed to be on Eda's side, so with that in mind, the writers of these fics are clearly not even Lilith stans. In terms of how actual stans treat Eda, the worst they do is make her slightly ignorant of Lilith's trauma, kinda like the fandom, minus the "slightly", until she grows as a character and learns to see the red flags. If that's the problem you're talking about, then breaking news: Eda's not perfect either. She has flaws too just like literally everyone else in the show and people are allowed to write about them

Tell me the truth: are people making playlists for Lilith that include a lot of sad and angry songs because she's not a happy person anyway so there wouldn't be a point in having any happy songs, or are they making "trauma" playlists? There's a difference

I'm sorry, are you trying to tell me that people recognizing Lilith's trauma is victim blaming Eda? That's not how it works sweetycakes

There is far more Eda angst out there than there is for Lilith, where are you finding so much Lilith angst? LILITH is the one who's traumas are being ignored while Eda's gets all the attention. You're acting like one of those white cis gays on twitter who see black people talking about the anti blackness they experience daily and accuse them of being homophobic because "there is so much homophobia in the world and they still manage to make it all about race".

No one is saying that Lilith has worse trauma, we're only saying that her's is also severe and that it definitely exists. Also funny how you're allowed to be mad at us for comparing Lilith and Eda's trauma (once again lying about us), then you go on to do the exact same thing and say that EDA'S trauma is worse. Even if, hypothetically speaking, Eda did have it worse, that doesn't mean Lilith doesn't have the right to be traumatized. Both of them have trauma, both should be recognized. Also, Lilith had far more going on in her life than just the guilt of her actions, she was was implied to have been psychologically and maybe physically abused, and was probably even tortured. Stop ignoring all the red flags and condemn the actual abuser (Belos) before you criticize anything the abused (Lilith) has done.

We're not making everything about Lilith, like shut up.

Please don't say that autistic people "have autism", it implies that it's something that can be removed from us. For example: you don't say "a person with blackness" when referring to black people or "a woman with homosexuality" when referring to Lesbians.

Oh yeah I'm also autistic so here are MY thoughts

Amity and Lilith are not antagonists anymore, hcing them as Autistic is not villainizing autism.

The autistic Lilith headcanon was made by autistic fans, allistics only latched onto it because they either wanted to be supportive or they saw that she actually had a lot of autistic traits

You're not the only autistic person alive, just because you're not like Lilith or Amity doesn't mean none of us are or they're not autistic. I mean, I know I am

You're not fun or funny

"not all Autistic people are like this" remember that line, dear readers

Actually, I prefer the autistic villain trope MUCH more than the grown ass autistic adult that acts like a five year old trope. At least we'd have less stereotypes associated with us.

Autism is not supposed to be portrayed in only fun and happy characters, that is literally the epitome of stereotyping and infantilizing. You literally just said that not all autistic people are the same, doesn't this count as being all the same? Does this mean I don't exist anymore? Am I just not autistic? Are you even aware that a flat affect or monotone voice is literally a very common autistic trait? You can't just say that we're stereotyping autistics and then just go on to stereotype us, like what the fuck are you even on? Is it only ok when you do it?

Amity is not edgy for fuck's sake

Literally no one is headcanoning Lilith or Amity as autistic because they're mean, we headcanon them as autistic because they actually show traits of it

Oh, our harmless headcanons are making you feel uncomfortable because they don't fit into the stereotypes you made up about us? Good to know our plan is working I guess

Last thing I wanna say regarding this post as a whole: why are you acting like liking Lilith and feeling sympathy for her is a bad thing? If you find this then don't say "I don't think that's a bad thing", answer HONESTLY

Well that's all I have for now, thank you for reading, I need to go to bed soon

#im posting this late but i didn't get to be online as much as i wanted #lilith clawthorne #toh #toh lilith #lilith #the owl house #eda clawthorne #edalyn clawthorne #toh eda #toh amity #toh luz

[ladyalienist]

Health, size, and honestly fuck everything.

I wouldn't want to write this post, but here we are. I mean, this is the most anonymous I can get.

In January 2020, before this whole Covid mess started, my head started spinning at random.

It was slightly uncomfortable, but I could do stuff while slightly uncomfortable. I'm used to doing stuff while in pain.

In March 2020 I received an endometriosis diagnosis - after thirteen years of pain and bathroom gore one week a month, five different oestrogen pills that worsened the situation (to this day, I haven't spent ONE DAY in my adult life without taking some hormonal pill) and TWO YEARS OF ME SAYING "I have endometriosis, I have every symptom, PLEASE HELP ME!".

Finally I had a therapy that made me feel better - no more The Shining blood-in-the-corridor scene! No more pain! Just follow religiously the regimen of progesterone and supplements for the side effects and you'll be fine! Still fatigued as fuck, still suffering from dyspareunia, but who cares.

My head kept on spinning at random. I didn't bother.

I don't go to the doctor unless it's extremely necessary. It's not a matter of money - my country has free healthcare, thank you very very much - it's about how I was treated. Not listened to, my problems overlooked, diagnosed at best with "fat" and at worse with "maybe it's all in your head, sweetie", the very few time I was in for somethig that couldn't possibly be reduced to "fat" the exams were invasive and painful and included screaming at me for flinching. And then a "lose weight, anyway".

I won't go on and on with rambling about my misfortunes with doctors, but anyway, in late June my head spins a lot and it's not just being slightly uncomfortable, it's "I'm risking to fall and hit my head every morning when I get up and I can't do shit". I go to my doctor this morning.

This woman who had me as a patient for about a decade makes her visit and assumption - not that important, it's not the point - prescribes me more in-depth exams and one medicine that should help, and then proceeds to tell me "you must really be sick to come, you're not the type who ever goes to the doctor". Yeah ma'am, maybe if you had listened to me when I came the first two times I'd trust you better. Then she sends me to a very kind nurse who needs some information to make a new file about me. Including height and weight.

Based on BMI I am obese. And I am fat. Like, I'm a really big and intimidating sturdy woman. But I have unbreakable bones and a strong build and even when I'm not doing any sports I can still lift most of my friends up and spend a whole day marching. I am undeniably fat and I'd need to lose weight, but I'm far from being the kind of obese most people imagine when saying the word. Like, many people including males in seeing me genuinely don't think I'm in any way medically problematic.

BMI is shit. It's shit on so many levels. Everyone knows that. Yet the nurse kinda frowns, she didn't expect those numbers.

I go out from the doctor. It's a nice, sunny day.

I am thinking about killing myself once again.

I think about all of the desperate work I put into learning how to take pleasure from food and still eating healthy - once a week I have pizza. Once a week I might have a sandwich with a bit of mayo or a sushi lunch. No soda of any kind. Some biscuits at breakfast because in my culture breakfast is carby and sweet - but my breakfast is overall not that big deal. I don't drink alcohol. I don't smoke. I don't do drugs. I try to be intuitive and follow the needs of my body. I take long walks whenever I can - if I can't it's because university is a fucking full time job nobody ever recognizes and I get TIRED.

I'm fat and no amount of salad can change that. My weight stayed the same for seven years after school no matter what and how much I ate. Science is telling us that size is 90% genetics and epigenetics and diet culture is killing people.

I tried to learn how to enjoy eating and how to do it in front of other people and how to share. But now I'm having thoughts about how much I need to lose and how to do - no more weekly pizza? No more sushi? Never again? A sad sad life of counting calories and going back into massacring my body in sports the way I did when I was a teenager? Or maybe I could finally fit (haha) the criteria for bariatic surgery, so I can have exactly one slice of pizza per week and be satisfied with it for the rest of my life. Still a bit sad but fine, I guess. I wasn't meant for pleasure anyway.

I think about how people were grossed out by my body and mocked and ridiculed me and whoever looked like me. Thin was the price to pay for being free to exist, for being at least a girl/woman - not even a person, misoginy still counts, but a girl/woman. A fat girl, a fat woman, is less than that, she's scum.

I think about how the men (boys actually) I partnered with were delighted with the fact that they could hit me and be rough - I could take the pain and no serious damage was ever done. But fucking me and hitting me did not make me their girlfriend. Their reputation could be ruined, God forbid. The very first male friend who didn't actually bother about being seen in public spaces with me... well I met him at 20, exactly 20, it was my birthday.

I think about the repulsion I feel in the morning when I shower and I see and feel my naked body.

Yesterday a friend of mine, a friend of mine who says I'm beautiful, who calls me "hottie" on a regular basis, and I were drinking a cocktail. She took a picture of me for Instagram and I was OK with it. Now I think about how people might see me and feel the same repulsion. I get them.

I think about a woman my age who just died in my country because of bariatic surgery. She went under and never woke up. She was just like me, big and sturdy but healthy, happy. She had a boyfriend and friends - one friend in common with me indeed - but the job market wanted her to be skinny. So she died.

I raise my gaze and see a man, his lower abdomen so bloated it hurts to watch, slowly walking to somewhere. I don't want to blame a guy who has done nothing but exist, but... has he ever thought about his body in the same terms I think of mine? Look at his slow slow walk... entirely different from my fast and nervous pace, the one that has my acquaintances and friends screaming "where the fuck are you running please wait for us short-legged people you valkyrie", fast and nervous not only because I have places to go but mostly because I have calories to burn. Does he know that fast walking makes you healthier? He doesn't seem to know. Health for him is a non concern.

I'd deserve a healthcare system that does something for me. What I have is ineffective measures for serious problems and a useless culture that would rather have me die in an unnecessary surgery than just reconsider it's priorities. Tell that woman that it was for her health. Please, go on her grave and tell her.

I get to a bar.

"Good morning, may I have a coffee cream, please?"

My head has not stopped spinning yet.

#radblr #fat woman life #radfem safe #radfems please touch #gender critical #radfems please interact #terfs do touch #radfems do interact #fatness #fat healthcare #women healthcare #women health #useless ramble #fat acceptance #some people are fat #and that's okay

[zkfanworkweek]

ZFAW Fan Content Creator Interviews: HayleyNFoster

Hey everyone! We hope you’re all excited for ZFAW, and to honor (ha!) ZFAW’s commitment to supporting and celebrating fan content creators in the Zutara fandom, we’re going to be rolling out a series of interviews with well-known and widely-beloved content creators over the next few weeks. We’ve got artists and fanfiction authors, some names you recognize as well as a few phenomenal up-and-coming talents, and we can’t wait for you to meet them all!

For the second interview in this cycle, we have our best propaganda creator and this fandom’s hottest new artist/undisputed queen of the animatic, @hayleynfoster!

1. Tell us about how you came to ship Zutara. What does this ship mean to you?

When I was around 14 or 15 and caught Avatar: The Last Airbender on television, I was drawn in by the art style, the humor, and the wonderful characters. I caught the episodes out of order, and the first one I saw and wasn’t prepared to be sucked in by was The Waterbending Scroll. It intrigued me at that age, and the line “I’ll save you from the pirates” combined with the tension between Katara and Zuko in that whole scene was electrifying. I remember my teenage self thinking these two have so much chemistry! And when I saw a commercial on Nickelodeon that featured fanart submitted by fellow Avatar fans, I realized that I could do that to! So I set about making Zutara fanart for myself. I stumbled onto Youtube, practically in its infancy, and discovered that people set clips of Zuko and Katara set to music (And this was still in season 1 days… so people who made these amvs were the real mvps because they were able to make compelling narratives in their amvs with like practically nothing to work with!). The AMVs really spurred my interest in this couple, I remember distinctly one Zutara AMV using the Dido song White Flag utterly capturing my imagination. I found fandom shortly after, getting into deviantart and forums. But the ship really began to mean something to me when, as I was working on my drawings in the computer lab at school, a buoyant presence hovered over my shoulder noticing my Zutara art on the computer screen. The girl was someone I had never really talked to and had only seen from afar but she immediately started excitedly saying she shipped Zuko and Katara too! In this simple shared obsession, I made one of the best friends I’ve ever had and we’re still friends to this day. We would theorize and fangirl over Avatar like it was nobody’s business; we poured over bootleg San Diego Comic Con footage that showed spoilers for season 2 before it aired; we lost our freaking minds when we finally saw The Crossroads of Destiny. We had watch parties every week as Season 3 of A:TLA aired, and comforted each other when the show ended as it did (much ranting was shared). Those are some of my happiest memories from high school… all because this one pairing from this wonderful show. Even though Zutara didn’t happen, we still chat every now and then about it. Zutara will probably be a lifelong obsession, always bubbling under the surface. And without it, I would have never realized that animation was a viable career path. It really did inspire everything including the work I’m doing to this day in the animation industry. I owe a lot to this ship and to Avatar: the Last Airbender.

2. What inspires you to create zutara fanworks?

The resurgence of Avatar: The Last Airbender this year really helped sort of spark that dormant love I had for Zutara. The show’s ending still disappointed me on the rewatch, but Zuko and Katara’s relationship arc was as captivating as ever, so I turned to some fanfiction and looking at people’s pretty Zutara art and AMVs to just revel in fanon instead of getting to hung up on the actual ending of the show. But then I realized, with quarantine and my work load being pretty light, I had time to actually make all new Zutara art for myself, art I was never fully capable of making as a kid, but now could do with my 7 years of industry experience and just… life experience. And I was inspired to do some corrective animatics to satisfy my own desire for a different ending. I just really like exploring these two characters, doing different and interesting things with them, and frankly I’m inspired to make cute, fluffy, romantic art simply by virtue of living in a really sad and depressing world. Things are so crazy right now, creating art about two characters I love being in love, is comforting. And it helps to have inspiring music and amazing Zutara amvs to just sort of stir up my emotions and imagery in my head to make into animatics and art.

3. Be selfish - if you could request one fanwork based on your own art/fanfic, what would it be? What would you absolutely love to see someone create?

Ohhhh… Well, It’s always nice to have people write fanfiction that puts words to my animatics. I am not that great at coming up with dialog myself, so I’ve just chosen to indulge in visuals and emotions for my boards. But when I read things like RideBoldlyRide’s take on my Reunion Animatic, it makes me pretty giddy. (They finally have voices!) :) And this is the MOST selfish thing I could request, but I’m not shy about saying how much I love well done amvs, so I will literally kill for someone to make Zutara AMVs to songs I like… Like, most of AURORA’s songs but especially Exist for Love, Sunseeker by The Naked and Famous, Promises or Take Me by Aly & AJ, Adore You by Harry Styles, Human Enough by ONR, Never Let Me Go by Florence + The Machine, and/or Almost (Sweet Music) by Hozier just… I can see the AMVs so clearly to any of these songs in my head, but I don’t have the tools or skill set at my disposal to make a compelling fan video. When I was in high school, I originally thought I wanted to go into video editing simply because I loved making very crappy AMVs (they were so bad you guys), but I figured out being a storyboard artist was more in my wheelhouse. haha

4. Any words for people who are new to the fandom and/or nervous about sharing their work for the first time?

If you’re new to the Zutara fandom, just have a good time! Don’t waste too much time arguing with people over your shipping preferences. I wasted so much of my teen years having pointless shipping wars with people on DeviantArt, and I’m just so much happier nowadays because I’m just making Zutara art in my little corner of the internet, and honestly, in the politest of ways, I don’t give a shit if people don’t like my art or Zutara. haha I think that’s sort of a key thing for people thinking of posting creative works here in the fandom, just make art for yourself, satisfy your own desires for the pairing, get your creative sparks flying, and create just for the joy of creating. It’s always nice to get comments and such, but simply making the art should be what spurs you on, not the external validation. And have a good time, don’t worry too much - I say as someone who worries about EVERYTHING. But honestly, making art for A:TLA is some of the most relaxed I’ve been because I make it just for me. I’m lucky others seem to like it too!

5. What’s an idea for a fanwork that you have but haven't gotten around to making?

I have an idea for a second generation storyline with my Zutara kids that involves Kya (the eldest firebending daughter) falling in love with an airbender boy (tentatively named Gora in my headcanon who’s a bit of a rabble rouser and one of Aang’s kids he had with a Kyoshi Warrior), and then they start a socialist revolution in the Fire Nation in order to dismantle all of the hierarchical societies across the Avatar world… Together Kya and Gora Fan the Flames of revolution… ehhhhh... Get it?? Oh! Oh, and then Katara, who had put in legit liberal reforms in her time as Fire Lady listens to her daughter after resisting in the first part of the story, but then realizes she can actually play a part in the dissolution of the royalty and is also active in the revolution realizing that moderate liberal reforms are no substitute for a society free of serving royalty (which she had always been uncomfortable with but had rationalized with herself that she was doing good in her capacity as Fire Lady.) I just feel like there’s a lot of cool potential for discussing these ideas and also having some aspirational change in the Avatar world. lol For aesthetics and just happy fluffy times, I can indulge in Fire Lady and Fire Lord Zuko stuff, but really at the end of the day, I take issue with the structures in a society that have to exist for monarchies to exist. Soooo, I kind of want to do my own corrective story for that… if I ever have the time or guts. On a less ambitious note, I would love to do a Zutara sparring animatic to practice doing action, but I need a good story; I am not good at doing fights just for fighting’s sake. Those are just some things I have rattling around in my head.  

6. Are you participating in ZFAW? If so want to give us a hint as to your plans?

Yes! The most I can say is I have one animatic almost finished and one that’s still being thumbnailed. The rest are probably going to be comics or emotive single pieces based on the fanfics I really like right now. :)

#interviews #zutara fanworks appreciation week #zfaw #hayleynfoster #zutara