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chrisevansonly · 1 year

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Hands Off My Momma! (Little Duck AU🐥💛)

Pairing: dad! Chris Evans x Momma Evans (Female Reader)

Summary: Everyone at the Middlesex County DA’s office knows Matthew, and I mean everyone, and sadly so do you. He will not leave you alone, no matter what you say do, so what happens when Chris and your daughter stop by your office for lunch? Let’s just say Little Duck is ready to fight for her Momma, whatever it takes

Warnings: slight angst? Matthew is a butthead, protective Arlie and Chris

A/N: This took me way to long to get out so I apologize, I am going to try and get a head start on some of the other long requests, so be on the lookout for those! This is short and bad but happy reading!!

Word Count: 834

The office was unusually quiet today, though you wouldn’t complain considering you’d just finished up your last major case for the next few weeks, so you’d take quiet over the insanity it usually was. The only thing that wasn’t so quiet were the knocks that hit your door, part of you already knew who it was, but you wanted to see if ignoring him would get him to leave

“There’s my favourite lawyer in the building!”

You rolled your eyes, four seconds away from filing a workplace harassment claim against him. Who’s him you might ask, well that would be Matthew Wheeler, one of the assistant district attorneys that worked at your building

“What can I do for you Mr.Wheeler?”

He took a seat in front of you, yet your eyes remained on your computer screen, going through a few last minute filings

“Wow, so formal, I thought we were on a more personal level at this point”

“Nope.”

He hummed drumming his fingers on your desk which by the sixth time made you look at him, your expression one of annoyance

“Ah there she is, so I was thinking, me and you, lunch?”

You smiled eyes lighting up as you watched him get his hopes up

“Oh, wow really?”

“Yeah really, want to go?”

Putting a hand over your heart, you stared him dead in the eyes, it was honestly quite comical how easily gullible this man was

“No. I’m married, now go away.”

He scoffed crossing his arms as you once again waved your engagement and wedding band in his face

“So? That doesn’t deter me.”

“Well, it should.”

You got up grabbing the keys to the copy room since you had some papers waiting for you at the printers, when you walked around your desk, Matthew grabbed your hand tightly in his making you stop

“What the hell do you think you’re doing?”

“Just one chance, married or not, one chance, one lunch please.”

You scoffed and before you could say anything you heard little feet running down the hall and all of a sudden Arlie was sending little punches to Matthew’s leg

“Hands off my momma!!”

You almost wanted to laugh but quickly picked her up shushing her softly as her little fists clenched, her eyes narrowed at the stranger that was bothering her mom

“I was going to say the same thing, but my daughter beat me to it.”

Matthew rolled his eyes going to leave and Chris stopped him

“You ever bother my wife again, I don’t care what form, I’ll ruin your life.”

Arlie crossed her arms watching him leave before uttering

“Stupid meanie head.”

“Arlie Mae…”

She looked at you and smiled innocently

“Hi momma!”

After laughing you covered her face in kisses before sending a smile to Chris before he pressed his lips to yours

“My knights in shining armour, what are you two doing here?”

“Wanna go for lunch momma?”

You thought about it for a moment

“You know I am kind of hungry, and you two are my favourite lunch dates…just give me a second to pack up”

You put Arlie down on the ground before pulling Chris in for a hug

“Thank you for that, I’m going to talk to Michelle about it tomorrow and get him fired”

“Good, I’m glad, you’re welcome honey”

You packed up some files to take home, stuffing your laptop and any other small knick knacks you needed in your bag, sending a note to your assistant to grab the paperwork at the printers, thankfully it wasn’t super important

“Momma you ‘weady to go?”

“I am little love, where are we going to eat?”

Arlie took one of your hands while Chris took the other and together you walked out of the building and down to the car, Arlie humming the whole time as she thought about what she was hungry for. Right as you finished buckling her into her car seat she clapped

“Sushi and stringy noodles!”

You chuckled, knowing she was talking about the small sushi and yakisoba restaurant you three loved, and if you were being honest, sushi sounded super good right now

“That sounds perfect my love”

You got into the passenger side of the car, and Chris got in soon after, reaching to take your hand when you were both settled, the car starting up

“Thank you for the lunch surprise, I love you”

He smiled, bringing your hand up to his lips to press a kiss to your palm

“I love you, and I love surprising you, even if I have to threaten someone to do it”

Your laughter filled the car as you began to drive off towards downtown Boston, you were so grateful for this little family of yours, and especially to your spitfire of a little girl. Arlie was just like her daddy in that sense, they’d always protect you no matter what, and just because she was a toddler, didn’t mean she didn’t pack a mean punch.

#little duck au💛🐥#little duck head cannons🐥💛#little duck 💛🐥#momma & arlie mae #momma x arlie mae #momma x little duck 💛🐥#chris evans & momma evans #chris evans x momma evans #chris evans x little duck💛🐥#chris evans x arlie mae #chris evans & arlie mae #chris evans x reader #chris evans x wife reader #chris evans x female reader #dad! chris evans #rueswrites #ruesfriends💛

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justforbooks · 12 days

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Christina Hendricks

The star of Good Girls discusses Mad Men, sexual harassment and squaring her glamorous reputation with her ‘weird, goofy’ personality

Christina Hendricks appears on our video call with the most dramatic backdrop. Art deco gold peacocks bedeck a black wall, making her look, as she has so often in her career, a bit too good to be human. Perfectly poised, perfectly framed, perfectly lit, she is more like a dreamy vision of what humans look like. “I, erm, like your wall,” I say, pointlessly. She flashes a smile, as if to say: “Obviously.”

We are here primarily to discuss the comedy-drama series Good Girls, the fourth season of which will resume in the US this month after a midseason break. The elevator pitch would be Breaking Bad for girls: three suburban women, each hovering on the edge of bankruptcy, unite to embark on a life of cack-handed crime, only to discover they are good at it. The ensemble – Hendricks, Mae Whitman, who plays her sister, and Retta, their friend – works strikingly well, their pacey comic rapport instilling a sense of perpetual motion. You just can’t imagine Good Girls ending. Every time a plot line seems to be reaching its climax, something worse – and funnier – happens.

“It’s funny you say that, because originally, when I read the pilot script, I thought: ‘I love this, but I can’t imagine this being more than one episode,’” says Hendricks. “It felt like it finished itself.” She is unsentimental about it. Hendricks wasn’t looking for a new show – “I was happy doing films, taking my time” – but went into it with her eyes open. It is a network drama, for NBC – it is shown on Netflix in the UK – so producers are always aware that “it’s going into every house in the US on a Thursday or a Sunday and a family is watching it. They’re much more careful about numbers and advertisers and people being offended or not getting it. A cable show is much more: ‘We trust this creator – they’re a visionary.’”

It has a conventional tone – however dark the material, it is handled very lightly. Yet you can’t help but notice some hard-boiled social commentary from the off – if it weren’t for the bracingly callous US health system, the generation of wage-stagnation casualties and the patriarchy, none of the characters would have gone anywhere near a supermarket heist. More than Breaking Bad, it reminds me of Roseanne and the golden age of US mainstream comedy, when you could be poor on TV without that being a breach of good taste.

The 48-year-old has been a household name for almost 15 years, thanks to Mad Men. She was born in Tennessee, where her mother was a psychologist and her father worked for the Forest Service, and educated in Oregon and then Idaho. She didn’t have time for formal acting training; by the time she was 18, her modelling career had taken off. Later, when she had a manager, she took acting lessons: “I did that for almost a year and a half and put auditions on ice. Then I was watching a film – I don’t even remember what film it was or who was in it – and I thought: ‘I’m ready. I can do this.’” She has the most insistent work ethic; as she describes her life’s trajectory, she notes diligently the jobs she had while she was at high school, at a hair salon and a menswear shop.

In 2007, she appeared as Joan Holloway in Mad Men. She played the role for the next eight years, her character growing around the depth she brought to it, until by season seven she was almost the central part. In the early 2010s, Hendricks was talked about constantly, although she says the original focal points of obsession were the male characters: “Men started dressing like Don Draper and Roger Sterling. Suits came back in, skinny ties came back in. It took three to four seasons and then all of a sudden people wanted us [the female stars] on magazines. We were like: ‘This is strange – we’ve been doing this for a while.’”

Hendricks, along with January Jones, who played Betty Draper, came to represent so much. There was a great deal of rumination on their physicality, Jones as elegant as an afghan hound, Hendricks like the pin-up painted on the side of a bomber. What did it mean, people asked, that in the middle of the 20th century there were multiple ideals of the female form, whereas in the 21st century there was only one? How did that complicate the perception of gender equality as a steady march towards the light? Thousands of column inches went on that question – but, from the actor’s perspective, it was an annoying distraction. “There certainly was a time when we were very critically acclaimed, and getting a lot of attention for our very good work and our very hard work, and everyone just wanted to ask me about my bra again. There are only two sentences to say about a bra,” she says.

The signal impression the show left was of an ensemble at the peak of its creativity: actors, writers and the creator, Matthew Weiner, working in almost telepathic unison. It won the Emmy for outstanding drama series four times in a row, but the more notable year was 2012, when it was nominated for 17 Emmys (and didn’t win any of them). The take-home was: everyone involved with this is absolutely brilliant.

That harmonious picture was blurred two years after the show ended, when one of the former writers, Kater Gordon, accused Weiner of sexual harassment. Marti Noxon, a consulting producer on Mad Men, concurred that Weiner had created a toxic environment and said that he was an “‘emotional terrorist’ who will badger, seduce and even tantrum in an attempt to get his needs met”.

Hendricks takes this head on, in a considered, straightforward manner. “My relationship with Matt was in no way toxic,” she says. “I don’t discount anyone’s experience if I wasn’t there to see it, but that wasn’t my experience. Was he a perfectionist, was he tough, did he expect a lot? Yes. And he would say that in a second. We were hard on each other.”

It is impossible, from this distance, to adjudicate on Weiner’s character, but Hendricks’s response reveals something of hers. The easiest response in this situation, and the one 90% of actors give, is: “No comment.” Hendricks is always collected, never evasive, doesn’t gabble. She reminds me powerfully of Joan Holloway – and I am sorry to say it, because she insists throughout: “I’m an actress. I am completely not Joan. Not in any way. I wish I was more like Joan.”

I wonder if, while we were all fixating on Joan’s bras and whether or not, in the asinine words of Lynne Featherstone, the UK’s equalities minister in 2010, she represented a “curvy role model”, the audience was responding to Joan’s deeper life lesson – that self-possession is 9/10ths of the law.

What Hendricks emphatically doesn’t do is minimise the existence of sexism and sexual harassment in the industry: “Boy, do you think anyone in the entertainment industry comes out unscathed and not objectified? I don’t know one musician or one model or one actor who has escaped that. I have had moments – not on Mad Men; on other things – where people have tried to take advantage of me, use my body in a way I wasn’t comfortable with, persuade me or coerce me or professionally shame me: ‘If you took your work seriously, you would do this …’

“Maybe it was my modelling background, but I knew to immediately get on the phone and go: ‘Uh oh, trouble,’” she says. “That’s where it’s very much a job. We need to talk to the producers and handle this professionally.”

Yet, at the same time, she is defensive of her industry. “It gets a lot of attention because people know who we are. I’m sure there’s a casting couch at the bank down the street, I’m sure the same thing happens in management consultancy, but people don’t know who the management consultants are.”

Modelling always sounds like a harsh environment – predatory photographers vying with stringent agents to give everyone a complex about their thighs and stop them eating carbs. But that is not how Hendricks describes it at all. Her career sounds like one out of an 80s Judy annual: innocent and hearty, good for pin money and travel opportunities. “I think I was lucky – I didn’t start when I was 14. When I was about 18 or 19, I went to Japan for the first time, I went to Italy. We’d be lots of girls, sharing a house, and I sort of became the den mother. I’d make everyone egg salad sandwiches and Greek salads, going into this mother hen role.”

That is what they say about being taken hostage: if you want to survive, choose someone to look after. “Oh,” she says, coolly. “I wouldn’t consider being a model as being a hostage.”

She was only ever medium-successful, she insists – an “unusual and quirky” hire, rather than the slam-dunk face of everything. About as far as it went was that she never had to get another job to supplement her income. Probably the most famous image of that era in which she was involved was the poster for American Beauty. Two models were in the frame, so they took a photo of the stomach and the hands of each. In the end, they used Hendricks’s hand on the other model’s stomach. It sounds like a clunky metaphor, but it is true.

During this period, she moved to London with a friend, for the hell of it, living in a flat on Gloucester Road, “surviving on cider and hummus”. It is a glimpse of the oddball she says she was growing up, the outsider as whom she is rarely cast. This has been the story of her CV. “Early on in my career, I would get auditions and I would call my manager and say: ‘I would never cast me in this – she’s a cheerleader, she’s a bimbo. Can I audition for the other one, the weird doctor?’ And they’d be like: ‘No, they saw your picture.’ And I started realising that people didn’t see the weird, goofy me that I saw.”

She made the jump from modelling to acting via adverts, with what looks like fairytale ease. In fact, it was “a lot of pounding the pavement and showing up for auditions and getting rejected – and learning, as a young woman, to not take that personally”. By the late 90s, she was the face of ultimate female confidence, the woman who drinks Johnnie Walker and doesn’t need a chauffeur (these are two ads, not one for drink-driving). “I always thought of modelling as freeze-frame acting. It felt like a scene, and I still consider it that way. There are so many technical things that I think people don’t notice. They see you playing dress-up.”

From the commercials, she learned “how to hit a mark, how to memorise a line”, but acting wasn’t novel. She had been doing community theatre since the age of 10, and grew up expecting an alternative life, supplementing an art-house existence any which way. She never amplifies her creative urges. She is much happier talking about professionalism and graft, but that is strategic more than anything else. “I am incredibly emotional and I take things very personally. But I’ve learned to be a little bit of a politician and a little bit of a producer along the way. As a female actor, the easy go-to is: ‘She was emotional, she was hysterical.’ It can be a million other people’s fault, but it’s easy to point your finger at an emotional artist. So, I realised: if I’m going to be taken seriously, I need to have professional perspective and I can cry about it to my friends later.”

Yet she cares deeply about creativity, as is clear when she talks about Mad Men. “It may eclipse anything I ever did. And, if it does, it was a good one and I’m proud of it,” she says. “I got to bring who I was as a woman. I think I learned some of how to be a woman from Joan. No one would give a shit about me if it wasn’t for that show. I’d still be doing good work, but no one would have found me. If that’s the best thing I ever do, it was pretty good.”

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Christina Hendricks #Portrait

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maemil · 2 months

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Like father, like daughter.

Batgirl (2000) #42 & #45

#barbara gordon #oracle #cassandra cain #batgirl #batgirl (2000)#batman #dc comics #mae reads comics #id in alt text

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mamawasatesttube · 14 days

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adventures of superman (1987) #531

big dramatic action shot of everyone being intimidating. and then there's kon just posing up there in the corner. he doesnt know how to stop posing. hes so annoying. i love him so much

#rimi talks #if you cant tell ive been reading the trial of superman today #because i WAS reading steel and then suddenly superman got kidnapped by aliens so i had to open 6 tabs and also wikipedia to keep track #you know how it is with comic book events fjlskjdfkds #john henry #alpha centurion #eradicator #clark #kon #mae

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whatsaudreythinkingabout · 1 year

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randomly assorted scott pilgrim headcanons!

(mostly involving roxy)

(some involving future scenarios)

envy & roxy have the same weak spot behind their knee. they are also girlfriends. this is the most important headcanon & i have a whole separate thing that goes more in-detail on this but this is all you need to know

kim is a huge tegan & sara fan (she’s from canada and definitely bi so it makes sense). she likes their earlier albums (since it takes place in the mid-2000s it would probably be around the time so jealous and/or the con were released), and when heartthrob and lytd came out she tried to pretend she hated the new pop sound but she secretly loves it.

lynette lost her arm while performing a show with tcad that brought the house down. literally. the frequency of the vibrations emitted from their performance was powerful enough to cause a minor earthquake, and while the band was trying to escape the venue, her arm was crushed by falling debris.

envy is bilingual, having grown up in montreal, and speaks both english and french.

roxy & matthew are best friends. however, when they first joined the league, they absolutely could not stand each other. each thought the other was totally obnoxious, and they would constantly bicker and fight with each other. they also definitely got into the pirates vs ninjas argument on more than one occasion. eventually, after a sparring match gone wrong, they bonded over the fact that ramona had used them in some form while they were dating her (matt for his powers, roxy for her sexuality), as well as their love of too much black eye makeup, and they’ve been inseperable ever since. they definitely have a partners-in-crime dynamic, and their friendship is 80% snark and 20% chaotic dumbass.

later on, lucas gets roped into their friendship as well, and they form an unstoppable friend trio. roxy sees him as a cool older brother type. matt has such a huge repressed crush on him you don’t even KNOW and roxy teases him about it literally all the time

after the events of the series, they form a 3-piece punk band called roxy & the hooligans (title derived from a book i read when i was a kid). roxy is the lead singer and bassist (she learned how to play out of pure spite just to flex on scott & todd), matt is lead guitarist & backup vocalist, and lucas is the drummer. matt is also their special effects/pyrotechnics guy.

they’re also housemates for a little while, then matt & lucas start dating and roxy moves in with envy when they start dating. of course, this does not affect their friendship, and they have double dates frequently.

after she starts dating envy, roxy also forms another best friend group with julie powers and lisa miller. at first envy is worried roxy and julie won’t get along bc she thinks julie will be jealous of roxy for “stealing” envy’s attention, but they end up bonding over their shared hatred of scott.

lisa and roxy are identical twins who were separated at birth. (this was bc they’re both portrayed by mae whitman but i might retcon this one, idk)

meanwhile, roxy & todd actually, genuinely HATE each other. todd was always kind of a bully to her when she was in the league & she hates how much he gets on her nerves. to make up for it she loves to rub in his face how much he fumbled the bag with envy

envy was genuinely hurt by lynette going behind her back with todd bc she thought they were friends. lynette is pretty indifferent about it.

after the events of the comic, ramona starts a support group for all the women affected by gideon.

envy is a natural redhead, but started dyeing it blonde once she had her big rockstar makeover, and often alternates between the two shades.

(tentative, still figuring out whether i wanna make this a full headcanon) roxy is a natural brunette, but dyed (and maybe also cut) her hair after ramona broke up with her, as the gays™ are known to do. she also used to wear her hair in space buns instead of pigtails (whaat nooo this totally wasn’t inspired by spinel what are you talking about)

roxy doesn’t really care about the spelling of her name; she spells it with a “y” and with an “ie.” (alternate idea: she spelled it with an ie before the breakup and with a y after the breakup?)

barbie movies exist in this canon, and envy recorded “hope has wings” for the magic of pegasus when she was a teen (back when she was still going by natalie) but she’s super embarrassed about it. she has literally done everything in her power to hide it, but as soon as her friends find out about it they refuse to let her live it down.

likewise, finally out of pe exists in this verse except now it’s just part of envy’s early discography, which she wrote before she formed TCAD.

technically the events of the story happened at the same time the early barbie movies & brie’s album came out but we can afford to move the timelines around a lil bit just for funsies

kim created the maid costume herself, & she’s a closet geek/cosplayer. later on she & envy end up bonding over their secret nerdy sides.

she’s also a closet theatre kid

roxy is the kind of person that tries to put on a tough front to avoid getting hurt & being seen as weak but if you give her even one (1) single tiny bit of affection she will instantly fall apart (especially if you happen to be a pretty girl)

when gideon was messing with everybody’s memories, he ended up causing a rift in the universe that caused the timeline to branch into two separate realities (the books and the movie, respectively). when he was defeated, they merged into one again, but the characters now have memories from both realities. it’s a little confusing

wallace ends up getting together with stephen later on (maybe? they seem like they’d have a fun dynamic), and they’re happy together, but once wallace finds out about matt & lucas dating he’s so fucking salty about it bc HE HAD A CHANCE WITH LUCAS LEE THIS WHOLE TIME

ramona eventually becomes the lead singer of shatterband. scott & kim decide the two-person lineup isn’t working out for them; they need a frontman, someone with charisma to tie them all together. then they hear a voice coming from the bedroom. they go to investigate and find ramona singing softly to herself. she’s a bit hesitant to join at first bc she’s not super confident about singing in front of others, but they manage to convince her by telling her how she could totally one-up envy.

matthew is a proud, unabashed theatre kid. roxy is the kind of person who acts like she absolutely despises theatre kids (even tho she’s really just as melodramatic as matt but won’t admit it) until karaoke night rolls around & she suddenly knows all the songs

roxy is a mixed media artist & is proficient in quite a few different techniques, but her specialty is graffiti. since being a ninja takes a lot of discipline & she often got criticized for letting her emotions get the better of her, it gives her an outlet to be more uninhibited.

the twins are pretty aloof & don’t really talk to anyone else besides themselves; they just kinda do their own thing while viewing everyone else with either mutual respect or smug superiority. gideon doesn’t really give a shit about the other league members, but the twins are his “favorites” (relatively speaking) just bc of how efficient & powerful they are

scott & ramona end up in sort of a semi-throuple with kim. no one really knows what their exact situation is; whether they’re an open relationship, friends with benefits, or just officially all dating each other, but wherever they are, kim is usually also there, & they don’t question it. (honestly the more i think about it the more i like the idea of polyamorous ramona just bc there’s so many characters i ship her with)

maybe wallace also gets involved. just for funsies

in the future, roxy ends up taking knives on as her ninja protégé. as a mentor, she’s pretty no-nonsense bc she wants her to be able to reach her full potential, but she also tries to keep her temper in check & not be overly harsh on her just bc of what she went through in her own training (at the ninja academy she was looked down upon for her half-ninja status & constantly belittled for being too soft, undisciplined, emotional, etc. which caused her to push herself to the brink of total physical and mental exhaustion to prove them wrong, & that led to her parents pulling her out bc they were worried she was gonna push herself so hard it would kill her, & that whole situation is the main source of most of her insecurities). at first she’s put off by how relentlessly upbeat knives is, but then she sees how eager she is to make her proud & roxy can’t help but see a bit of herself in her. over time she comes to see her as sort of a kid sister, especially when knives eventually comes out to her, though she refuses to admit how much of a soft spot she actually has for her. she knows knives can handle herself, but she’s also grown more than a little protective of her (and scott is terrified of her for this reason)

i have a LOT of other HCs regarding specific backstories/relationship dynamics/etc that i might post later if i get the motivation for it but these are just some of my shorter ones

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dynared · 3 months

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“I'd also argue that the IDW style writing in Earthspark is extra-insular because it's not just a mandate to keep with evergreen concepts, it's also now a moral issue as it was with many of those writers, to keep the franchise away from "chuds" and undesirables that probably bought Energon Universe comics like crazy.” Sorry if I sound overly nosy, but would you mind expanding on this??? I only recently got back into TF (with my only previous experiences being YEARS ago when I was a kid and didn’t even know who Shockwave was) so I’m a little out of the loop

Let's describe this so that it doesn't come across as a GriftTube rant or an apology for other writers.

IDW's comic writing was very insular, in that it was written almost like fanfic was. In fact, many of the writers, most infamously James Roberts, got their start in fanfic (Roberts having written the notoriously weird, tryhard novella Eugenesis), and were more than willing to import their characterizations from fanfics to the official comics, most infamously Star Saber, who was reimagined from a standard Autobot leader/single dad with an adopted kid into a religious fundamentalist of the worst kind, because that was the characterization Roberts used. Most of the IDW writers did not have a high opinion of the Japanese Transformers material (the hows and whys are their own articles, but the short version is - the fan wiki had a hate-on for the Japanese material and those fanfic writers were in that same circle). Most comic companies flat-out say this is a bad idea. Marvel Comics, in their submission guidelines for Epic Comics, call the phenomenon "Writing a comic about a comic", namely that your work is only of value to a specific section of fans who are already engaged with the material, and who want to see the material altered in such a way that it appeals to their biases (in this case, the writer's big anti-Japan, anti-super robot sentiments, and the desire to deconstruct Cybertronian society as Simon Furman laid out in Marvel).

This also included a lot, a LOT of gay romance. Roberts and other writers were clear why, they wanted to write romance, the character line was mostly male, so you were getting gay romance. This spiraled into a lot of issues with a focus on gender identity (after a very, VERY poorly received Arcee comic where she was essentially driven insane by a transition from male to female), and sexuality.

These comics sold horribly but built a very dedicated audience, the sort of audience that would probably have read fanfics breathlessly. So much so the writing started to leave a lot of openings, poorly described items, and loose plot threads that fanfic writers could build off of and write their own interpretations of, as a fanfic writer will often do when they want to get their audience more involved. But in terms of selling comics, they were poor sellers, to the point that an attempt at a combined shared Hasbro Universe, via the comic crossover Revolution, tanked, icing Hasbro's plan for one for nearly 7 years (with the Energon Universe trying again with a much more measured, controlled attempt and the film producers promising a GI Joe/Transformers crossover film).

The problem is that a lot of the criticism of the stories (we don't want to read about Transformers romance endlessly, you treat characters poorly, these crossovers make no sense) was often interpreted by the writers and the fans as "We hate gay people and trans people, we want stuff blowing up", and the writers who were supportive of such issues, doubled down, dismissing their critics as a small number of prejudiced malcontents. Some of the writers and fans of the writing of IDW also went on to help with other animated shows like Cyberverse, the War for Cybertron Trilogy, and Earthspark, most notably Nick Roche and Mae Catt. Both have been adamant about how important representation and life lessons are to their writing, with Catt out-and-out bragging on Twitter that she had two female characters kiss because she knew it would annoy people.

"I AM THE GAY AGENDA!"

Catt discussing her goals for EarthSpark on Twitter/X

All the shows I have just mentioned were also commercial failures. Cyberverse toys still clog toy shelves in discount retailers, the War for Cybertron series did so poorly that when the same writing team proposed a sequel based on the Legacy toy line, Netflix turned them down, and the Q4 reports show Earthspark was a commercial failure with many theorizing the only reason it's getting a Season 2 is because Hasbro wanted something on the air for their 40th anniversary, instead of having nothing in media besides comics until Transformers One comes out in the fall of 2024.

This leads to the final part of this explanation. The new comics from Skybound have seen fit to ignore most, if not all of IDW's contributions to the franchise, more focused on lots of action and basic but effective and strong characterizations serving to re-introduce the characters to people who have never read a Transformers comic or haven't watched Transformers media for decades. This is quite the opposite of Earthspark's focus on identity and life-lessons that were designed for the more insular fandom. And the criticisms of Skybound from the internet tend to focus on that, that they're appealing to an audience that didn't want what IDW was giving, so they're prejudiced. The thing is that the sales numbers don't lie, with many retailers pointing out that Skybound's take on the Transformers outsold comparable IDW releases 10 to 1.

I really hope all that helps clarify things. Like I said, I think that the writing being done essentially by fanfic writers, for fanfic writers created something that casual or non-fans were not going to engage with, but the fear that their critics were prejudiced in some way caused many of the writers to double down on those same habits, even when it's clear that the back-to-basics storytelling of Skybound is attracting far more readers.

#transformers #transformers skybound #energon universe #idw publishing #transformers idw #earthspark #transformers earthspark #rambles

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