#Edgar troy

[thefantastician]

The final episode of Path to the Peak is out now!! Take a load off and watch all four episodes on YouTube! If you watched all of them already, THANKS YOU ROCK

[ecargmura]

Pokemon: Path to the Peak Episode 4 Review - The Finale

This is the finale of Path to the Peak is here! These past four weeks have been an amazing ride! Let’s hop onto this review for the last time, shall we?

Ava’s loss at Internationals caused her to be in a slump for weeks. Thanks to her mother, Ava realized that what’s most important wasn’t winning, but having fun; she had been constantly winning to the point that it got to her when she failed. What’s most important to her are the friends she made along the way. Because of this newfound resolution, she decides to head off to Worlds to challenge Edgar Troy once and for all.

My hunch of Ava’s mother being a TCG player was right on the nose! Ava’s old deck was what she had used in the past; she lost to a trainer who used a Pikachu which caused her to stop playing. I do wonder if that Pikachu player was Ava’s father. I do like that Ava’s mother finally played a role after being the backseat for the entire show. She was the one who gave Ava the pep talk she needed to rekindle her friendships and to win Worlds without stressing too much about winning.

I think that’s why Edgar and Ava are opposites. Edgar has been a long time competitive player, so all he knows is winning and the glory of that feeling. Ava wanted to dip her toes into that feeling, but it didn’t end so well. That was why she decided to play the game how she wanted to like how she did in the beginning—for fun. Fortunately, her words did get through to Edgar and Edgar finally humbles in a way. Also, while Edgar summoning Groudon was a good way to end the series, I do wonder why he didn’t attack straight away? Can anyone who’s familiar with TCG answer this?

I do like animated battles for this episode! It was so fluid! The way the Falinks were animated were good! My favorite part of the episode was Ava was summoning her side for the last round; all she had was Oddish and no bench Pokemon. Oddish’s expression killed me; it looked like it was in despair. I really liked how Ava and the writers made it so that Ava isn’t exclusively using one branch of the Oddish line, but both. Her Oddish evolves into Bellossom for the finale. The best part of this final battle was Bellossom’s kamehameha with that smug look. Also, the fact that the Pokemon card spirits were with their human partners truly made it a finale to remember. Kudos to Ava’s little fangirl for hanging out with a Darkrai. It felt like Pokemon and humans were united like how it was in other Pokemon media.

While this isn’t a true one-for-one adaptation of the Trading Card Game, I think that it’s a fantastic series that shows off how capable the card game can be as an adaptation. It doesn’t have to be Yugioh or Cardfight Vanguard-levels in drama and quality; it’s a good start to what Pokemon can do more with card game animes. I can tell the animators had so much fun with this with how animated and alive the Pokemon felt. I can’t wait to see what these animators have in store next. What are your thoughts on the finale and all four episodes as a whole?

[browsethestacks]

Teen Titans

Art by Jocob Edgar

[brokehorrorfan]

Mondo will release An American Werewolf in London by Florian Bertmer, Shaun of the Dead by Gian Galang, and The Mummy by Troy Nixey today, May 31, at 1pm EST.

An American Werewolf in London is a 36x24 screen print limited to 215 for $80. Shaun of the Dead is a 24x36 screen print limited to 185 for $80. The Mummy is a 24x36 screen print limited to 215 for $80.

[clementinecalls]

daniel sharman and all his characters are like that one tweet thats like

‘qrt with u + ur flags' 'DONT KNOW WHERE YOU'RE FROM BUT IM BRITISH'

[donnatroyprincessofthemyscira]

View this post on Instagram

A post shared by Jacob Edgar (@jcbedgar)

Art Credit to Jacob Edgar

[3garcons]

Bela Fleck , Zakir Hussain, Edgar Meyer with Rakesh Chaurasia

Troy Music Hall May 2023

[stick-ball]

Jerejean this, Neil ordering a hit that.

There's one thing I need to know. Was if Nora's intention to reference the ancient Greek myth Paris with Jean being given that as a nickname from Thea? Or is it just about the city? I need to know I need to know.

Paris being thrown out as a little child by his parents due the prophecy that he is going to be the reason for a kingdom's collapse. Paris becoming a Prince of Troy.

Jean being sold off by his parents due to their debt to the Moriayamas. Jean being blamed for the fall Edgar Allan Ravens took. Becoming a Trojan.

Paris being tempted by three goddesses promising him great things.

Jean being fucked over by a pretty face mentioned three times.

Paris and Jean being the scape goats of their stories when acting from love and due to powers stronger than them.

[innuendostudios]

new video about Edgar Wright's Cornetto Trilogy, and how everyone* keeps getting them wrong! this video is sponsored by Nebula, a place where you can watch the original version of this video before I had to tweak it for YouTube's copyright bots. (by clicking that link, you can get an annual subscription for 40% off.) or you can just back me on Patreon, which is also cool and good.

transcript below the cut.

I adore Edgar Wright’s Cornetto Trilogy. I flirted with making a video about it ages ago, had a draft of a script, but ultimately decided it wasn’t about anything except “here’s a thing I like, and here are its (I thought) very obvious themes.” So I shelved it. But, in the years since, I have seen multiple video essayists on this here website claim that these movies are about growing up and taking responsibility. (I say “multiple.” It’s not a lot. But it’s more than one! And that’s enough.)

These people are 100% wrong.

Lemme lay it out: the Cornetto Trilogy is not about growing up. It is not about taking responsibility. It is the exact opposite, and that’s not subtext. It is three movies about stunted manchildren thrust into extraordinary circumstances, and each, in the end, is saved - is redeemed - by abandoning his character arc and failing to grow or change. It is a three-part love letter to immaturity.

And I guess I have to set the record straight.

Sometimes making a video about a thing you love is an act of appreciation. And sometimes it’s out of spite.

The Cornetto Trilogy is three movies: Shaun of the Dead, Hot Fuzz, and The World’s End. All three are written by Simon Pegg and Edgar Wright; Pegg stars, and Wright directs; all three center on a relationship between Pegg and real-life best friend Nick Frost, which makes each film a reunion of the core team behind Spaced (excepting, but for a small role in Shaun of the Dead, Jessica Hynes). The three films span three genres: zombie apocalypse, buddy cop, alien invasion; each features a Cornetto ice cream cone: strawberry to represent blood, original blue to represent the police, and mint to represent little green men; this is a joking nod to Krzysztof Kieślowski’s Trois Couleur films, Bleu, Blanc, and Rouge, which were based on the colors and themes of the French flag (I don’t care what you say, Emily: #TeamRouge); that nod is funny because Trois Couleur is high-art drama and these are comedies. All three are parodies of, tributes to, and actually surprisingly good executions of their respective genres. And the hook, the gag at the center of all these movies, is that Simon Pegg plays a character wholly unsuited to be starring in this kind of film.

Shaun, the burnout, is the wrong person to survive the zombie apocalypse; by-the-book British bobby Nicholas is the wrong person to lead an American-style bombastic actioner; and alcoholic asshole Gary is the last person to save the world from aliens.

And I think that’s where people get stuck. Because “schlub finds himself protagonist of a genre film” is the elevator pitch for like a dozen Adam Sandler movies. The genre trappings may be as mundane as parenthood or mandated anger management classes, or as high-concept as action movie, whodunnit, or time travel It’s a Wonderful Life if Clarence were Christopher Walken as the angel of death (that… that makes it sound good, it’s not, don’t see Click; leave Frank Capra alone, Adam). But all these movies have the same basic shape: an extraordinary situation forces a guy to confront his shortcomings, which always stem from having never grown up. And you probably haven’t seen all of these movies, but if you’ve seen any, I bet you have assumptions about how the rest end: even though “Adam Sandler acts like a child” is generally the selling point of an Adam Sandler movie, they all end with some lip service toward becoming an adult: hey man, grow up a bit; appreciate your family a little more; square your shoulders; clean your room. This is so standard, it was parodied mercilessly in Funny People.

And this was a formative microgenre for my generation! Whole universe turns itself upside down to teach some shitty dude to, like, do the dishes and pay his wife a compliment now and then - Liar Liar, Bruce and Evan Almighty (all directed by the same guy, by the way). So I don’t blame people of a certain age for seeing the first act of Shaun of the Dead and thinking “I know where this is going.” And when, at the last minute, it swerves and goes someplace else, you could read that as a gag, a final subversion of expectation, still the same basic shape. But no! No! Once is a gag - thrice??? Thrice is a thematic statement!

So lemme make my case. I’ma take you through these movies one by one - we’ll talk about the manchildren and the expectations set by the genre, and then we’ll talk about that last-minute swerve and what it means. And then you’ll tell me I’m right and apologize!

Shaun of the Dead:

Shaun is a man in his twenties. What kind of manchild is he? He’s the slacker.

What is his problem? He needs to sort his life out. Shaun doesn’t know how to take action. He hasn’t advanced since college - he’s been working the kind of job a teen takes over the summer for like a decade, lives with the same best friend, has the same petty fights with his stepdad, goes to the same pub every week with the same group of people. He can’t make a reservation, he can’t manage a calendar, he’s a washup. This makes his girlfriend, Liz, feel stifled, trapped; he is a weight around her ankle, taking her on the same date week after week, keeping her from living her own dreams, having her own adventures. She gives him one last chance to prove he can sort his life out, and he blows it, and she dumps him.

And then: a zombie movie happens.

The genre forces him to confront his shortcomings: to survive, and save his loved ones, he’ll have to take action, make plans, be decisive. This is a common fantasy: when you feel ground down by the mundanity of life, you might imagine, oh, if only a crisis would happen, like a zombie virus outbreak, where my normal-life problems like “am I gonna make rent,” “is my girl gonna take me back,” “is my roommate gonna kick out my stoner buddy who’s crashing on the couch” become meaningless, and it’s immediately clear what’s really important, what matters. Then I’d know exactly what to do. It’s why disaster movies work as escapism: a necromantic plague - or at least the fantasy of one - is sometime preferable to normal life.

Hot Fuzz:

Nicholas is a man in his thirties. What kind of manchild is he? He’s the hall monitor.

What is his problem? He can’t switch off. He is a hypercompetant police officer with a rulebook where his brain should be. He’s so good at being a cop that he’s spotting and unraveling crimes even on his day off. He can’t maintain a relationship, has no friends, all his coworkers hate him because he keeps finishing their work for them, and his stats show up the rest of the force so badly that they scuttle him out to the country.

Now you might be thinking, “Mmm. A fastidious police officer who can’t have fun? How is that a manchild? Sounds pretty grown-up to me. You’re reaching, bud.” Ohhhh ho ho, smartass, do you remember this scene? [bar scene] Yeah! Nicholas Angel has a five-year-old’s notion of law and order. He’s still playing cops and robbers.

And that’s a problem, because then: an action movie happens.

It doesn’t happen all at once: he goes out to the country and finds they do things a bit differently there. They are (ostensibly) less concerned with rules than what than the rules are for: if the purpose of drinking laws is to keep the streets safe and orderly, and letting some people off with a warning or allowing kids drink so long as they do it inside achieves that end, the rule can be bent. That’s a judgment grown-ups can make; I mean, they’re the ones who wrote the rules in the first place. So be lenient with shoplifters, don’t hassle people for speeding; this isn’t the Big City, you can use your better judgment. But Nicholas never got past doing whatever Mom & Dad said; obedience, and trusting whoever’s up the chain, is his entire moral framework. He can’t accept that bending the law could be more righteous than following it.

But also maybe there’s a criminal conspiracy murdering people and writing it off as accidents and the police chief might be in on it. Or maybe Nicholas is so desperate for a big case with no moral ambiguity that he’s seeing things where they aren’t. 

The genre forces him to confront his shortcomings: either there’s nothing going on and he needs to chill out about procedure, or the department is corrupt and he’ll have to go rogue like it’s Point Break - and this is how he experiences Point Break. [“paperwork”]

No matter what, he’ll have to bend the rules, which he constitutionally cannot do.

The World’s End:

Gary is a man in his forties. What kind of manchild is he? He’s the delinquent.

What’s his problem? Pfffft. What isn’t his problem? Gary is a manipulative, narcissistic, lying, self-destructive, ignorant, violent, thieving, shit-talking, unapologetic asshole who peaked in high school when being all those things was still kind of badass. The greatest night of his life was the drunken pub crawl after graduation he and his friends didn’t even finish, and he’s been tumbling downhill ever since. He’s spent his life ruining everyone who knows him until there’s no one left to ruin but Gary King. So now it’s time to bully the old gang into going back home with him to relive that night by finishing the pub crawl, because, in his own words, it’s all he’s got. And he and his friends have to confront how home has changed since they left - the bars have gentrified, not everyone recognizes them; the defining, epic deeds of Gary’s youth have been forgotten. You can’t actually go back because that place doesn’t exist anymore.

And then: a sci-fi movie happens.

Turns out the town’s been taken over by aliens, and all the people who couldn’t conform to their new order have been replaced with robots! That’s why no one recognizes them! And that’s why the pubs all look the same: the aliens are homogenizing everything! And it’s clear, if they can’t get Gary and his friends to play ball, they’ll roboticize them as well! The obvious move is to get the hell out of town, but Gary keeps inventing excuses to stay and finish the pub crawl, and they sound pretty sensible because the group’s already five pints in. The genre forces him to confront his shortcomings: sooner or later he’s gonna have to give up on recapturing his youth and do what’s best for him and his friends now, even if it means running back to the city where all his problems live.

So there we have it: the characters cross the threshold into an unfamiliar world where an external conflict cannot be addressed without resolving the tension within. The slacker will have to get his shit sorted, the hall monitor will have to break the rules, and the delinquent will have to do what’s good for him. And, to an extent, all three know this! The movies Wright and Pegg pay homage to exist in these stories - Shaun knows what a zombie is, Danny keeps Nicholas up watching Point Break and Bad Boys II, and Gary and friends know bodysnatcher movies so well they have philosophical debates with the robots about whether “robot” is the PC term.

So, yeah, if you turned the movies off there, I could forgive you for thinking that’s where they’re headed. But you goofballs watched them to the end and then made content about them, what is wrong with you???

What actually happens in the second halves of these movies?

Shaun twigs that he’s in a zombie movie and, at first, tries to play the part - his survival plans are miniature hero’s journeys with him as protagonist, wherein he’ll save the day by neatly confronting all his flaws. He’ll resolve parental conflict by saving his mom from his zombified stepdad, resolve romantic conflict by showing his girl he can come through when it counts, and resolve internal conflict by being a man who saves the day. And all his plans suck! It’s just the same plan he always comes up with! Dragging around the same useless liability of a bestie, collecting the same group of people, and holing up in the same pub! He doesn’t save his mom: his stepdad apologizes, resolving their conflict for him, and then survives in zombie form but Shaun’s mom gets killed; most of the friend group gets killed because the crisis does not actually suspend but in fact amplifies their personal grievances; and he doesn’t save the day, just manages not to die long enough for the military to show up.

But… well, Liz wanted adventure and now she’s had enough for a lifetime, so… she’s down to just be boring with him for a while - sit on the couch, watch TV, hit the pub. Beats running for your life. Tensions with the roommate are gone cuz roommate died, but rent is covered cuz Liz moved in. Zombies don’t get eradicated, just folded into normal life, so Shaun can mindlessly play video games with his bestie forever, and it’s not a problem that bestie doesn’t have an income cuz he doesn’t need food or shelter.

The zombie apocalypse doesn’t make Shaun sort his life out, it changes the world til he doesn’t have to.

When Nicholas discovers that, yes, there is definitely a murderous criminal conspiracy inside the police department, he recognizes the only way to bring about justice is to become what Danny has always wanted and go Dirty Harry on the town. It’s either that or just swallow the crimes. But he does neither. He and Danny go on an epic shooting spree, recreating famous movie scenes, taking out the entire criminal organization against all odds, and spouting badass one-liners… but everyone who helps them is a cop, they don’t actually kill anyone, all perps are formally arrested, and they fill out all the paperwork. I think he even properly signs out the weapons. He never switches off, never breaks a rule, does absolutely everything by the book, only… louder. And this violent showdown saves him from the chill town with lax rules he thought he’d moved to. Now he, with his five-year-old notion of right and wrong, is in charge of the police department.

The buddy cop actioner doesn’t make Nicholas bend the rules, it changes the world til he doesn’t have to.

Gary knows exactly how a movie of this sort is supposed to go and spends the whole movie running from it. Friends and secondary characters keep sharing these poignant moments with him, because they know this story, too: yeah, he’s gonna reject help at first, but sooner or later he’ll hit rock bottom and then someone will get through to him. And, as the night goes on, and the characters get drunker and drunker, and Gary passes up more and more opportunities to abandon the pub crawl and go home, these moments take a tone of desperation. They start to sound more like interventions; like, Gary, we all know you’re going to come to your senses but could you hurry up with it??? How many of your friends need to literally die for you to shape up? Are you gonna get them all killed?

And the answer is: Gary will never shape up! To Gary the Human Dril Tweet, his friends trying to save him, psychiatrists trying to treat him, and aliens trying to assimilate him are all the same thing. He doggedly makes it to the end of the pub crawl and confronts the alien overlord who tells him all the technological advancements of the past few decades - all the efficiency and homogenization that’ve changed the face of his home town - are their doing. The Information Age is an intervention on behalf of Earth, a pan-galactic effort to save humanity from itself. And the reason they’ve been replacing people with robots is some people are too fucked up to go along with it.

And here’s Gary, King of the Fuckups, brashly declaring that fucking up is what makes us human. There is no freedom without the freedom to ruin your life. We are endowed by our creator with the right to be drunken, ornery pieces of shit.

He tells the aliens to piss off and he’s so fucking annoying that they do, and they take the Information Age with them.

Now… I know… ugh… I know a lot of people love this movie, say it’s the best of the three. Some friends who’ve struggled with mental health or just being an adult under late capitalism really identify with Gary, and the valorization of being a mess. I see you, you’re not wrong, I get it, I really do. But can we just… not “but” but “also” can we… can we also admit that this ending is… this is Space Brexit.

Like, literally it’s an alien invasion but symbolically this is Gary rejecting the adult world of rules and authority and doing what’s best for the community and that’s how Brexiters view the EU. And people keep telling him “Gary, this is in your best interest” and Gary says, I don’t want my best interest! I am registered in the anti-Gary’s Face Party and I will cast my vote by cutting my nose! I choose to do what’s bad for me.

And, like a true Brexiter, he chooses for everybody.

Now tell me that’s a movie about growing up. Gary collapses human civilization in its entirety rather than change, and in the world that follows, he thrives… by being an immature, irresponsible bag of garbage.

To Wright and Pegg, growing up is death, and these are movies about being alive. These characters don’t cross the threshold back into the ordinary world with the ultimate boon of character growth; all three stay in the extraordinary world. The zombies remain, the robots remain, Nicholas is offered his London job back and chooses to stay in the country. These are stories about normal life spontaneously turning into a genre film, and they are made with deep love for those genres; why would they end with leaving those genres behind? Because it’s what Adam Sandler would do?

So there you have it. I rest my case.

“Okay Ian. Why does this matter?”

…what was that?

“You’ve made your point: these movies aren’t about growing up or taking responsibility. So what?”

Uhhhh.

“Bring it home for us.”

…

“Why do you care so much?

[breath]

I wrote the first draft of this script when I was around Shaun and Nicholas’ age, and “so what?” is why I shelved it. Now I’m Gary’s age, this video’s been in the back of my brain the whole time, but I got this far and “so what” is where I got stuck, again. This is why the CO-VIDs came out quicker, cuz I let myself end with “so that’s interesting!” and got on with my life. But there’s clearly something sticky here, more than “someone is wrong on the internet.” (Also, to the YouTubers I’m vaguebooking, who said these were movies about growing up - I’m way more annoyed at the folks I’ve argued with on Twitter about this, you just made a better rhetorical device; you do not owe me an apology!) (Also, to the commentariat: I am not extrapolating this from like two data points, this is chronic and recurring and has been bothering me for years.)

There are a few directions I could take this to give it some “cultural weight.” I could put on my social justice hat and talk about how the “crisis of adulthood” doesn’t play as broad comedy unless you look like Adam Sandler or Simon Pegg, or put on my class analysis hat and talk about how signifiers of adulthood are, traditionally, ways of spending and accruing capital which are, today, often inaccessible to people under 40.

And that’s all legit, but here’s the real deal: I’m just mad at Gary. The world changed around Shaun such that he could stay a child. And Nicholas ended up somewhere he could stay a child. If you missed that, you’re wrong, but whatever. But to say that Gary grew up grinds me, because Gary chose this. The whole movie is people telling him to grow up, and he says no! He says it out loud! He says it to the literal end of the world. To walk out of the theater and say “that’s a movie about growing up” is more than a mistake, it’s a refusal. It’s trying to “fix” the movie by fitting it into a more familiar shape, so it doesn’t say what it says, so Gary isn’t who he is, who he chooses to be.

I’m being cheeky when I say this because he’s a fictional character, but saying Gary grew up is enabling.

Gary says there’s no freedom without the freedom to ruin your life, which is the problem with alcoholics and libertarians: it’s not just your life, Gary! You live in a community, a culture, and an ecosystem! Your actions - everybody’s actions - impact other people! That’s just the way the world is! You can’t shit yourself at the bar without other people having to smell it. We’re all fuckin’ connected, man! You don’t want anyone’s will imposed on you; you spend the whole movie imposing your will on everyone else! You say humans don’t wanna be told what to do, and then you decide humanity’s future by yourself with no input or consent from anyone!

People point to Gary ordering water in the last scene instead of beer as evidence that he got sober, like that’s proof that he did grow up in the end, which are you fucking joking??? Getting sober is a shorthand for maturity the way buying a house is, it doesn’t signify anything in and of itself! Gary drank to escape the adult world of rules and responsibilities! So, yeah, under normal circumstances getting sober would mean he’s made peace with that world and is ready to integrate. But that’s not what happened! The thing he was escaping doesn’t exist anymore! He literally destroyed it!! People died! Probably millions! Now he lives a happy life LARPing as Omega Doom - no I don’t expect you to catch that reference! He doesn’t need to drink! He is literally reliving the best day of his life forever. And even if it did mean personal growth, the idea that a person could make what would be, unequivocally, the most selfish decision in human history, and then spend his life celebrating the outcome, oh but if he overcame a personal demon in the process then on balance that’s maturity? That is lightspeed solipsism! Who are you if you think that way? Are you all Adam Sandler???

And none of that makes this a bad ending, or Gary a bad character. I mean, he is the reason The World’s End is my least favorite, and I don’t like the ending, but I don’t think it’s bad that I don’t like the ending. Rather than watch another addict pull his life together or destroy himself, we watch a downward spiral with so much gravity the whole world self-destructs alongside him. And that’s why The World’s End is the most interesting of the three: it is a bold choice, and I think we are free to feel however we want about the conclusion Gary engineered for himself. I don’t think it’s valid to pretend it didn’t happen.

In the context of the trilogy, we see that Shaun’s immaturity is mostly a problem for Shaun: he would be, at worst, a footnote in the lives of the people who love him; “yeah, I liked Shaun a lot, but I couldn’t carry him through life anymore.” Nicholas is the kind of overachiever that is useful if pointed in the right direction; juvenile code of ethics aside, he is, empirically, helping the community (within the entirely fictional framework where that’s a thing police do). If the world hadn’t changed to turn their flaws into strengths, they would still be relatively harmless. Gary is what happens when immaturity isn’t harmless, and shows us how a world built by that immaturity would look.

There is an appeal to Gary King, a wish fulfillment. Letting your id fully off the leash because you no longer care what anybody thinks - it’s why some people drink, and it’s why some people would like to drink with Gary. But if that’s not just your Friday night, not just your twenties, but that’s your life? There is a destination at the end of that road, and it’s Gary doing something truly ugly. And we see that ugly thing the way Gary sees it: as awesome. But then you see the reality: the Monday morning after the Friday night. We went out with Gary and he did something terrible.

And I’m not telling you to hate Gary for it; I’m not saying Gary can’t be forgiven. In fact, seeing it for what it is is the only way Gary could be forgiven, because, if he “grew up and took responsibility,” there’s nothing to forgive.

I think this is the only way the trilogy could have ended. I mean, you make stories about boys who get older and older and don’t grow up, it eventually becomes a problem. There’s only two ways to resolve it: you either end with a guy actually sorting his shit out, or you go for broke and show what happens if he doesn’t. And I think some of us boys saw that and said, “no, noooo, they did grow up! all three of them!” rather than say, “haha! hahaaa! ……………shit.”

[napoleonic-sexyman-tournament]

Antoine Charles Louis de Lasalle:

a. “has no one submitted Lasalle yet????? The Hussar Devil himself, leader of the Infernal Brigade, the guy who captured a 5000 men strong fortress with just fucking 500 men in the Capitulation of Stettin, made Spain fucking tremble? Cavalrymen in general were known to b a flamboyant hard drinking womanising lot who gambled, duelled and were profligate scoundrels in general, and Lasalle was a Hussar of the Hussars, saying “Any hussar who isn't dead at the age of 30 is a blackguard.” He missed his target by 4 years, charging at the enemy in his usual leading from the front brave manner and getting shot in the head. When Napoleon gave him 200,000 francs for his wedding, Lasalle cheerfully admitted he spent half of it paying off debts and the rest gambling. Napoleon gave him another 200,000 francs, saying to a prefect asking why he wasn’t disciplined, "It only takes a stroke of a pen to create a prefect, but it takes twenty years to make a Lasalle". When Lasalle was reassigned from Spain to Germany in 1809, a friend asked him if he would travel via Paris. His response: “Yes, it's the shortest way. I shall arrive at 5am; I shall order a pair of boots; I shall make my wife pregnant, and I shall depart." He straight up Fucked a lot, look at that moustache and pipe. He also appears in Edgar Allan Poe’s torture fic The Pit And The Pendulum as the guy who saves the protagonist at the end from the over the top torture device, but baby, Lasalle was real as fuck.”

Horatio Nelson:

a. “Actual Ménage A Trois”

[ecargmura]

Pokemon: Path to the Peak Episode 3 Review - The Next Step

From what I’ve seen from this episode and remembering the past two episodes, it’s safe to say that this series isn’t an exact interpretation of the Trading Card Game, but it’s just a fun series for casual fans like me. I’m saying this because I would like to learn more about the TCG from this show, but it’s not an informative show. It’s a good first attempt on a TCG anime. I think the best part about this show is that it’s fun. The characters have fun, which in turn lets the viewers have fun.

This episode didn’t have much battle animations as this is a more character-focused one. Ava is put through challenges in this episode as she becomes pressured with anxiety due to expectations in Internationals, loses her deck to the wind and has to get her friends to trade their cards to rebuild her deck, and then gets defeated by World Champion Edgar Troy of Team Falinks.

It’s a character-driven episode because it shows the good friends Ava made along the way. Joshua has been her first friend and now she gains a new friend in Celestine. Both are strong players, but they’re kind people as well. To be honest, I thought Celestine’s sportsmanship was for show last episode, but I’m glad that it’s not the case here. Both Joshua and Celestine are Ava’s biggest supporters and they even traded away their cards for Ava to rebuild her deck. The fact that they did this for her warmed my heart. The little girl who’s a fan of Ava is super adorable too! I think the best part of their friendship was them singing 2.B.A. Master with Ava’s dad.

Since Ava defeated and befriended Celestine, who would be Ava’s next source of conflict? It turns out to be a TCG World Champion. Talk about a difference in level! Edgar Troy and Team Falinks serve as the antagonists of this episode. I did like how they were like a team in a way, which is like a callback to previous animated series where the antagonist was a part of a group. I do wish that Edgar was a bit more fleshed out other than being the big boss of the antagonist team, but these episodes have limited time.

I did like the twist of Ava losing Internationals. She has been on a winning streak, so for her to experience loss is a good lesson for her. Failure has always been the best teacher, after all. I do wonder what will happen afterwards. Will Ava work on a new strategy to beat Edgar? From what I’ve heard, she is actually qualified to go to Worlds, which could be a good revenge match for her next episode. What do you think about how this episode went out?

[insom-nom-nom-niatic]

Welcome to tonight's drunk drabbles...

Set after Troy "died"... that's all you need to know.

CHARACTERS: Troy Otto X Fem Reader

PROMPT IS FROM THIS LIST

“Can we pretend everything around us is fine, for one night?”

Troy was in one of his moods. His jacket making a loud THUD as he threw it on the ground entering the room. His footsteps were heavy making his way towards the on-suit bathroom. Not once did he look up from his feet once he entered and it wasn't until you heard an angered huff echo from the bathroom that he finally glanced up.

His face was growing older, wiser his team would say but all Troy saw was aging of stress and hard work. Fight after fight, he seems to come out on top yet still felt that he lost.

He wanted safety.

He wanted a home again.

And yet it was just another night he looked in the mirror, scrubbing off the blood that stained his cheeks and had to sleep with his one good eye left open.

He turned the corner, disrobed in all but his underwear and a fresh-ish white T-shirt, and locked eyes with you, peeping those glittering eyes over a torn-up copy of The Tales Of Edgar Allen Poe, the same book you've read over a dozen times by now.

Troy's lips cracked into a small halfway-there smile before climbing onto the fluffy mattress, grabbing the edge of the blanket and covering you both. The book found its typical place on the nightstand once again, but before turning the lamp off beside it, one of your hands entwined with his. The other cupping it's way under his shirt feeling his warm skin against your chilled fingers.

Troy looked down at you, his tired blue eyes glimmering in the light but gleamed back with amusement and curiosity. His fingers wrapped around your middle before reaching your legs and pulling you into his lap.

“Can we pretend everything around us is fine, for one night?”

His one good eye began to darken, drifting between your lips and every bruise, cut, scar, and mark from your forehead to your shirt. The hands gripping your skin tighter in response.

There didn't need to be words, he was too tired for that. But there are certain things, even in the apocalypse, that he would never be too tired for.

She reminded him of what he was fighting for.

The home he needed to find for them together.

For her safety.

[justineportraits]

Edgar Scauflaire Les Trois Grâces

[paintlesscanvas]

hello! any mail boy/girl/enby id packs? /nf!! tyvm if you accept!

and, just wanted to say..

UR BLOG IS GEN SO HELPFUL HELP LIKE ITS SO NICE AND COOL??? LIKE THERES SO MANY STUFF ON THE LISTS I CANT/pos

✉️ . MAILPERSON SNPTS . .

System Names: carrier doves, the mailboys, the mailgirls, the mailpeople, the travelers, those that walk through the city, those that run away from dogs, the deliverers of packages, those that tip their cap, the package pigeons, the stamp collection, the postpeople, the envelope senders, the satchel carriers, letter lovers, dove coos, pigeon squawks, those at the post office, those sorting through letters, the package receivers, the mail truck drivers, those that open mailboxes, carriers of gifts, deliverers of surprises

Usernames: mail4you, wowtherestrees, runfrmdogs, wavetopeoples, down.town, enveloves, pooostoffice, parcelpigeon, penciiilpals, quiet.townn, ghostatthepost, postprince[ss], carrierpige0n, stiiickersss, penpaaaals, flimsypaperrs, doodledanny, envelopunny, maaailbox, inkyyprints, cloudy.town, deliverydutyy, flutteringd0ve, deliverydove, givingdove, giftsfromyrstruly, doodlesforyoodles, no1postman, penmanshiip, heresanote, pitterpatter, boxesrsoheavy, owboxes, writemealetter, smilingparcels, scaredofbarrrks, atthepostoffice, darlingparcels, packagepirate, envelopes4youu, st.ampsss, inkstaaiins, no1letterlover, siillynotes, sentfromaway, organizetheoffice, summerstrolls, envelopesfrmyou, parcelpwr, lettersletters, ilovemail, messyletters, sendingstuff2you, youvegotmail, letterlvr, lovelylettr, mailmale, smilesformiles, parcelfromadove, writingacrssthewrld, prrttymailgrl, prettyparcelsss, g1ftg1ftg1fts, greetingyouu, dizzypackages, ssillystamps, scribblesilly, dancingletters, mailbooooy, hidinginurmailbox, notesfrmthesky, brightdaaay, proudserviiice, in2urmailbox, bewareofd0g, mailtruckdrvr, openbxes, sootcasee, stackofletters, boxoflovers, envelopeoflove

Names: alexander, alfred, alice, annette, archer, archie, arden, arlo, atticus, august, augustus, autumn, barnaby, bartholomew, basil, beatrice, beau, benedict, benjamin, bennett, birdie, blake, cedric, charlie, chester, cliff, clifford, clive, clyde, cornelius, cory, cullen, darwin, diggory, dom, dominic, dorcas, earnest, edgar, edith, effie, elijah, eliza, emerson, emilio, emmanuel, eugene, everett, fennel, flint, florence, flossie, floyd, ford, gale, galina, genevieve, gideon, glenn, greyson, gwendolyn, harriet, harvey, hattie, hayden, holly, ink, ivan, ivy, josette, josie, july, june, kane, kate, katherine, kay, kendell, kinley, kip, kleo, leo, logan, maeve, maggie, malcolm, marion, margot, marlowe, marshall, matilda, mayfaire, melvile, meredith, milton, minnie, molly, mortem, mortimer, nadira, nancy, nannie, navy, neith, nelda, nellie, nells, nettie, ninette, noah, noel, noemi, norman, note, oakley, odette, oliver, orson, orville, oswald, otto, parcel, parker, polly, posey, presley, quill, quinton, ralph, randall, raymond, reed, reid, rhett, romee, rory, rowan, rye, sabina, sawyer, scout, silas, sloane, spencer, stanford, stanley, summer, susan, tallulah, tatum, thelma, thena, thisbe, thomas, tibby, tillie, timothy, tinker, toby, tom, torin, trey, troy, violet, virgil, walden, walter, warren, willard, willow, winnie, woody

Pronouns: letter/letters, mail/mails, write/writes, pen/pens, ink/inks, note/notes, deliver/delivers, gift/gifts, scribble/scribble, doodle/doodles, carry/carry, give/gives, walk/walks, hum/hums, parcel/parcels, package/packages, box/boxs, stamp/stamps, sticker/stickers, smile/smiles, proud/prouds, newspaper/newspaper, envelope/envelope, sun/suns, mailbox/mailboxs, pencil/pencil, scrabble/scrabble, sketch/sketchs, house/houses, satchel/satchels, bag/bags, hello/hellos, twine/twines, string/strings, wrap/wraps, town/towns, cloud/clouds, clutch/clutchs, send/sends, post/posts, office/office, sort/sorts, organize/organizes, rain/rains, flimsy/flimsys, thin/thins, street/streets, apartment/apartments, greet/greets, pass/pass’, road/roads, home/homes, locker/lockers, wave/waves, cheerful/cheerfuls, joy/joys, old/olds, weathering/weatherings, service/services, dog/dogs, truck/trucks, fence/fences, sign/signs, slot/slots, city/citys, drawer/drawers, pin/pins, 🫶, 🌳, 🍃, 🍂, 🪹, ☀️, 🥖, 🥠, 🪃, 🛹, 🎫, 🎼, ♟️, 🚐, 🛞, 🚦, 🚏, 🗽, 🏢, 🏘️, 🏙️, 🎞️, 📺, 📻, 🕰️, 💵, 🪙, 🩹, 🧺, 🚪, 🪟, 🧧, ✉️, 📨, 💌, 📦, 🏷️, 🪧, 📪, 📫, 📬, 📭, 📮, 📜, 📃, 📋, 🗞️, 🗂️, 📔, 🧷, 🖊️, 🖋️, 🖇️, 📝, 🧳

Titles: the cheerful giver, prn who presses stamps to letters, the delivery thing, bringer of mail, prn who delivers packages, the penner of letters, the deliverer of mail, the mailboy, the mailgirl, the mailperson, prn who walks the streets, prn who drives the mail truck, gifter of deliveries, prn who strolls through the city, prn who gives mail [to those who need it], the mailman, the mailperson, the mailwoman, the carrier pigeon, prn who carries mail through the sky, the carrier dove, prn who drops mail from the skies

[spaceoperajay]

Finale thoughts, spoilers, rambly too

AHHHH for a finale that was by almost all accounts a happy ending it sure does not feel that way. like YAY all the mikes and tys are back OH wait OH fuck ty is back and hes HAPPY that's real bad. it was so foreboding it absolutely feels like a bad ending IM sCARED base is truly locked in for a path to hell

It was fantastic i loved it everyone did such a great job this and this season will be spinning in my head for awhile!!!!!!!!!!! Impressed all the time by all the talent

And to have lil ol charlie be at the center at the foreboding casually talking with Edgar about how sometimes he has to put iterations of his boyfriend down like a sick dog and like we know Edgar feels awful about it but hes still here doing it and would she do it to marissa. What the fuck i hate them (i love them). Like the charlie/marissa and edgar/mikey paralells have always been there but i love to see them called out like this and used. IM excited to see her go through the ringer

i am kind of loving troy manipulating everyone in way that the viewers know but the characters have no idea. this is funny as hell what is he up to he thinks its funny as hell that no one thinks he can use a calculator i loved that part. Also there are apparently even more powerful who are now keeping an eye on the base/compound which is a fun up in stakes

MW was really badass this episode i loved that and LOL did Latvia mike admit that he was the one to leave that ominous note in Alaska (dont remember if this has been addressed before) and i also love the chicken or egg question the base and the compounds name like lol (this only happened because Mikey wasn't allowed to name the base something stupid let him go wild he deserves it/j) you gave ty beteridge information he is going run with that. IM fascinated to how ty knowing the name Walters is going to interact with ty (or at least one iteration of him) thinking mikeys last name was edgars at first

The "let's split up gang" parts felt well done and the tension was kept high. If WBG were a show about the bad guys actually losing and the good guys winning i think a mike w alters iteration who has nothing even disavows his own name giving a dramatic spiel then killing an ignorant ty betteridge would be a great ending but its not and my evil babygirl scientist is back and ready to cause problems for everyone <3

Rip nobody. I guess HES dead for good? Until we find out how he came to be. Okay IM an idiot i just processed hes dead for good (i mean ig he could be iterated earlier or some other justification to bring him back) Damn i miss nobody. What a tragedy, self loathing guy dies in the way he killed other versions of himself. I dont think he was like entirely motivated by preventing more people from falling into the time travel murder game but he was spitting facts that the other mikes ignored and there is the fact that a lot more people just got involved in the time travel hell that he would have prevented. My nameless meow meow is dead :'(:'(:'(:'(:'(:'(:'(:'( hope he haunts the narrative

I probably have more thoughts but that's all for now this was a great end to a great season

[violetnerves]

The Bully clique and its members were underutilized, and it makes me sad.

I already know all about how the clique itself is part of the leftovers from the Punk clique along with the Townies, so that kind of explains why the both of them are just sorta there, but still.

I'm putting a divider on this since I'll probably ramble a bit.

I think it would've been neat if all of the members had been more reoccurring in the game (including Russell, since like Gary he pops up in Chapter 2 once and is pretty much never brought up again until the last chapter.)

For instance, I had one idea of two of the bullies tagging along with Russell and Jimmy during the mission where you egg Tad's house. (Maybe Tom and Troy, since Tom mentions hating the Preps in one of his quotes and Troy probably hangs out with Russell outside of school the most.) Naturally they help distract the preps while Jimmy throws eggs into Tad's house. It'd probably make the mission easier than it already is, but I think it'd be ok given it is a kind a of revenge mission after the Preps turn on Jimmy after Gary brings up what he said about them during the cafeteria scene.

Also, I think it'd be funny if it was those two in particular since I can already imagine the cutscene where while Russell is threatening Mr. Oh for calling him dumb, Tom's just trying to deescalate the situation while Troy's probably making it worse.

I started thinking a lot about what it'd be if they were more involved in the story after taking note of how many people choose them as the clique Jimmy would be in a "what-if" scenario where he actually bothered to join one.

Now, obviously, this doesn't mean Jimmy would join up with them as a member. But I think out of all the other cliques, they'd turn out to be the closest with him, like genuine friends since the group has always sort of given me the vibe of a friend group more than the other cliques, only rivaling the Greasers. I feel like it would make the fact that they still have 100% respect for Jimmy even after all the other cliques turn on him mean a hell of a lot more rather than it just being done for gameplay reasons. Heck, they'd probably even aid Jimmy along with Russell during Final Mayhem rather than them inexplicably just being in the main school building to be beaten up by Edgar.

I'll probably make more posts around this idea, but for now, I'll cut it here since it's getting a bit long.