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teecupangel · 8 months

Note

So, ive recently gotten back into Protocreed and a what if..? idea i had was:

After Abstergo recovers Desmonds body, they experiment with his DNA and Blacklight. Resulting in him being revived after an outbreak and breaking free.

It could even be the assassins fault that the outbreak happened!

In the midst of the chaos, no one noticed the body dissapearing. It's only after the outbreak was contained and culled that Subject 17 was noted as missing. With all the footage being destroyed it is impossible to tell what happened to it, but the general consensis is that one of the infected ate it. It is a crushing blow to their research, but thankfully they have plenty of samples stored in a different facility, so all hope is not lost. No one thought of the possibilty that a repeat of Alex Mercer's revival could happen. Subject 17 has been dead for months, the body is simply too old. So no one thought too look in the shadows of the city, where something lay lurking. Tracking. Hunting.

Hungering

So I have a ProtoCreed idea similar to this that I posted here.

The comments/replies have more details on how it would go but, in a nutshell, Blacklight is a failed/abandoned Isu project headed by Tinia (so we can have a little hehe moment with Alex being called ‘Zeus’) and Dr Mercer is not a Templar but he’s still a piece of work.

And Desmond’s Isu to human genes ratio + his Bleeding Effect screwed up the virus that he still has the superhuman feats that Alex has but he can’t morph his body to have weapons or anything like that.

Instead…

It’s like he can spawn three specific humanoid figures made of the black and red writhing flesh which only has one specific goal: keep Desmond safe.

There’s more details in the link above but the main point is that Desmond’s virus makes him be able to ‘summon’ his ancestors who holds a piece of Alex’s OG abilities and it’s unclear if they are mindless or if their connection with Desmond keeps them docile because when Abstergo try to cut their connection (which are tendrils of red and black connecting the creatures to Desmond’s shadow), the creature goes berserk and attacks and devours everything around until Desmond reconnects with it.

So we have:

Altaïr = Blade

Ezio = Hammerfist

Ratonhnhaké:ton = Whipfist

Ezio gets Hammerfist because the sword of Altaïr is iconic so Altaïr gets the Blade and Ratonhnhaké:ton had the ropedart so he gets the Whipfist. XD

Although, in my original idea, Desmond keeps his memories (thanks to the Bleeding Effect) but if you want to go down the route of Desmond being ‘incubated’ by the virus during the story of Prototype and waking up afterwards, we can easily do that and the incubation period is actually what corrupted Desmond’s mind.

So in this situation, Desmond would be more like ‘Eve’ from Parasite Eve, the new origin of an outbreak (and everyone believes it’s Alex’s fault which will lead us to a modified setup for Prototype 2 and Alex and Desmond having an antagonistic start).

But the outbreak is strange because it seemed… targeted.

The ones to be hit first were Abstergo facilities or facilities under Abstergo’s shell companies.

And the spread only began when these facilities had fallen and the barricades have been breached, like… it wasn’t truly intentional but more of a ‘side effect’.

So now we have Alex trying to figure out what this new outbreak is because the ‘children’ for this one are faster and more cunning, using their surrounding to hide and wait. And these children seemed to be taking orders from three creatures made of darkness and blood.

(Or, if you want to preserve the Assassin white and red color scheme, it’s gonna be grosser with them being filled with pus and blood instead. The pus could be a sign that the virus is being combated by Desmond’s Isu genes though and that could be a clue for Alex)

And any time Alex tries to eat any of them, he only gains snippets of the memories of the same person: a man named Desmond Miles.

The three commander creatures also seemed to travel via shadows, being able to melt into the shadows before Alex could ever destroy them completely.

Later, he would realize that the whole city (whichever city we’re planning to set this on) are filled with what looked like lines all over (maybe one would say that maybe it’s the ley lines or something and Alex would say that it looks more like… veins…) and these veins are actually how the commanders travel all over the city.

At the center of the veins is a cocoon…

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shaun-evans-fanblog · 23 days

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Working in shorts like the rest of the crew.

Photo credit: Paul Cribbs, production designer

#shaun evans #endeavour #endeavour morse #itv endeavour #endeavour behind the scenes #Shaun Evans directing #aka the sunday confessional #sunday free for all #the sunday confessional

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clove-pinks · 2 years

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I know it's Hate On Corporate Pride Month, and I think it's fair to be cynical about meaningless virtue signaling (at the same time, the fact that openly signaling support for LGBTQ+ people is now a corporate norm in the Western world... that's not meaningless).

I am older and working class, and I found this flag in the break room at work today. As much as my employer is out for themselves etc. like any other business, I will say that they do make an effort to be inclusive of people like me, and I appreciate it. I am old enough to remember being terrified to hold my girlfriend's hand in downtown Providence, Rhode Island; I am old enough to remember when it was common for people in passing cars to scream slurs at you. (I have been mistaken for a gay man, or a trans woman—just Doing Gender Wrong, somehow.)

I married my wife in 2014, as soon as it was legal in the US. I legally changed my name in 2018, as I keep getting closer to my authentic self. I have had to come out at work multiple times, and in a blue-collar environment. When I changed my name, I had a few coworkers come out to me as trans/nonbinary, and tell me their preferred names—people need to see out LGBTQ people, they need that trailblazer sometimes.

This is the first year a pride flag has appeared, however. It may be a window dressing, but I like seeing it.

#sorry this is rambling i could really go forever #i have seen so much open prejudice and bigotry directed at queer people #i have personally lived through it #it is just... nice to have our flag treated as an ordinary thing #not an 'adult' thing or something perverse that has no place at the table #lgbtq #pride month #shaun talks

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senseiwu · 1 year

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I'm going to cry the hospital is throwing them a wedding 🥺🥺🥺🥺🥺🥺 and Glassman just gave Shaun rings passed down from his fami-

"MY FATHER IS A VERY GOOD FATHER. I LOVE YOU DOCTOR GLASSMAN" AAAAAAAAAAAAA

#theyd always acknowledged that glassman is basically shauns dad but that was direct #im going to cry #bri watches the good doctor

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studiograckle · 1 year

Video

What’s better than one Hades game? A second Hades game. We’re so happy with how this trailer came out and are excited to announce Hades 2 with Supergiant Games.

Directed By: Spencer Wan

Script: Greg Kasavin

Character Design: Jen Zee, Spencer Wan

Storyboard: Spencer Wan

Key Animation: Curie Lu, Gareth Wong, Tam Lu, Deanna Trudeau, Tessa Bright, Abroo Khan, Cassie Urban, Spencer Wan

In-Between Animation: Robby Cook

Animation Clean Up: Robby Cook, Winnie Lu, Tessa Bright, Cassie Urban, Abroo Khan, Tam Lu, Deanna Trudeau, Gareth Wong, Curie Lu, Spencer Wan

Lead Background Designer: Jane Bak

Background Art: Leland Goodman, Jane Bak

Compositing: Craig Nowicki

Editing: Shaun Finney, Spencer Wan

Sound Design: Darren Korb, Spencer Wan

Score: Darren Korb

Production Coordinator: Will Turnbull

#hadesgame #hades2 #gaming #videogames #animation #anime #supergiant #super giant games #video games

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engineering · 7 months

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Tumblr Hack Week, September 2023 Edition

Once again it was Hack Week (more than just a day!) at Tumblr! A couple of times per year we slow down our normal work and spend a week working on scratching a personal itch or features we want as user and see how far we can get with our hacks. One thing from the last Hack Day in March made it all the way to production: redesigning how direct messaging looks on Tumblr! Pretty cool!

Here are some of the projects that got made for this most recent Hack Week in September. Some of these things you may also end up seeing on the site…

Tumblr Patio

Maybe this will look familiar to you, but we love this idea of being able to organize Tumblr feeds into many “columns” side-by-side, creating a very dense but lively view of Tumblr. Lenny, Kelly, and Paul hacked this together, and we’re pretty excited to see where it’ll go. Each column can be a different feed on Tumblr, like For You, Following, your Activity, a specific blog, a search, Trending, even a Collection, so many possibilities!

Tumblr Booths

Meanwhile, a separate team of @autoplanes, Katie, @lex, Shaun, and Eve dug into the idea of selling digital and physical goods through blogs on Tumblr, leveraging our sibling platform WooCommerce! Blogs could put whatever they’d like for sale here, and have a dedicated space for it. We know there are so many amazing artists and artisans here who could use this to more easily sell their creations on Tumblr!

Avatar Frames/Hats

This one is a golden oldie, it keeps coming back hack day after hack day, and each time it gets even better. Santi and Maxime hacked together some example avatar “frames” and “hats” that folks on Tumblr could purchase for their blog. Maybe eventually people could create these and sell them or gift them to each other!

As always, stay tuned to the @changes blog to see if any of these hacks make it on Tumblr for real!

#tumblr engineering #tumblr hack week #tumblr hack day

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innuendostudios · 1 month

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youtube

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.”

#video essay #cornetto trilogy #Youtube

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gaypornvideoswebsite · 2 months

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got so pissed about shitlib activists and grifters i made a whole comic about it. it has been tough seeing how large online platforms continue to be misused by grifters and grift-aspirers. the “uncensored” tour by shaun king and khaled beydoun has angered me a lot these past few days, especially because many people still view khaled as a reliable source of “news”. these people are antithetical to the greater cause, and this is an important thing to critique, especially since both of these people have deeply troubled history within activism (look up khaled beydoun new zealand massacre if you really want to lose your lunch). instead of platforming and supporting these people, get your news directly from the news sources that they rip and put on black squares, listen to palestinians on the ground, and look for direct mutual aid like @gazamutualaid and @palestineasdiqa on instagram. these two are just one example of the celebrity activist’s grift.

—

[Image ID:

Image 1: Cartoon of a person burning a sign that reads “all proceeds go to and other grifter slogans”.

Image 2: Cartoon of a marquee that reads “Now playing, grifter” followed by a definition that reads “con artist, swindler, a person or group taking advantage of politics for their own financial interest and benefit”.

Image 3: A question speech bubble that reads “Are proceeds the same as profits?”. A response speech bubble reads “Yes! Both mean net revenue.”

Image 4: Cartoon of a large bag of money on a conveyer belt. It is being pushed towards a black box that has the words travel, hotels, food, venue fees, and more written on the side. On the other side of the black box is a smaller bag of money labeled “proceeds”. Text below reads “tours like Shaun and Khaled’s weaken potential financial impact of donations, all while disguising grifting as political activism.”

Image 5: Large cartoon lettering that reads “net zero is still grifting by those who sit upon wealth.”

Image 6: Text that reads “celebrities and people with large funded platforms are not willing to redistribute their wealth, only yours.”

End ID]

#gay #not fanart #comic

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jessieren · 16 days

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Love this BTS shot… the look on Evan’s face

Ummm… look at me like that…

Please

*can’t find the right credit for this photo so let me know if you know

#shaun evans #itv endeavour #endeavour morse #moustache mondays #morsetache mondays #his face here…#he’s such a cutie #please can you look at me like that #endeavour bts #shaun directs #hot damn evans

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paradox-n-bedrock · 5 months

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The Doctor eventually stops correcting people when they call him Dr. Noble. He doesn't encourage it and he certainly doesn't intentionally introduce himself that way, but he does grin and rock on his heels and needle Donna about it a little.

And Shaun is very Shaun about it. Unthreatened and chill and rolling with the nebulous limits of this queer alien's friendship with his wife. Dryly joking that if they weren't going to exchange names, it's fitting someone take Donna's. But something about it does prickle a tiny bit, after a while. He's not sure why and he's not sure how to approach it.

And then the fam is out one day and someone happens to call Fourteen Dr. Temple. And the Doctor still doesn't correct the person but when the interaction is over the three of them laugh so hard it brings him to tears. It loosens something, and later Shaun can mention the feeling to Donna, even as he realizes it doesn't bother him anymore.

He throws an "excuse you, Dr. Noble" in Fourteen's direction the next time he's put an empty box of cereal back in the cabinet for Shaun to find and gleefully watches them both sputter.

#doctor who #doctor x donna #donna noble #fourteenth doctor #shaun temple #doctordonna #is it platonic is it romantic is it qpr?#it's whatever you want #but #i'm living for fourteen and shaun brotp #the awkward unconnected ends of the poly triangle #rose is rolling her eyes so hard #this was supposed to be so silly and then i caught some more feelings #dw headcanon

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shaun-evans-fanblog · 9 months

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#shaun evans #the bay #director #directing

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whatsfourteenupto · 4 months

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It’s over bloody football that she finally breaks.

She’d gotten Shaun a new one for Christmas, just because. Lord knows he loves the game enough, even if he hasn’t had as much time for the local rec league these last few years. Late in the afternoon, she takes a cuppa out onto the porch for the first moment alone she’s found all day, and finds him and the Doctor playing a pickup game in the yard.

Shaun’s been pretty skilled with a football for as long as she’s known him. He toes it into the air, juggles it about on his feet for a few moments, then passes it off to the Doctor with his heel.

"Alright, just like that. Top of your foot," he says.

The Doctor manages to catch the ball, grinning from ear to ear as he taps it up into the air again. "Here we go! Think I’ve got it!”

"That’s it, Mate!"

They manage to juggle once, twice, before clumsily tossing it back toward Shaun. He receives the pass effortlessly. In a move that would be impressive if she hadn’t seen him fall on his ass a near hundred times trying to learn it, he throws his leg over and twists around, taps the ball into the ground, and kicks it back up.

The Doctor lets out a whoop, mouth wide open in an awed smile. “Blimey! That’s brilliant!”

And suddenly, Donna’s eyes are burning.

After fifteen years of missing something she couldn’t even remember, and even longer wondering if she’d ever have this many people to love her, she’s got her entire family in one place for Christmas. Her best friend and the love of her life are goofing around in the yard as though they’ve known each other for years, not mere months. They don’t have to do that. There’s nothing forcing them to be anything more than cordial, but they’ve begun a great friendship in their own right and she’s so damn grateful for it. For them.

From down on the lawn, Shaun looks up to throw her a dazzling smile. It falters into confusion, and then concern, and then the sort of fond teasing look that she knows means she’s been caught. He nudges the Doctor and nods in her direction. They share a look, and then the Doctor throws an arm around Shaun’s shoulders as they make their way back toward the house.

“All right, Love?” Shaun calls.

She waves her hand at him, trying to blink her eyes dry before they reach her. “Fine, fine,” she says, taking a rushed sip of her tea.

“You know, Shaun, I think we may have made her emotional,” the Doctor says, feigning shock. “I think she may be crying!”

“Oh shut up!” She tries to glare at them, but she can’t keep it up for long. “I’m just happy. I can’t tell you how much it means to me that you two are getting along.”

The Doctor grins and Shaun reaches out to take her hand. “Well, we’ve got a pretty strong cause uniting us,” he points out. “Can’t very well not get on with a bloke who’d do anything for my wife. They’re family!”

Donna laughs again, watery. “Damn right they are.” When she looks back at the Doctor, he’s still smiling goofily. “Oh, stop looking at me like that.” Their only response is to grin even wider, a gleam in their eye that could be mischief, or could very well be tears of their own. She smacks them on the arm. “Stop it!”

But it’s too late.

Instinctively, she tries to reach up and brush away the rogue tears, but Shaun is still holding her free hand. Before she can try another way to hide the evidence, she’s swallowed up in a hug from either side. “Hang on, hang on!” She shouts, turning to quickly set her tea on the patio table. That done, she throws her arms around them both and holds on as tight as she can.

They stay that way until Rose sticks her head out the back door and shouts that dinner is nearly ready. Once they’ve all stepped back again, Donna wipes at her eyes and tries to blink herself back into control. “Idiots.”

“True,” Shaun agrees.

“But you still love us,” the Doctor finishes. She can’t help but laugh as they each press a quick kiss on her cheek before rushing inside to follow the smell Christmas dinner.

“I do,” she sighs after them, shaking her head. “No idea why, but I do.”

#doctor who #fourteenth doctor #donna noble #shaun temple #what’s fourteen up to #Donna loves her idiots #I should have edited this but #I’m tired #I just wanted to get the last of my Christmas with the Nobles thoughts out #merry Christmas to all #and to all a good night

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