“So,” said Miko, “I heard you used to study humans.”
“I used to study your *planet*.” said Starscream, still typing, “Many planets, in fact. And by extension, the lifeforms that they produced. Why do you bring this up?”
“Ratchet just told us.” Raf supplied.
“Oh?” Starscream continued to look at the screen.
“Aaaand, we figured…” said Miko, “since… well you’re gonna be here for a while, what with the alliance and everything…”
“–That you might be interested in asking us questions!” Jack piped up.
“And we thought we could ask *you* questions!” said Raf. Starscream actually stopped to look at them properly.
“Think of it as… a cultural exchange.” Miko said with a grin.
“What knowledge do the young of your species possess that I could not have already discovered?” Starscream said with a quirked brow, “I have observed your wars, politics, your biological make up, your scientific endeavors, your social engagements. What use would your information be to me?”
“It doesn’t have to have a use, it can just be a fun fact.” said Raf, “For example, some humans, like myself, like to build computers recreationally…”
“While *I* like to jam out to epically loud music!” Miko said, fiddling with an air guitar.
“Do you have any fun facts about Vos?” asked Jack. Starscream’s wings stiffened. “That’s where you’re from, right?”
Starscream thought about whether to entertain them or to ignore them, but in the end…
“… Vos was a city for flight frames, like myself. It was made up of tall spires that had landing and launch pads installed on them to aid in transportation.” Starscream said with a sigh, “Your fun fact is that the shortest spire was approximately 3 times the height of the One World Trade Center, in New York City.”
“That was the *shortest*?!?” said Miko. Starscream nodded.
“Cool!” said Jack.
“Anything you can think to ask us?” said Raf, looking hopeful. Starscream hesitated again, but decided to press on despite his embarrassment.
“Alright…” he said, turning around and kneeling lower to their level, “What exactly is the function of a rubber duck?”
Poly Relationship with TFP Soundwave and Shockwave
● S/O isn’t allowed in the lab when Shockwave is working; it’s too dangerous and absolutely illogical. So during times like this, S/O is typically with Soundwave. He’s a pro when it comes to multitasking, so he’s more than capable of keeping S/O entertained until Shockwave takes a break.
● You know Soundwave will record anything cute that S/O does and show Shockwave later
● Sometimes S/O and Soundwave force Shockwave to take breaks because he’s a total workaholic. These breaks include tons of snuggles and S/O giving these boys lots of smooches. Soundwave has a heart on his screen the entire time.
● Neither of the wavebabes have mouths, which means there’s a lot of soft helm-to-forehead touches. It’s adorable really. A giant alien robot gently touching foreheads with a tiny human. It doesn’t get much cuter, folks.
● S/O is always allowed to sit upon Shockwave’s tiddy
● Soundwave makes lots of cute home movies. He plays them when all three of them are relaxing together.
The dazzling shine of the car is what first catches your attention, but it’s your curiosity that draws you to it. You feel almost compelled to approach the silent, sleek sports car that rests along the side of the steet, illuminated by the nearby streetlights. You’re certain that you’ve never seen this car before, and that puzzles you to no end. You live on this street, after all, and to your knowledge none of your neighbors had gotten a new car. You didn’t recognize it from anywhere else in town either, and with how small a place Jasper is, you’re sure you’d remember a car as nice as this one if you had ever seen it around.
Could we have more starscream pitying the sad human (in that human pet scenario)?
Starscream (Transformers: Prime)
Starscream had been watching you whenever he was in the same room. It was subtle- a simple glance out of the corner of the eye, a head slightly turned- but enough for you to notice. You had all the time in the world to scrutinize the area, while you hold back shivers as Megatron stroked across your back.
The Seeker sneered, turning his gaze back to the monitor. He couldn’t stand seeing your dead stare anymore. It’s simply disturbing.
The more he watched you, the more he actually /pitied/ you- this weak creature that only deserved to be killed. He didn’t feel the need to help you. He valued his own life more than his morals- what little he had left, anyway.
He hated the feeling in his chest plate, hated how your monotone voice haunted him. He can still hear your dry, cracking chuckle. He despised it. He despised /you/.
And yet… he finds himself coming to your cage, when Megatron is away.
He loathed you- the novelty that his leader obsesses over. He can’t stand the feeling in his spark when you’re around.
But, when you finally speak to him… he realizes how alike you two are- trapped with Megatron against your will. Used for his own gain, abused and neglected.
Perhaps… that’s why he despises you so much. You remind him too much of himself, and he hates it.
I’m not a fan of metas based on reading faces. I’ve seen other people do it well, but I’ve never liked actually basing conclusions off expressions alone. Everything exists in context, but especially facial expressions. They’re also the easiest thing to project onto– you can read a lot of things into a facial expression, and I’m very wary of that sort of thing in analysis. I am particularly wary when shippers do it and/or there’s an agenda involved (and usually there is an agenda involved, in fandom). My point: I don’t really do facial analysis if I can help it, and certainly not alone. But there’s definitely a point in TFP where the show kinda begs you to look at Sherlock’s face, and I can’t deny it’s interesting.
In a general sense, I’m also kinda going through the things that seem off or are interesting in Series 4 (in no particular order), and of course, I haven’t addressed this yet:
I remember being struck by this when I saw it in the trailer, and analyzing it a bit. It was obvious to me it wasn’t to John, because John is behind Sherlock. In thinking about it before I knew the context, I thought it was weird, because Sherlock looked so unhappy. His whole expression is… tense, disturbed at something. It’s not the kind of face (or set-up) one associates with an ‘I love you’, so I thought something rather dark must be going on.
Now, I agree with the analysis that this isn’t Sherlock’s ‘lying face’, or the over-the-top acting Sherlock was doing with Janine in HLV. This is definitely different. But the only two options aren’t ‘he’s lying’ vs ‘he’s just realized he means it’. The difference between TFP and HLV is context: in HLV, Sherlock went on to dismiss John’s horror at his callousness, and say love was ‘human error’. In TFP, Sherlock no longer thinks so. That is the point.
A lot of people (no matter what they ship) don’t understand this scene– they either seem to think it’s gratuitous emotional torture, bad Molly characterization (because she’s apparently not gotten over her feelings, though as I’ve said, there’s no reason to think she had), or– I suppose– there to show us that Sherlock just loves Molly back, all appearances to the contrary. Of course, many fans essentially believe there doesn’t really need to be a reason for that last option, particularly seeing as it’s about a heterosexual couple, so I’ll just say that no, there actually does need to be a reason, not to mention build-up. Besides, if Sherlock simply… meant it, that would kill the drama (and the intended darkness) of the scene. In general, no matter what Sherlock’s face says, the narrative has to support it or it makes no sense and constitutes bad writing. But for what it’s worth, his face doesn’t really say ‘I love you’. He looks sad and disturbed, but I do believe he also looks like he’s realizing something on some level. It’s a form of his serious deduction face, except we don’t get as much of an inward look as we did the last time this happened, during the wedding speech in TSoT (as I once wrote extensively about).
So what is Sherlock realizing, in context?
That question is closely tied to asking why that scene is there. I mean, I’ve seen plenty of Johnlock shippers sort of riff on the fact that the deduction of the person meant for the casket could have been about John– he too is short and practical, and he loves Sherlock! But I think bringing John into it is a derailment. It’s not about John, but it’s not about Molly, either, not directly. Like I said in my John analysis in TLD, it’s not about John ‘cause it’s about Sherlock. Obviously, this applies to this scene: we’re focused on Sherlock’s face here, full screen. That certainly suggests that we’re meant to be focusing on him (and his arc).
And yes, that’s what I think it’s about. I realize most people who’re not Johnlockers seem not to care that there’s an arc, but even though we’ve been wrong about various things, the one thing I’ve been right about is the importance of Sherlock’s arc. Moffat has explicitly referred to it and its relevance to TFP, too. This is Sherlock’s test, his final test (as administered by Eurus, the embodiment of the ‘high-functioning sociopath’ persona). The Final Problem is becoming human.
So what does that have to do with Molly? He’s already told Eurus that he realizes his life is not his own: “Your own death is something that happens to everybody else.” So he’s learned the lesson of Reichenbach. The ‘human error’ thing is about people like Janine and Molly though, in the show. He doesn’t really have a problem accepting his feelings about John (however you want to read them); as soon as he realized them, around TEH and TSoT, he accepted them. John is always the exception. It’s everyone else’s feelings– and feeling in general– that Sherlock hasn’t taken seriously or accepted as valid, as important, as worth empathizing with. So this is the final step: he’d already felt bad for Molly in TEH, but he didn’t take her feelings fully seriously, because then there was Janine. Love was still ‘human error’… but then Sherlock kept making that error. You don’t have to read this romantically, though it’s certainly not been about Molly. He’s made the error about John, about Mary, and even about Eurus (in TLD). That’s what he was telling Mrs Hudson with ‘Norbury’. He knows that ‘human error’ is something he has to take into account. Heartbreak is something Sherlock is now very familiar with. He has to feel it, but he doesn’t have to fear it (as Moriarty said).
Sherlock fake-smiled when he proposed to Janine because he was dissociating, essentially. Here, he wasn’t. But that doesn’t mean he was confessing his love. It means he was fully feeling the awfulness of what he was doing to Molly, and that he was aware he was using his real feelings– because he really does care about her as a friend– to hurt her, essentially. This is the realization he started to have at the end of TAB, about how many women he’d hurt. This is the consequence: it hurts. It burns. It aches, being human. But it allows him to reach his sister, in the end, so the point is not about avoiding the pain but embracing it.
A small offering to @itsthelass for her amazing Uneasy series, here’s a small scene from Beyond the Brink, the most recent story. I’m so excited that it’s being updated again, it feels like my birthday.
Mega cheers to @ladybajingoarts for introducing me to this rad pairing, and my awakening into a total giant robot nerd. This pairing is life.
TF:P Starscream because I’m still learning his G1 model.