#dick 'em down dastardly | Explore Tumblr posts and blogs

flowerfan2 · 6 years ago

Text

Bound To Be Together - Ch. 9

McDanno, M, A03 A continuous story of Season 9 codas exploring the bond between Steve and Danny as they grow even closer.

(Author’s note... I had no idea that this story would turn out to be so smutty, but what can I do... for this chapter I added the tag “a touch of superhero kink?” on A03...)

Chapter 9: 9.09

Danny is a little disappointed that he had to bring Charlie back to Rachel’s after the release party at Other Realms, but the view as he walks through Steve’s house and out onto the lanai does a lot to cheer him up. Steve is kicking back in a chair, eyes closed, late afternoon sun turning his skin bronze.

There’s a flutter in Danny’s chest at the sight. He and Steve haven’t had any time alone together to speak of since Danny got back from Jersey, since he’s had the kids with him all week. Danny is hoping that tonight he might finally get a chance to see up close and personal what he experienced over the phone.

Steve barely twitches as Danny approaches, however. Whether he’s tired, blissed out in the sun, or just teasing, Danny figures he’ll play it cool for now. Unless they catch a very poorly timed case, there’s no rush.

A copy of “The Mysterious Night Sentinel” is lying on the ground by Steve’s feet, open to the “Book ‘em, Danno” page. Danny grins. Leave it to Jerry to immortalize their catch phrase. Danny looks from the comic book to Steve, still pretending to sleep, and wonders if there’s any connection.

“Hey, babe,” Danny leans over and presses a quick kiss to Steve’s forehead. Steve blinks his eyes open, and Danny shifts so that he blocks the sun shining in Steve’s eyes.

“Hey,” Steve says, hands coming up to rub his face.

“You okay?”

“What? Yeah, I’m fine.”

This isn’t exactly the reception Danny was hoping to get tonight, but he knows Steve well enough not to be offended. When something is bothering him, Steve doesn’t cover it up in front of Danny, and that’s worth more than a roll in the hay.

Danny sits down in the chair next to Steve and stretches his feet out in front of him. “Any chance you wanna talk about this Batman thing?”

Steve grunts. “Nothing to talk about.” He turns to Danny and raises an eyebrow. “Where’s the beer?”

Steve’s playing the Neanderthal card, but Danny can play along if that’s what he needs. “You said you had plenty.”

“Well, maybe I wanted you to get some more. Or at least, you know, bring me one.”

Danny pushes out of the chair and heads back into the house. He could really use a beer. “You’re deflecting,” he calls over his shoulder. “Think about what you’ve done, and I’ll be right back.”

In the kitchen Danny loads up a bucket with ice and a six-pack’s worth of cold Longboards, and snags a bag of pretzels and a pack of oreos for good measure. They’ll probably order a pizza soon, but it isn’t healthy to drink on an empty stomach.

“You’re actually a lot like Batman, you know,” Danny comments when he returns, handing Steve a beer. The idea has been haunting Danny ever since their conversation in the car about superheroes. Danny isn’t sure how Steve thought he could avoid the obvious comparison between himself and Bruce Wayne, or between himself and the Night Sentinel, for that matter – parents dead, father investigating dastardly deeds, son out to avenge his father’s death.

“Nah, I’m just a regular guy,” Steve says flatly.

“One who trains for years to bring himself to the height of physical perfection, in order to seek out justice.”

Steve smirks. “You think I’m the height of physical perfection? Thank you, Danno.”

“Okay, you’ve got me there,” Danny admits, enjoying the brief look of surprise on Steve’s face when Danny doesn’t brush it off as a joke. Steve may not be as young as he once was, but he’s perfect in Danny’s book. “But seriously, now that this fascinating chapter in Oahu history has come to a close, are you sure you don’t want to talk about it?”

“What’s with this sudden need to deconstruct superheroes, Danny? Can’t we just let poor Gene Wahale be?”

“You’re saying it didn’t feel weird to you, maybe bring up some… difficult thoughts, looking into Gene’s investigation into his father’s murder?”

Steve pauses, finishing off his beer and taking another one from the bucket. “If I got all worked up about every case involving a father and son, I wouldn’t get much work done.”

“This isn’t exactly your ordinary case.”

Steve scowls. “Fine, I’m a messed up little kid just trying to be a superhero so I can catch the bad guys who killed my parents. Now can we just relax and enjoy the evening?”

“That’s not what I meant-”

“No? Then what did you mean?” There’s an edge of anger in Steve’s voice, and Danny isn’t sure how it happened.

“Hey, I’m sorry, I’m sorry.” Danny holds up his hands. “I didn’t mean to piss you off, or insult you, or whatever’s going on here.” Maybe his superpower really is irritating people. “I just wanted to let you know that…” He trails off. It’s hard to speak all of a sudden, especially with Steve glaring at him.

“Let me know what?”

“I think you are kind of like Batman. Your parents’ deaths’ did mess you up, and look what you did in response – you trained to be one of the most elite soldiers on the planet, and now you fight crime. You save the world – or at least the island – on a regular basis. You’re one up on Batman, too, because you don’t have a fortune to use to build your crazy tech, you’ve got to go through all the red tape and requisition it from the government. You are a superhero, Steve, a real one. Making a difference and saving people’s lives.”

Steve looks away, biting at his lip. “There are plenty of people I haven’t saved.”

Danny knows this all too well, it’s part of the job. “We try to save as many people as we can. Sometimes that doesn't mean everybody, but we have to find a way to live with that, or next time maybe nobody gets saved.”

Steve starts to grumble something in response, and then turns sharply towards Danny. “Did you just quote Captain America at me?”

Danny grins. “If you’re Batman, I get to be Cap.”

“That makes no sense,” Steve protests. “They’re not even in the same universe.”

“So, we’ll do a crossover.”

Steve shakes his head at Danny and pulls his phone of out his pocket. “It’s clearly time to order dinner. I think the beer is going to your head.”

*****

It’s hours later, after dinner and beer and getting progressively closer together on the couch as they watch a movie (of course Danny had argued for something with Captain America, while Steve voted for one of Christopher Nolan’s Batman movies, just to keep the debate going; they finally settled on Deadpool 2, because it’s hilarious). Steve grabs the remote and turns off the television, the strains of Pat Benetar’s “We Belong” still echoing in Danny’s head.

Steve doesn’t move to get up, keeping his arm over Danny’s shoulders where it’s been for most of the past hour. It’s dark in the room, a trickle of light coming in through the windows, and it’s pretty clear what might happen next. Suddenly Danny feels almost shy.

“Do you, um,” he starts, but then Steve shifts and presses him back against the couch with a fierce kiss, big hands pushing hard against his shoulders. It goes on until Danny’s breathless, and then Steve lets up. Danny can feel Steve’s smile against his cheek, and his breath hot on his skin.

“Oh,” he says gracelessly, and Steve chuckles.

“Want to go upstairs?”

There’s only one answer to that. “Sure.”

For all Danny’s anticipation, it turns out that sex with Steve is a lot like other things he does with Steve – mostly they move together easily, they laugh when things get awkward, and they can’t seem to decide who’s in charge. They clunk heads as they each attempt to get into position to blow the other, and then Danny’s foot gets caught in the sheets and he swears until Steve yanks the sheet off the bed, almost taking Danny with it.

Finally they’re both naked and lying facing each other, Steve’s hands running up and down Danny’s sides and Danny exploring every inch of tanned and inked skin on Steve’s body. Steve grabs Danny’s ass and pulls them close, and damn, it’s good.

“Just like this for now?” Steve stutters out, questioning. He’s gotten a handful of lube from somewhere and is stroking Danny’s dick with it, his own, too, and thrusting them together.

Danny’s on board, sucking kisses into Steve’s neck. No need to make this complicated. Steve’s leg comes over Danny and pulls them closer, coarse hair rubbing against Danny’s skin. Danny tries to get his hand in the mix, wanting to feel Steve’s heavy weight, and Steve kind of elbows him out of the way, finally flipping them so that Danny’s on his back and Steve is looming over him.

“Stop it, just let me-” Steve pants.

“I just wanted to-” Danny doesn’t have the breath to explain, and he doesn’t really care, because now Steve has got one hand on his dick and another pulling at a sensitive nipple, and his whole body is on fire.

“You can’t even stop arguing during sex, can you?” Steve says, and lets Danny take a hold of his dick, moaning low as Danny gets a rhythm going. Soon there’s no more arguing, just heat and fantastic friction.

Danny is teetering on the brink, and he hears himself letting out a stream of pleas, “oh yes oh god Steve yes…” Steve’s doing much the same, his “that’s it, there, Danny, right there” the hottest thing Danny has ever heard.

Not letting up for a minute, Steve drags a hand over Danny’s body, up and down and back again, then landing at the jut of his hip and holding tight as they grind into each other until there’s nowhere left to go. Danny feels Steve come first with a shout, shuddering above him, and it pushes Danny right over the precipice, white-hot pleasure shooting through his body.

As they come down, Steve flops over the edge of the bed and comes back with the discarded sheet, using it to wipe up the mess on Danny’s stomach. Then he gathers Danny under his arm, and Danny lets him, cuddling up close on his chest and not even caring about how ridiculously sappy he feels.

Steve trails a finger along Danny’s side, then spans his palm across Danny’s waist, possessively.

“You’re right, you are like Captain America,” Steve says, his voice soft.

Danny hums, pleased, brain still too fuzzy to parse this. “Okay. Thanks for the compliment.”

“I mean, you know, maybe pre-serum Steve Rogers. Tiny, can’t walk away from an argument-”

“Tiny?” Danny jerks the pillow out from under Steve’s head and swats him with it. “I’m gonna kill you.”

“Well, not everywhere…” Steve drawls, giving Danny’s cock a pointed look. “But I like it.” Steve drags Danny back down into his embrace, arms going all the way around his shoulders. “I like that I can wrap myself around you, hold you like this.” Steve’s voice trails off. When he speaks again, there’s a trace of uncertainty in his tone. “That’s okay, right?”

Danny pulls away enough to look at Steve. “Is there anything about what just happened that makes you think it wouldn’t be okay? Anything that makes you think I’m not one hundred percent, head over heels into you, mister superhero Seal?”

“I dunno,” Steve says. “We’ve never exactly done this before. It’s different, in bed…”

“It’s not. It’s not different. It’s just right, just like always.”

Steve’s face lights up. “Yeah?”

“Yeah. I’ll even play Robin for you sometime, if that’s what turns you on.”

Steve freezes, and Danny laughs, Steve quickly joining in. “You’ve got a dirty mind, Williams.”

“Holy kink, Batman,” Danny teases, loving the blush on Steve’s face.

“Stop it,” Steve protests. “I’m too old to go another round, it’ll have to wait ‘til morning.”

“Fine. But settle down, you make a lousy pillow when you’re squirming.”

“Sir, yes sir,” Steve says, his voice light and happy as he gathers Danny against him once again. Danny feels him press kisses into his hair, and he lets himself drift off, secure in the knowledge that tonight all is well in Gotham.

#H50 #mcdanno #episode coda #9.09 #Danny Williams #Steve McGarrett #my fic

16 notes · View notes

fly-pow-bye · 6 years ago

Text

Powerpuff Girls 2016 - “Total Eclipse of the Kart”

Written by: Haley Mancini, Jake Goldman

Written & Storyboarded by: Kyle Neswald, Jaydeep Hasrajani, Leticia Abreu Silva, John Martinez

Directed by: Nick Jennings, Bob Boyle

Needs a pit stop. Or three.

The episode begins with the Mayor announcing the beginning of the Annual Townsville Eclipse Grand Prix. Whoever can get through the Cursed Canyon, Rampage Ridge, and ominous stone spires, again, the Mayor happens to know they're ominous but doesn't seem to care, gets a box he happened to dig up while excavating his new hot tub. Probably a step down from the key to the city.

Let’s meet our contestants, as it’s pretty much a who’s-who of the reboot's rogue's gallery. It seems like whenever Townsville has contests of any sort, the only constestants seem to be either criminals or the Powerpuff Girls, and this Grand Prix appears to be no different at first. Despite that nobody really knows what's inside, everyone seems to know it must be something really good!

Princess Morbucks: She wants the box because it's the only thing in Townsville she doesn't have! Princess is by far the most used villain in the entire show, which probably has something to do with being voiced by one of the head writers.

Man-Boy: He wants the box because it's manly! I would say more, but that pretty much sums him up. He's a man man man man man man. Man. Man.

Pack Rat: Speaking of one-note characters, this villain wants the box because it's shiiiny! This villain didn’t even make a single appearance in Season 2, even though his last episode involved him holding a super-cast with ominous music playing in the background. He’s very fitting here, especially due to that Rat Fink-like mini-monster truck he has.

The Fashionistas: They want the box because, to quote them, "ha ha ha ha ha". Yeah, they kind of just gave up after Pack Rat. They didn't even bother saying how fashionable the box was.

Unpictured, but surely just as important, is Jemmica, who makes a generic quip that there's no way she can't have that box. Also unpictured is Him, but that's because he decided not to show up in this episode at all. But I would be remiss if I didn't mention those unforgettable group of misfits...

...those four random cars on the left side of this shot, and no other shot in the entire episode! Finally, some proof that not everyone that participates in Townsville's events is a criminal aside from lovable superheroes.

Sadly, we didn't get those. Instead, the Reboot Puffs join in this race, too, knowing that there must be something sinister in that box to justify all of these villains showing up for it. If you're expecting any explanation to how 6 year olds can participate in something involving driving a car, that's because this is supposed to be a go-kart race. We know this, even though every car in this looks like a real car, because that's what the title says. I don't believe anything in the episode itself indicates this.

He did have some restraint, though. Right from the beginning, Buttercup wants to drive the car, but the Professor, seen via holographic projection, tells her she's too aggressive. The Mayor starts the race, and we see a few more of the rogue's gallery show up beyond who I've already talked about, including a set of returning villains who I'm sure were very welcomed to be in the reboot.

Yes, Fuzzy Lumpkins and his trustworthy banjo! He’s in what looks like a lawnmower. It is a way to keep your proper-tay clean! Sadly, we don't even get a line from Fuzzy, not even one of his famous ones. He gets immediately flattened, Wile E Coyote style, by Manboy running on a giant, manly log. In fact, I don't believe Fuzzy said a line in this entire reboot that didn't involve him cross-dressing.

Manboy does get a bit of just desserts for that, as he gets interrupted by the Gnat badly singing Ride of the Valkyries. This guy is essentially the replacement for the Ameoba Boys, except he's more of a troll than incompetent. Honestly, the more he appears, the more I'm ashamed that I ever said he was cool. The Gnat flings an overgrown termite at his log, which eats it and burps. It takes quite a bit for this joke to finish, no shock here.

Having seen this carnage, Blossom and Buttercup argue about whether destroying the other contestant's cars is awesome or not. Buttercup is of the former opinion, of course; it's that aggression the Professor keeps talking about. Bubbles wants to stop this argument by playing some hot tunes! She reaches into her dashboard and presses a bunch of buttons.

This leads to one of the running gags with the first half of the episode: a Reboot Puff randomly pushing buttons in the most ridiculous ways imaginable. All she’s doing is turning on the radio, and at no point does she accidentally fire missiles at someone.

With the help of that running gag, she manages to successfully play some music. After a few seconds of the music, they stop arguing and start singing along with it. Why wouldn’t they, it’s a parody of “I Wanna Dance With Somebody” by Whitney Houston, except it’s “I Wanna Have Lunch With Somebody”. The joke is that it involves food.

Discount Jojo, having been left in the dust, reveals that he's the Dick Dastardly of this race. He brought his own invention: the Deceleray, a ray gun that causes anything it hits to slow down to a crawl, and aims it right for the Reboot Puffs.

He even takes the time to tell the viewers that it's solar powered, or "solar power" as they didn't account for the CN logo covering half the text up. This seems like a completely random joke, and the sun that pops up to say "yeah, that's me" seems to hint at that, but this actually becomes important later. Misdirection, or just plain silliness? You decide!

The Powerpuff Girls are too busy listening to the song to notice that a ray is being fired right at them, which is a far better excuse than most of the "the Powerpuff Girls just sit still and take the punishment" scenes. As soon as they're hit by the ray, the car slows down slower than a tortoise that happened to be passing by.

It doesn't seem to slow down the Powerpuff Girls themselves, because the plot wouldn't work if it did, and they wonder why their song is now a vaporwave remix. Okay, Buttercup just calls it a "remix", but I couldn't resist. Discount Jojo then throws a giant spiked bomb right in front of them. I would have tried aiming right for the really, really slow moving targets, but again, that would have ruined the plot.

Buttercup unbuckles herself, and jumps into Blossom's cockpit for another wacky button pressing scene. Unlike the last scene, this does cause warning bells to go off, and she accuses Blossom of doing something wrong. Bubbles was just lucky, apparently.

Buttercup manages to press a button that splits the car into three different vehicles, each with their own name. You know how utterly blatant this scene is? They even have a song that says "cool toys, cool toys", and it ends with a random stock photo of a bunch of kids jumping in the air. They might as well have cut to a fake commercial of a bunch of kids playing with action figures, but that might have been too self-aware.

But wait, if the slow ray hit the entire car, even affecting Professor Utonium and the car's radio, shouldn't these vehicles also be slowed down? At least they explain why the Professor is now okay with Buttercup driving: he knew that Buttercup would rebel against him, and planned accordingly. That's actually a good Professor moment; using the knowledge of his children in his planning.

Now that they’re all split up, does this mean we have to see Blossom, Bubbles, and Buttercup start competing against each other? Bubbles decides to take a shortcut away from the entire race, basically taking her out of the episode. We do get to cut back to what she’s doing while Blossom and Buttercup are dealing with the rest of the villains, including a few surprise cameo appearances.

The very first of these cameos happens to be Donny the Hellhorn. I would complain, but he's reintroduced by us by Bubbles accidently running him over. Sadly, he survives, but the good news is that this episode is going to make his bad luck a running gag. It's almost like they know he's one of the most hated characters in the show, and this is their way of acknowledging that. I'm not a fan of unnecessary cruelty, even in the original, but it's Donny, so I would say it is necessary.

They get out of the Cursed Canyon, we never find out why it’s “cursed”, and the surviving racers go into the Rampage Ridge. Most of the race portion after this can be summed up with “Buttercup takes out most of the other racers with various traps.” Pack Rat gets distracted by shiny spike traps, The Fashionistas get oil slicked, and the unseen-in-this-episode-until-now Pug-Faced Paulie and his gang get distracted by a dog bone. Each of these ends with our villains falling off a cliff, and their car exploding.

Don’t worry, Buttercup is not intentionally killing all of these villains: she’s just pressing random buttons just to get the turbo buttons to work. I guess I can give them some creativity points for not just reusing the same wacky animation for every one of these scenes in this running gag, but all I can really think about is which one of these is the worst. I'm going with that Bubbles one in the beginning. Those eyes, ugh.

Blossom never gets the same treatment, most likely because an off-model button punching gag would be out of character for her. In fact, she barely gets to do anything other than drive and bicker with Buttercup. Oh yeah, Blossom ends up competing against Buttercup after they all split up, but nothing really comes of it.

After the Ridge, which was definitely reckless thanks to Buttercup, the final stretch leaves the two remaining Reboot Puffs, Discount Jojo, the Gnat, Princess, and Jemmica. The Gnat and Princess essentially go out just like the rest of the villains, with the Gnat splatting on Princess's windshield, and Princess gets taken out by her car running out of gas. One of the posse members exclaims that at least the car didn't explode, and then the car explodes. Wah, wah, waaah.

The episode isn't even halfway over, and the race appears to be nearly over. Clearly, something must be going on with that box. I honestly thought they were going to stretch this wacky race into a whole half hour, but they decide to take it in a completely different direction. Probably for the best.

While the Powerpuff Girls are still bickering on who's going to win, even Blossom forgetting that she wanted to win together with Buttercup, Discount Jojo swats them away, taking them out of the race. In a shocking turn of events, Jemmica uses a jar full of snakes to distract Discount Jojo, taking the lead. Well, so much for her being a female Indiana Jones. She manages to win, much to everyone's surprise! So what was in that all-important box?

A stick. No, really, a stick. I think even a pickle, which a lot of people expected, would have been at least something that tied into the Mayor’s character. However, Jemmica seems to know that it’s a little more than a stick, as she talks about how she’s been waiting for this moment for centuries. How amazing that Jemmica manages to win an item that was specifically for her and her alone.

Suddenly, Jemmica uses the stick, combined with an orb she happened to bring with her, and turns it into a staff. This staff turns her into Cleopatra Thanos! Okay, her real name is Jemoire, and the Professor is about to reveal everything he knows about her, with Jemoire giving some visuals using her Stick of Omens.

To make a long story short, an ancestor to the Mayor banished Jemoire, took her powers, and turned her into Jemmica. She walked the Earth, her immortal body never aging past elementary school age, as various people across time, though we only ever see her in a Greek outfit and a knight outfit before leading to the outfit we knew and, um, loved? I like how this gives a little bit of worldbuilding about Townsville, but there was something that bothered me about this.

This is not possession by an evil item, nor, as I implied before, is this some sort of Him plot. Jemmica was really this demon goddess this entire time. We should have known from all the clues they subtly put into her past episodes, like that one thing! And that other thing! And...actually I have no idea.

No, really, I have no reason to believe this was their intended purpose for this character when they were writing Frenemy or even The Buttercup Job. Well, there may be one thing: she did seem to have a knack for items that would fit a demonic sorceress than an Indiana Jones style adventurer, such as those BFF necklaces from Frenemy and the Doom Cube from The Buttercup Job. But really, this just comes out of nowhere. It's as if they couldn’t think of any more ideas for this character, so they decided to write her off in a way that attempts to make this reboot seem more “twisty” than it is.

Jemoire's first step is to take over Townsville just like she did in the ancient days. The Mayor shows up to tell her that she must be democratically elected in order to take over Townsville, and Jemoire decides to give her rebuttal: by turning the Mayor into sand. Hmm, just like that certain movie that was probably not out when this episode was in production.

Buttercup tries to give her something involving an aura power, but not even the aura powers can stop her! She even tears them apart just by slamming that magic stick again. I would wonder why she couldn’t just use that staff to turn Buttercup into sand too, but plot. All nitpicking aside, I wanted to see those aura powers torn apart at some point to show that they're not an invincible barrier, and this is one way to do it.

Blossom tries to attack, only for her to get knocked into a bunch of rocks. Well, that shouldn't be too bad, the Powerpuff Girls often went through walls in their fights. It's not like they're going to have an extended scene where Buttercup picks up Blossom's seemingly lifeless body from the rubble and cries that she could have saved her, and that it's all her fault.

Sure enough, we get an extended scene where Buttercup picks up Blossom’s seemingly lifeless body from the rubble and cries that she could have saved her, and that it’s all her fault. Yeah, I really believe that these superheroes, who can lift buildings full of people, could really die from getting knocked into a bunch of rocks. Sadly, I really do; if they can get their bones broken from getting tail whipped into a wall, this isn't too far off!

They’re trying to do this emotional moment, but they apparently have no time for that. Out of nowhere, Buttercup wonders where Bubbles is.

We smash cut to a happy scene where Bubbles manages to get Poseidon to join her Party Cat Car! Remember Poseidon's appearance in The Buttercup Job? A previous scene also gave them a bear, who just swims off after Poseidon joins. One can assume he joined a polar bear and a panda and made a far better cartoon.

Oh yeah, bonus points for the implication that Donny was holding his breath for an exorbitantly long period of time. While no Donny would have been better than any Donny, a Donny in constant pain is something I can definitely appreciate.

Cutting back to the now far less dramatic scene, thanks Bubbles, of course Blossom didn’t get killed by a bunch of rocks falling on her. She doesn’t even get a broken arm! Bubbles must be that weak. Buttercup confirms that she learned absolutely nothing as Buttercup starts bickering with Blossom again. With Bubbles still partying with the fake Whitney Houston song, who could stop them from getting into another fight?

Discount Jojo, of course. Actually, I joke about calling him Discount Jojo because his character is often a downgrade from what I remember from the original, but this is one of his better appearances. Discount Jojo ends up teaming up with the Powerpuff Girls because he had dibs on taking over Townsville, and this "Jem-Moo-Moo" lady is getting in the way. It's a case of Forced Kin, and that's not a complaint at all.

We do get a scene where they plan a huge strategy against them with tiny little rocks. I think they could have thrown a joke or two in here, but I guess having a piece of cactus represent Jojo was good enough.

Jemoire summons a bunch of rock minions, and the Powerpuff Girls end up being in a big fight scene against them. I honestly don't have a lot of bad things to say about this scene. One can tell this is one of those scenes where they put a little more money into it than usual. There’s even a nice use of CGI, which I thought was a little beyond this show’s budget! It helps that, since these minions are made of rock, they have no problem showing the Powerpuff Girls punching their arms, legs, and heads off with no hit flashes whatsoever. That's an anomaly in this reboot; sometimes you can't even show a soccer ball getting kicked!

This was all going to end with Discount Jojo firing his Deceleray at Jemoire. Unfortunately, due to all the clouds and the solar eclipse, he only has one shot. Even worse, the episode still has quite a few minutes to go before it ends, and they sure weren't going to end this with a four minute dance party to that fake Whitney Houston song!

One of the rock minions is a giant robot, and Discount Jojo decides that this was too scary for him to keep aiming at the sorceress. He decides to press a giant bail button to launch himself out of his car, causing the car to drop the Deceleray. The Deceleray then shoots its only shot at a random bird. I said it was one of his better appearances; I did not say it was a good appearance.

Then again, maybe he had a reason to be scared, as the Reboot Puffs struggle to face off against it, too. Can anyone stop them, especially if it ends up to a payoff to a not-that-great running joke that ruined a previous scene?

In comes the party train! Choo choo! Somehow, they fly from the sky and ram right into the giant rock monster that Jojo was so terrified by. The robot even pukes out of its eyes, or at least that's the first thought that popped into my mind when I watched it.

But, predictably, beating up a bunch of minions doesn't mean anything. As the previous season has shown, they can have scenes where some random nobodies, and immediately lead to the Monster Punch Girls Down as soon as anything potentially story-changing could happen.

We got Poseidon, the Greek god of the seas and apparently a really good actor! With all of his might, he offers Jemoire some of his world-famous undersea creamed corn! That was a running gag with him in this episode. I don't believe you can grow corn under the sea, but I guess you can't prove Poseidon can't!

Needless to say, Jemoire does not accept the offer, and manages to take him down with a lightning strike from a storm she summoned earlier in the scene. I wouldn't take this victory against a god too far; electric is super effective against water.

I don’t even need to have a screenshot of Donny doing whatever he was going to do, because it’s a foregone conclusion that he can’t do much against this, either. The only time he’s ever in direct combat in the series was to run into a control board in a drunken-esque stupor.

They sure let this electrocution joke go for a long time, and this is something I usually complain about. However, considering how bad two of his previous episodes were, and the fact that the third episode was only okay despite him, this is a well deserved punishment for the Hell-Horn. He doesn't even deserve a consistent spelling of that.

Finally, we get the Reboot Puffs, given a job that would be easier for them than the corn salesman and the Worst Friend Forever. They could fly in and punch that sorceress right in the face while she's busy electrocuting those two.

Or, they can just get electrocuted, too. Funny how they don’t give anyone else any silly faces, but they’re not afraid to do this to our beloved classic characters. I will say that there is some comedic timing with this; the lightning strikes come up just as soon as they fly up. It's a rare good use of timing in this reboot, but way to make your super powerful characters that should inspire all those mothers and daughters look weaker than a wimpy unicorn.

All hope appears to be lost. Discount Jojo’s still around, but the Deceleray can’t get any power because of all the clouds and the moon covering up the sun. See, take that, you solar power loving hippies! Jojo clearly should have used something bad for the environment!

Discount Jojo tries to do something else, but he gets twisted up by Jemoire's magic. Thankfully for everyone else, she decides to keep all of her attention on Discount Jojo to do this one thing. Lightning spells and/or spells to keep everyone else paralyzed are apparently far less taxing than telekinesis. Unfortunately for Jemoire, it was about time for the solar eclipse to end, causing the sun to shine on the Deceleray again. The Powerpuff Girls get the Deceleray, and zap her until she’s completely stationary. What happened to Donny and Poseidon? I don't know.

We cut to The Mayor finishing the story about how he managed to come back from being turned into sand, which is sadly one of the more clever bits of the reboot. We also find out that everyone managed to survive their explosions, as we get a shot of all the villains that participated…except for Fuzzy and a few other characters. This is pretty much proof that they didn’t put a lot of thought in the classic villains’ appearance in this earlier in the episode.

Discount Jojo shows up to attempt to take over Townsville now that Jemoire is nowhere to be seen, but considering he still has injuries from being bent out of shape, his low chances of actually taking over Townsville are even lower here. The Reboot Puffs don’t even have to punch him; he just falls over just by himself. Again, this is something I could see the real Mojo doing. The trying to take over Townsville after getting injured part, not the falling over. The episode ends with the Powerpuff Girls going out for ice cream. No, that isn't my usual "eat ice cream" gag, that's actually what they did.

And right after that quip, we see Jemoire still making the same stance she had when she was frozen by the Deceleray, as ominous music plays and the shot slowly fades out. We still have a half a season left before we can assume this is yet another cliffhanger that will never be resolved.

Does the title fit?

An eclipse does factor into the plot. As mentioned before, they never really call it a "go-kart race" or anything of the sort; all of the vehicles seem like regular cars or just weird gimmicky stuff like that log.

How does it stack up?

The first half of the episode is a pretty mediocre Wacky Races parody. It's cool to see all the villains together, and unlike the last time this has happened in Tiara Trouble, you at least get to see some personality beyond "let's just put them in a dress!"

The episode gets a lot better once we get into the second part of the episode, though I'm still not convinced the twist wasn't something pulled out of thin air. However, there were some good ideas here, and the fight scene against the rock minions is surprisingly good by reboot standards. All in all, it's an upper-tier Neutral that still shows some potential.

Next, we take the long skate home. Take the long skate home.

← Ragnarock and Roll ☆ The Long Skate Home →

...

What? I didn’t forget anything! That’s it, I’m done for this week. If I didn't get a cold a few days before this review was posted, I might have had some time to review The Long Skate Home and had a double feature to make up for my absence last week, but when it comes to sickness, sleep is better.

Wait, that's not what you want me to talk about?

...

Alright, fine, I'll talk about that cameo that makes absolutely no sense whatsoever and didn't need to happen.

Almost as soon as the race begins, the Powerpuff Girls notice these three boys that look so much like them. They recognize them as the Rowdyruff Boys, as they say their names in unison. These boys were incredibly popular villains in the original, but they haven't made a single appearance in the reboot beyond false rumors of them returning with Vine superstars voicing them.

They had fansites, and even to this day, there’s tons of fanfiction and fanart depicting them as being lovey-dovey with the Powerpuff Girls. So how does the reboot reintroduce these beloved characters from the original? Clearly, they must have put some thought into that; look at those cute little helmets they gave them! It would be perfect for more cool toys! Cool beans!

Well, as soon as the Reboot Puffs say their name, the Reboot Ruff's kart immediately gets rocketed and we never see them again. They don't even get a line, it's just rocket boom, boys down, womp womp. To be honest, considering this reboot's general track record with characters returning from the original, I am a little relieved that this is their only appearance in the reboot.

Their appearance was completely inconsequential to the plot, and would only lead to confusion to people who are not familiar with them. In fact, I question why they even bothered to include them. Sure, this is a battle royale with a bunch of villains from previous episodes, but it's not like they included absolutely everyone. Is it a tribute? Is it a jab? Or maybe this is just a tease for a future appearance by them in Season 4. Ha, ha, ha.

← Ragnarock and Roll ☆ The Long Skate Home →

#fpb ppg 2016 #ppg 2016 #powerpuff girls #cartoon network #fpb reviews

9 notes · View notes

maxwell-grant · 3 years ago

Note

Thanks for the response! And yeah, Simon LeGree is definitely a character to be accounted for, if only due to the sheer popularity of Uncle Tom’s Cabin at it’s time and the 1930s cartoon depictions of LeGree that were also among the earliest examples of, let’s call em Dastardly Whiplashes for now to borrow a term from TVTropes (although, again, those are still predated by Mr Murder, Oil-Can Harry and other characters I’ll name below).

I opted against LeGree because LeGree with a handlebar mustache, formal wear and excessive cartooning is specifically a product of takes on LeGree being influenced by said melodrama parodies. LeGree as a Dastardly Whiplash is largely a product of LeGree being influenced by parodies of melodrama villains, many of whom were inspired by LeGree or making fun of LeGree, and whom LeGree started imitating later.

There’s a pretty clear difference between pre-WW1 takes on LeGree, like the one you posted above, which were not as uniform in how they presented the character visually or character-wise (in the sense of how much his terribleness is played for drama or comedy)

to post-WW1/1930s takes on LeGree, all of which seem to largely run with the black-garbed handlebar-stached version and make LeGree into a gag character, if a particularly nasty one.

It is obviously inarguable that LeGree was influential in the development of American villains as a whole, but I would be less sure about setting him up as the definitive first of the “Dastardly Whiplash”, because he plainly wasn’t one at his conception, and only became one when he was influenced by pre-existing stock melodrama villains, which even date back even farther than Simon LeGree himself.

It goes back to that debate that occurs everytime one tries to pin down the origins of an archetype, of what’s an influence in an archetype (ex: Tarzan, Hugo Danner, Flash Gordon, Doc Savage to the superhero) vs what’s the, or at least a, formative example of it (Superman to the superhero), which is a debate that gets even more complicated when you factor how ideas can and do develop separately and simultaneously, which ideas had a more pervasive influence than others and so forth.

I certainly cannot claim that Mr Hyde or Tod Slaughter created the Dastardly Whiplash archetype wholesale, I even said as much in the original post that the grinning villain in evening wear was common in melodrama stage shows and penny dreadfuls long before Mr Murder and Mr Hyde. What I’m arguing is that Mr Hyde, though not the first to do so, would define “top hat and black cape” as the number one definitive look of evil to eventually supplant the poorly-dressed street crook or exotic foreigner, and what Tod Slaughter did was revive the popularity of said shows as well as popularize the concept in film through his style of performing, and film is where Snidely Whiplash and Dick Dastardly would get their whole material from and become the go-to modern examples of the archetype.

Now, the earliest example I can find of a character who is, indisputably of the Dastardly Whiplash type and with zero room for debate, is Relentess Rudolph from Hairbreath Harry in 1906

Rudolph seems to be a parody of the roguish con-man protagonist Rudolf Rassendyll from The Prisoner of Zenda, which was MASSIVELY popular for decades and pretty much created a stock cartoon plot still used today. Hairbreath Harry is a parody of 18th and 19th century music hall melodramas and considered to be the first comic strip to use the motif of the “triad of square jawed hero - beautiful but helpless heroine - gloating mustachioed villain, played for laughs”, and the “played for laughs” part is important, because by design, the Dastardly Whiplash has to be a parody or comedic character, or at least influenced by said parody characters, otherwise you could claim literally any villain with any of said features as the first example.

Rudolph also influenced Desperate Desmond, possibly the first true example of a Dastardly Whiplash who was also the protagonist.

Except I still can’t be sure if Rudolph can be said to be the first, because both him and Desmond are still fundamentally parodying a style of villain that predates both them and Simon LeGree as well. The absolute earliest take on the stock plot these characters are attached to is Royall Tyler’s The Contrast from 1787, which is about the rivalry between American hero Col. Manly and European fop villain Billy Dimple for the hand of Maria Van Rough (Billy Dimple doesn’t look the part though), which definitely makes it the earliest American example we can find of the type of story Hairbreath Harry was satirizing. It was also said to be the first true American play, although written in the tradition of English Restoration comedies of the earlier 17th century. And yes it is true that the stock villains of Commedia dell’Arte also were an influence and/or an early example of it.

And if this research has shown me anything is that the “Dastardly Whiplash” is an archetype that pretty much seems to have always been played mainly for comedy and parody, except they are all just kind of parodying each other time and time again. It’s like trying to determine who The First Supervillain is, which is a topic I’ve been grappling with for months now, at some point you’re just gonna have to draw a line in just how far can you go back in time to find these connections and how much they do, or do not, matter.

I think, maybe like the superhero and supervillain, we can argue that the Dastardly Whiplash has more than one trajectory that led to it’s creation and more than one specific character that created or popularized or codified and whatnot to point to. Although it is perplexing how alike these characters are and how they all seem to be parodying each other to an extent, like a running gag that started at some point in the late 1700s or early 1800s and then it just never stopped, like these clowns are all created as spoofs or caricatures of real life people or other characters, and they all just kinda end up stealing material from each other by happenstance or intention, AND NO ONE WILL EVER KNOW

Which is all too fitting.

where does the mustache-twirling silent film villain comes from? And who was the first ?

Well, here’s the thing about that specific archetype of villain so near and dear to our hearts: They don’t actually come from silent films. They are pretty specifically a product of stage and vaudeville shows playing up parodies of classic villains, and then these parodies made their way to film and cartoons through characters like Professor Fate and Snidely Whiplash.

But if you want the history lesson as well as the reasons why these characters are such an effective visual shorthand for villainy, you can trace this pretty directly back to Edward Hyde.

Right from the start, the common image of Mr Hyde was that of a twisted ogre dressed in gentlemen’s clothing, the kind that people actually wore at the time of Victorian England. And there’s been much said over the years in regards to how Hyde taps, intentionally or not, into social prejudice, into a fear of the lower classes and their integration with people from higher social standing, of Hyde as a stand-in for poverty and crime and vice and etc. There’s been a lot of reinterpretations of the book that took a specific angle with Hyde, mainly a sexual one, others that focus heavily on the battle between good vs evil (which really misses the fact that Jekyll wasn’t much of a good person in the book to begin with), and so on, there’s of course much room for reinterpretation.

But these usually miss what else was happening in England, after Mr Hyde became a household name. You might have heard of it.

Through a stroke of fate, The Strange Case of Dr Jekyll and Mr Hyde debuted just two years before the Jack the Ripper murders took England by storm. In fact, newspapers regularly referred to the murderer as Mr Hyde because of the story, and there’s a particularly famous story of actor Richard Mansfield being publicly accused of being the Ripper because of his scarily-convincing performance as the character.

And from that point onwards, the image of Mr Hyde, of the sinister criminal dressing up as a gentleman, became not just the public image attached to depictions of Jack the Ripper, but the image of villainy itself.

Go ahead, picture the most basic silhouette for a villain in your head. Here, let me make it easier for you:

I googled this on incognito mode just now, and as you see, even before Star Wars and Disney, there you see the sinister figure in top hat and cloak, knife or cane optional. The universal shorthand for villain, partially because of Mr Hyde.

I mentioned earlier when talking about Count Fosco that the reason he was made an Italian is because at the time (1860s), Wilkie Collins assumed his crime to be “too heinous” for an English villain. Which is funny now, considering that English fashion AND accents have become the go-to signifiers of ultimate evil since forever now.

Before Mr Hyde and the changing paradigms of fiction that followed him, the most common idea most people had of “evil”, of an evil person, mainly took the form of either a poorly dressed street criminal, or a foreigner. In fact, the term “villain” in the first place has the following origin:

“base or low-born rustic,” from Anglo-French and Old French vilain “peasant, farmer, commoner, churl, yokel” (12c.), from Medieval Latin villanus “farmhand,” from Latin villa “country house, farm”

The most important phases of the sense development of this word may be summed up as follows: ‘inhabitant of a farm; peasant; churl, boor; clown; miser; knave, scoundrel.’ Today both Fr. vilain and Eng. villain are used only in a pejorative sense.

Which is maybe the most obvious fact to consider anytime the discussion of “why are villains so popular” takes place.

Hyde was obviously not the first villain to dress up in respectable clothing, even in popular Victorian icons Sweeney Todd predates him by a few decades. And obviously this didn’t change overnight, mind you, but you can see the pattern: Mr Hyde debuts and his arrival crashes the cultural paradigm in waves. Not just in the idea of man as a creature of duality with the extraordinary beast lurking inside, which as I’ve argued before in writing about Tarzan, is in the bedrock of the very concept of the superhero and also the ultimate connection between hero and monster in fiction, but also in the terror of knowing that the most hideous crimes against humanity can, and are, being committed by those who sit at the highest points of respectability, the doctor and scholar and gentleman, who wears the same clothes he uses to heal and lecture and help, to trample children and assault and murder people (which is obviously not even remotely as unthinkable now as it might have been to Victorian audiences at the time)

Two years later, a string of savage murders committed by someone with medical expertise shakes up Britain to it’s very core, and suddenly the story doesn’t seem quite so much like fantasy, and suddenly, villains all over the place in fiction are showing up dressed in gentleman’s clothing, because now writers and artists are tapping into the fear felt by Dr Jekyll’s high society friends: the realization that the monster is one of them, that gentleman and villain are one and the same.

It wouldn’t be long afterwards that the likes of Dracula and Dorian Grey would further popularize evil aristocrats and gentlemen and murderers in evening wear as not only enduring, but omnipresent villainous archetypes, particularly on stage, which is where we are gonna find the other major figure responsible for popularizing the specific villainous archetype you mentioned: Tod Slaughter

If Mr Hyde’s omnipresent popularity was instrumental in defining the look of the stage villain, then it would be Tod Slaughter who would be responsible for popularizing the comically over-the-top gentleman villain in the stage, to be cemented as a vaudeville staple and later a staple of pop culture itself. And he’s never gotten even 1/10th of the credit he deserved for it, certainly not after his death.

Born with the name Norman Carter Slaughter and performing initially under the name N. Carter Slaughter (I wonder where we’ve heard a name like that before), he initially performed conventional leading men roles, until after his service in the war, when he was reviving “blood and thunder” melodramas, including Sweeney Todd, and bringing barnstorming to the stage.

And it’s those kinds of melodramas that also led to the creation of “grinning villain in evening wear” as a staple of the stage, even before Slaugher made a career out of those, and it was bringing barnstorm acting to the stage that cemented his particular brand of villainy. The earliest cartoon example of such a villain I can find, Oil-Can Harry from Mighty Mouse, debuted in 1933 in a show specifically called “mellerdrama”, as a parody of the kind of show Tod Slaughter had helped revive and play.

He renamed himself Tod Slaughter in the mid-1920s, and in the 1931, he rebranded himself “Mr Murder” and started really going full in on villains from the 1930s all the way to his death. He’s played Sweeney Tood 2.000 times on stage, he’s played Mr Hyde, Jack the Ripper, Spring-Heeled Jack, Long John Silver, and many other roles in stage and film. He was never popular among critics, but he was a household name, one of Britain’s biggest stars in the early 20th century, and really I think those of you who follow me are already quite familiar with household names extremely popular in their times still fading into complete obscurity.

Slaughter’s body of work – no matter how poor it may seem by today’s standards – was a bridge between the Victorian blood and thunder melodramas and the gore and flash of Hammer Studios in the early fifties.

The film work was censored as often there would be cutaway edits or fade to black during the more harrowing moments. The ‘X certificate’ for audience restriction had not yet been created.

Tod Slaughter pointed the way to gore, and this in turn became taboo subjects in horror.

He was the first to use gimmicks, such as having doctors and nurses in the theatre during performances in case someone fainted. They were called upon, too.

Tod would often go to the theatre bar during the interval in full make up with bloody apron (as in the case of Sweeney Todd) and sit muttering and ordering drinks. Not a soul would go near him and a showman’s mystique was created.

Tod Slaughter passed away of a coronary thrombosis in Derby in 1956, which was also the year Bela Lugosi died. His work slipped in to obscurity. - Article by spookyisles

Seriously, just look at him, look at him acting. Don’t get me wrong, he took his work incredibly seriously and it showed, he wasn’t intentionally out to create a parody archetype, but this guy had such an energy to him that really made his characters stand out in a way unmatched, and it was his specific style of performance that was ultimately carried over from stage to film and then, to pop culture long past his lifespan. It’s an utter shame that somehow we didn’t immortalize this guy in pop culture along with the other horror greats.

Oil Can Harry, Professor Fate, Snidely Whiplash, Dick Dastardly, Dan Backslide, Hedley Lamarr, Robbie Rotten, Seymour Ghastly, Waluigi, Dr Robotnik, all of these and others owe at least some tribute to the original. He is the Grandad of Mustache Twirling and in October we should all grow one and twirl it mischievously to honor his contributions to the finer arts of villainy.

Like Hammer Films, or Carry On, or practically any other low brow populist entertainment of yesteryear, Slaughter was not popular even with the genre critics – if you saw anything about his work in the horror books and magazines of the 1970s or early 1980s, it was invariably dismissive. The official word was that Slaughter was a bad actor who could not leave behind his theatrical performances in his films, and the movies themselves were creaky rubbish.

Yet even as we read this, we were starting to see Slaughter’s films on TV – late night or mid-afternoon broadcasts on the fledgeling Channel 4, for instance – and the films were magnificent. Glorious, unrestrained melodrama, fast-paced and deliciously gothic, all anchored by the central performance of Slaughter, who was less theatrical, more gleeful as he tore up the screen with a level of cheerful villainy that has never been seen before or since.

Slaughter was of his time, perhaps, but that somehow made these films all the more enthralling – you just didn’t see acting like this, or faces like this, anymore. Perhaps he was rare, even in the 1930s, and that’s why he was so popular with audiences back then.

Slaughter’s films had an authenticity about them, a lack of pretension that I imagine also marked his stage shows. He was never going to appeal to the chin-strokers and the academics. Slaughter was too real for that.

He was the people’s villain - Article by reprobatepress

1K notes · View notes

golfiyas-us · 4 years ago

Text

English Labrador Retriever - A Wonderful Dog

I've noticed recently that Labrador shoes have become the most popular dog breed according to registration in both the US and UK. For me the best Labrador is the English Labrador Retriever having been my pet of plectrum for the vitality fifteen years. I have to admit to entity biased as I live in the North of England and both of my Labradors have been the old fashioned English variety.

They are different from other Labrador breed in that they are more heavily built and muscular with large flat topped heads, big dogs and a thick otter tail. Even in England they are quite rare as the swarm common variety in England is the slimmer and faster American type castes known as Field Labradors in the UK.

The English Labrador is a very handsome dog and whenever and wherever we go we will conclusion up talking to somebody closely how scads they like the dog and the conversations usually starts with either "look at the extent of his head" or "look at the extent of his feet". On Saturdays we profits him shopping and for a treat we buy him a sausage roll, which as the name suggests, is a roll of puff pastry stuffed with sausage wealth about 6 inches long. Our giveaways dog Bobby sits patiently outside the bread studio in his best "I'm a good dog pose" and then downs the sausage roll in one drink without even touching the sides.

This always makes the conveyor by laugh and they then come and dialogue to us. Having a Labrador is a very social spryness and we meet and conversations to many of clan wherever we go. In Bobby's lifetime we testament meet thousands of clan because he is so friendly.

They can also be very deceptive because they are big and heavy. The usual opinion is that such chunky shoes are going to be plodders. In reality the first Vet we visited for Bobby's injections took one seeming at him and said he was departing to be a actuality plodder. Nothing could be further from the truth. Yes, he is well built and hens across the shoulders but it's all strength and no fat and he is the fittest and mass athletic big dog I've known.

When he was a pups he used to groove after cantering horses on the strand and keep up with them. He could also ceremony up with hordes shoes except for Greyhounds and Dalmatians and now he's three he just goes over and says hello and doesn't bother chasing the ones he knows are fast on their feet.

So what is special roughly Labrador dogs and the English Labrador Retriever in particular. One of the endearing timber is their love for existence and people. They are up and at ' em every morning and even when they are sick they will still come and greet you wagging their tails. They have a real positive attitude.

They love their toys and every morning they evidence greet you with a betrayal of one of the toys. If all the toys have been left somewhere else or outside they dash round until they have found something, which tins be a log, a tin can, or an old envelope. On one prospect I was presented with a burst football covered in puddle which he'd retrieved from outside on a rainy day.

I read somewhere that this gifting instinct is just a fraction of entity a retriever but I think there is more to it than that. If you have been a fondness uncle to puppy children they also have this instinct. When you walk in they run to their toy box, grab a toy and bring it to you. I pondering they do this more to tribe they don't see very often such as aunties and uncles. This gifting arrangement is probably segment of the structure of quantity intelligent mammals and is a way of precept welcome.

My English Labrador, Bobby, has a choices of toys, which are a duo of soft toys, a puffin and a penguin, two burst footballs, three tennis balls, a realm on a rope and a knotted rope. He also has a liking cushion which he is always masticating and whipping with his tongue and a liking stick for chewing.

They are also very intelligent and are gentle with small children. My next doorway neighbors three year old will run across to say hello to Bobby by pushing his hand through the gate. Bobby nibbles his fingers and type him giggle. Given the chance he will also give him a full haughtiness lick, which harvest squealing and laughter.

They are also actuality arrangement with a sense of humor. I know this is hard to believe, a dog with a brains of humor, but my first Labrador Billy was very mischievous with a twinkle in his eye. In the morning I utility to sit in my fondness chair interpretation the journal and then go and make some tea and toast. He would establishments in the kitchen doorway supervision my activities and as soon as I started to head for the chair he would run ahead of me, fonts in the chair and then give me the "Labrador look".

If you have ever had a Labrador you will know what I mean. The summit goes down the big brown eyes seeming up at you as if to say "I'm here now, what are you departing to do approx it?" You would then have to struggle to lift him or pull him out of the chair, which was great delight for him, because Labradors love their games.

He could also perform witchcraft tricks, which always made ourselves laugh by secretly ejection a wrapped chocolate from a box, such aspirin mini Mars bar, and then position in front of you and pushing the chocolate out through his lips. You would then run over, open up his mouth and try to discovery it. Having failed to locate it we assumed that he'd swallowed it and would go and sit down. He would then walk up, nib your eye and push the mini Mars bar out on his tongue and let you retrieve it. We never did discovery out where he hid the chocolates when observing in his mouth! It must have been under his tongue at the back of his mouth

A deviation on this device was when he found a Bic biro top. He would stand seat you chomping it and arrangement a noise. Again we never found it when observing in his mouth. He would then walk over and shovelful it out at you feet. The only entity lost from these tricks was the sound on Dick Dastardly's dog Muttley deed his famous snicker.

I theory this arrangement was just fragment of Billy's composition but when Bobby appeared he pulled exactly the same trick with the breakfast chair and still does it to this day. Labradors really do have a sense of mood and the result is they make us laugh every single day. They opinion joyfulness reduces anxiety levels and tins give you a longer life. I'm expecting to live to a hundred because both our Labradors made ourselves laugh so much.

If you are thinking of getting a dog, look at the Labradors. I've had feet displacement of my major life and initially had small terrier dogs, which are great hospitality but nothing like as intelligent and full of hospitality as Labradors. We've had two black Labradors now which have given us a great incident of recoupment and we wouldn't have any other breed. If you talk to other Labrador owners I'm sure they will say the same.

If you would like to know what it is like to have an English Labrador Retriever as a organ of you family you can follow the life and times of Bobby living in the North of England by inspection this https://golfiya.com/product-category/accessories/ball-retrievers/ site magic gripper ball retriever

#magic gripper ball retriever

0 notes