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All Of The Witcher 3: Blood And Wine Endings Explained

The Witcher 3: Wild Hunt – Blood And Wine expansion comes with three possible endings – here’s how each one plays out and how to achieve them. The Witcher began as a book series by author Andrzej Sapkowski, which follows Geralt of Rivia. Geralt is a witcher, who are monster hunter’s endowed with magical abilities. The book series was adapted into a Polish movie in 2001 called The Hexer, which was followed by a 13-episode TV series of the same name. Both were widely hated by the fans and the author himself.

Faring much better was the video game series starting with 2007’s The Witcher. The story found an amnesiac Geralt tasked with finding a cure for the King’s cursed daughter and struggling to remember his own past while setting off on an open world adventure. The first game was a success, but The Witcher 2: Assassins Of Kings is when the franchise really came into its own, with a fleshed out fantasy world and some great characters. The Witcher 3: Wild Hunt from 2015 only cemented the popularity of the series, refining what worked about the first two titles whilst adding new gameplay elements.

Related: How Skyrim’s Survival Mode Changes The Game

The Witcher 3: Wild Hunt would receive two expansion packs with Hearts Of Stone and Blood And Wine, with the latter serving as a farewell to Geralt. While Henry Cavill (Mission: Impossible – Fallout) will play the character in Netflix’s forthcoming The Witcher series, Blood And Wine is intended to be the character’s final outing. With that in mind, players can earn a number of different Witcher 3: Blood And Wine endings, so let’s look at each one and how they can be unlocked.

The Reconciliation Ending

The plot of The Witcher 3: Blood And Wine finds Geralt heading to sunny Toussaint after being offered a job by Duchess Anna Henrietta, the ruler of the small duchy. The story gets ever more complex from there with murder, conspiracy and various monster hunts, but the best ending of the game involves reuniting Anna with estranged sister Syanna.

To earn this ending, players must find Syanna during The Night Of The Long Fangs quest, obtain the ribbon from the flint girl in Beyond Hill and Dale, read all diary entries and select any option relating to forgiveness when talking with Syanna.

The Syanna Dies Ending

The other Witcher 3: Blood And Wine endings involve a lot of death, so neither outcome is desirable. For the Syanna option, Geralt must seek her out during The Night Of The Long Fangs quest but not take the magic ribbon from the flint girl, which leads to Syanna’s death by the vampire Dettlaff.

The Anna And Syanna Both Die Ending

Easily the bleakest of The Witcher 3: Blood And Wine endings, this finds both sisters dead and Toussaint left in chaos without a ruler. For players who love a dark ending, this is earned by pursuing the Unseen Elder during The Night Of Long Fangs quest and not speaking to Syanna during Pomp and Strange Circumstance. With no talk of forgiveness, this leads to her murdering Anna during the trial and being killed herself.

Of course, being The Witcher franchise, the choices are a little more complex than simply good or bad but reuniting Anna and Syanna is considered the best outcome. The Witcher 3: Blood And Wine’s final scene finds Geralt back at his estate in Corvo and being visited by either Yennefer, Triss, Ciri, or Dandelion, depending on player’s choices in the main game.

Next: Fallout 4: Which Faction Is The Best?


2019-04-17 09:04:18

Padraig Cotter

All Of Mass Effect 3’s Endings Explained

Now that the controversy surrounding the game has died down somewhat, let’s explain the various endings to Mass Effect 3. The original Mass Effect trilogy was a role-playing action series that put players in control of Commander Shepard, a veteran soldier in an intergalactic war. The series is set far in the future and revolves around a conflict with the Reapers, a synthetic race trying to wipe out all organic life. The Mass Effect trilogy was designed with player choice in mind, allowing gamers to choose the look and gender of Shepard, and have a key decision they made in one game would carry on throughout the series.

If a major character died in the first Mass Effect, for example, they wouldn’t return in the second title for some players. The Mass Effect trilogy was a hugely ambitious franchise that featured acclaimed storytelling, voice acting, and gameplay design, but the controversy surrounding the Mass Effect 3 ending can’t be ignored. Disappointment over how Mass Effect 3 brought the story to a close escalated fast, with fans demanding BioWare change it, with the developers later releasing free DLC that expanded and slightly fleshed out the original Mass Effect 3 ending.

Related: Mass Effect 3 Ending ISN’T As Bad As People Remember

The Mass Effect 3 ending controversy is still a raw topic to some long-time fans of the saga, but let’s revisit the ending choices the game offered players.

Mass Effect 3 Destroy Ending

The ending of the game finds Shepard presented with three choices by the Reapers architect Catalyst for activating the Crucible. The first choice allows players to destroy the Reapers while also wiping out all synthetic life in the galaxy. On one hand, this choice guarantees the Reapers will be eradicated but it will also kill friendly synthetics like the Geth. It’s a tricky moral choice to make.

Mass Effect 3 Control Ending

The second option is the Control ending, where Shepard takes control over the Reapers. This requires the character to surrender their human form and become an A.I., allowing them to use the Reapers to police the galaxy. Of course, with Shepard becoming something of a god-like being, there’s a chance he/she could turn evil in the future too.

Mass Effect 3 Synthesis Ending

The last of the three choices presented by Catalyst is synthesis, where both organic and synthetic life throughout the galaxy would be fused with elements from each other so they can exist in harmony. In theory, this is the most peaceful Mass Effect 3 ending, though it leaves plenty of plot holes and feels like a lazy deus ex machina. It also raises the moral question of whether Shepard has the right to make that call for the entire universe.

Mass Effect 3 Refusal Ending

Another Mass Effect 3 ending allows players to refuse all of the options presented to them, effectively allowing the Reapers to win. It’s a dark ending and a little out of character for Shepard, since the character is essentially giving up instead of finding a way to stop the Reapers.

Cutscenes follow each Mass Effect 3 ending to reveal the consequences of the options players select, with other criteria such as their Effective Military Strength playing a part in the ending cinematics too.

Next: BioWare Promises They’re Not Done Making Mass Effect Games


2019-03-21 01:03:21

Padraig Cotter

Love, Death & Robots: All 18 Endings Explained

What does the ending of each episode of Love, Death & Robots mean? Netflix’s new anthology series is an experimental production, featuring 18 sci-fi short films, each told in a different style of animation – occasionally in live-action – with all of them maintaining a self-contained plot.

With producers including David Fincher and Tim Miller, Love, Death & Robots is an R-rated take on the Black Mirror formula, not holding back on the sex, nudity, or violence. But among all the depravity are some chillingly existential concepts, with subject matter ranging from the darkly fantastical to the outright dystopian, and back again.

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Even the shortest episodes of Love, Death & Robots, as well as the most comedic and straight-forward, offer some philosophical food for thought, picking at our collective psyche to show who we really are. As usual, what’s revealed in Love, Death & Robots doesn’t show the human race in a positive light.

  • This Page: Love, Death & Robots Episodes 1-6
  • Page 2: Love, Death & Robots Episodes 7-12
  • Page 3: Love, Death & Robots Episodes 13-18

Sonnie’s Edge

The first episode of Love, Death & Robots is “Sonnie’s Edge” and it sets the tone as a dimly-lit, cyberpunk, CG-animated cross between Pokémon and Pacific Rim centered on a monster fight between two psychically-controlled beasts. The challenger is a new, scrappy, female contender who brushes off a bribe to lose before coming out victorious. Her briber, none too keen on the refusal, pays her a visit afterwards and finds out her real identity. As it turns out, the new combatant was really her creature all along – after a brutal beating, her conscience was transferred into the animal’s, and she uses a reverse form of the psychic link to control a human puppet so nobody’s the wiser. By the time her latest assailants see this, of course, it’s too late – she goes in for the kill to keep her secret, ready to make every man who stands in her way pay for what happened to her.

Three Robots

Buddy comedy episode “Three Robots” is one of the cheerier cuts of Love, Death & Robots; a Wall-E-inspired jaunt through a post-apocalyptic city featuring a trio of androids. The three chat and deride each other as they discuss the various weird behaviors of the now extinct human race, bodies littering the streets and technology sitting under layers of dust. The cutesy escapade becomes something darker when the cat they’ve befriended reveals, in perfect English, that after humans gave cats opposable thumbs through genetic engineering, the household felines took over, implying mankind died off fighting both them and the irreparable side effects of climate change. “Pretty heartless,” one of the robots retorts.

The Witness

This Ghost in the Shell-inspired short is one of the more impressive Love, Death & Robots episodes on a technical level. The 3D animation is somewhere between characterized and uncanny, giving the whole thing a heightened sense of realism, bolstered by seeing actual spit and breathing on the screen in parts. A woman goes on the run after witnessing a murder in an apartment across from her own. The murderer, who’s confused by his witness looking exactly like his victim, gives chase in search of answers. She leads him to an illicit sex shop where she procures a gun as he continues to give chase until they circle back to her apartment. She kills him, looking out to window to see an exact clone of him has now seen what she did, an endless stream of copies of the man and woman caught in a sort of loop – except they appear to routinely switch places every time.

Suits

Most of Love, Death & Robots hinges on final shots that send chills through the viewer. “Suits” is a great example of why these endings don’t need to be particularly deep to still be effective. After the main battalion of farmers in the titular mecha suits have successfully beaten back an alien invasion, there’s a standard Hollywood ending of the community returning to normal following near devastation. Then the camera pulls back and viewers see the invaders are actually the planet’s native species and the farmers are part of a colony on another planet, with many other force-fielded colonies shown on the surface. How they got there and for how long is anyone’s guess, but rather than an alien species trying to infest Earth, it seems “Suits” turns the tables and has humans as an unwanted infestation on another planet.

Sucker of Souls

More science-fantasy, Love, Death & Robots‘ “Sucker of Souls” is a spin on Dracula where the vampiric creature is an imprisoned monstrosity unleashed by an archaeological dig. Scientific in the Indiana Jones sense, the central notion of “Sucker of Souls” is that we should be careful where we search for answers, because the next wild discovery could be our last. Once this demonic Dracula is set free, the small band of mercenaries just barely escape alive before realizing they’re in a nest of other vampires the overlord created over the years. An effective homage to ’90s comic violence.

When The Yogurt Took Over

The shortest Love, Death & Robots episode is “When The Yogurt Took Over”. This episode uses a Pixar-type aesthetic for a strange little yarn about sentient yogurt first solving all our problems and then flying to space. The five minute Love, Death & Robots episode, along with its easy visuals, present some harrowing material – including a baby corpse – but what’s here doesn’t leave much to think about. Humans invent a higher form of intelligence in “When The Yogurt Took Over”, and it soon grows tired of the human race and leaves.

Page 2 of 3: Love, Death & Robots Episodes 7-12

Beyond The Aquila Rift

Another technical wonder, the uncanny valley is in full effect for “Aquila Rift”, which features human-like CGI. A space captain wakes up from a hypersleep to find his ship drastically off course and stationed at a leftfield checkpoint. During a fling with an old love interest, Gretta, he begins to question what’s actually happening; Gretta eventually drops the facade. It turns out they’re nowhere near human civilization, now stuck in some biomechanical, insectoid hellscape where an arachnid with telepathic powers is creating a comforting reality for him to exist in, presumably until he dies. Several other ships can be seen within the sprawling nest, a literal hive taking in stragglers as it slowly expands in its own bleak corner of space.

Good Hunting

Love, Death & Robots‘ “Good Hunting” shares a thematic link with “Sonnie’s Edge”, in that it’s all about female autonomy and vengeance. The short is something of a reversal, beginning as a demon hunter versus a shape-shifter in the samurai era before becoming a steampunk alternate history of China that sees Britain forge a much stronger colonial presence within the Asian state. Liang is an apprentice hunter who grows up to be a great inventor, maintaining a friendship with shape-shifter Yan who’s losing her powers as technology infests the natural land. Becoming a sex worker to survive, one of Yan’s clients kidnaps her and turns her into a robot for his pleasure. After escaping her captivity, she turns to Yan for support, and Yan turns her robotic body into a shape-shifting mechanism that allows her to transform into a ferocious fox that now hunts predatory men on the streets of Hong Kong.

The Dump

It was only a matter of time before gentrification showed up in a compendium like this, and show up it does – in a literal garbage dump in the Love, Death & Robots episode “The Dump”. A luckless land inspector is sent to get Ugly Dave to sign off on leaving his dump home as a new development doesn’t fancy being near all the trash. Dave agrees so long as the inspector listens to his story of his pet, Ollie. No ordinary trash-diving pest, Ollie is a mutant blob of rubbish that consumes sentient life to stay alive. This sounds ludicrous to the inspector, but he isn’t doubting it much when Ollie swallows him at the end. A simple reminder of the lives that are forgotten as the corporations dig a deeper hold.

Shape-Shifters

Naturally, the wars in the Middle East also get a look in Love, Death & Robots, with “Shape-Shifter” being a video game-type concept of the US military using human-canine mutants for war. A base of soldiers finds out the enemy also have quasi-werewolves, and after his partner lycan is killed, Decker chooses not to reveal the whereabouts of his opposing wolfman so that he can have the pleasure of killing it himself. Once he gets his revenge, Decker quits and walks out on the Marine Corps, becoming one with the wild once he gives his friend a proper burial. Doesn’t say anything novel about the ongoing American presence in the region, but it doesn’t need to.

Helping Hand

“Helping Hand” is a shorter, George Clooney-less version of Alfonso Cuaron’s Oscar-winning Gravity. A female astronaut is stuck floating in space when her suit is damaged by floating debris, forced to stare as the space station she needs to get back to lies just out of reach and help too far away for her to rely on. Eventually she has a brain-wave – make airtight seal around half her arm so she can detach part of the sleeve and throw it, propelling her towards solace. When the first throw doesn’t work, she’s then forced to be more drastic, shattering off her own forearm to have something else big enough to throw; the second try does the trick. Missing an arm, she checks back in with home base and begins her journey back to Earth, having seen both the beauty and horror the vacuum of space has to offer.

Fish Night

A father-and-son are visited by a sea of aquatic ghosts in the middle of the Arizona desert in “Fish Night”, the spirits of the life that existed when the sand plane was filled with water. The pair are naturally enamored, but the son gets too excited, stripping naked and swimming among the multi-colored ghosts. A blood-red shark spots the son and goes on the prowl, and the father’s cries falling on deaf ears until it’s too late. The shark gets its prey and the incredible light-show disappears with the son’s body, leaving the dad all alone in the quiet desert heat.

Page 3 of 3: Love, Death & Robots Episodes 13-18

Lucky 13

Another episode that’s just missing a Microsoft logo and a title card to make it a concept trailer for a new game franchise is the Love, Death & Robots episode “Lucky 13”. “Lucky 13” is about the kinship between a talented pilot, Lieutenant Colby, and an old ship that’s developed a reputation for being unlucky. With Colby at the helm, 13 becomes one of the most trusted members of the fleet, on a fateful day going above and beyond to protect its passengers.

Pinned down by an oppressive wave of opposing forces, Colby is forced to activate 13’s self-destruct mechanism to protect her and the other soldiers. 13 goes one step further, though, waiting beyond the countdown so the advancing threat is right on top of it to explode, thus maximizing damage and ensuring Colby and the rest definitely make it out alive. Sometimes all an Artificial Intelligence needs is the right person behind the wheel.

Zima Blue

An art journalist gets the interview of a lifetime in “Zima Blue”, profiling the great Zima – a withdrawn modern artist whose work had redefined the idea of scale and possibility over the course of decades. Legend had it that Zima was a mortal man who had himself robotically enhanced to explore every kind of environment he could, so that he could grasp the true nature of existence. The truth is something much simpler.

Zima is actually a robot, first built by a young girl to clean her pool. His inventor/mother kept working on him, giving him greater levels of autonomy. He grew to become fully autonomous and eventually became obsessed with the color of the blue tiles he was originally made to upkeep, hence that color being the center-piece of his work. His last masterpiece is the reveal of his mechanical roots, choosing to revert back to his very first form as a simple cleaning tool in a swimming pool, much to the shock of his aristocratic audience. It might not be tomorrow or the day after, but someday, something we invented will start making the art for us, and we’ll still be no closer to any real answers.

Blind Spot

The attitude and cartoon-y violence of the ’90s weighs heavy on “Blind Spot”, featuring a gang of robotic criminals performing a heist. Their robbery of a computer chip from a heavily guarded truck goes wrong thanks to their over-confidence as well as some unexpected defenses. Nothing they can’t handle, though, but it’s the rookie and the brains who are left standing among the debris. Except the rest of the team had their brains copied so their robotic bodies could all be destroyed without lasting damage. A solid vision of the shape eternal life might take – in the far future – is couched in some enjoyably flippant action.

Ice Age

The only real live-action entry in Love, Death & Robots is a sardonic plot of a young couple discovering a civilization living in their freezer. Peaking in at their unlikely tenants, they watch this micro-world zip through the entirety of human history right into achieving the singularity, surviving a nuclear war along the way. Then, once the singularity has been completed and all seems done, the cycle starts all over again; dinosaurs and monkeys co-existing in a primal wasteland. It’s the circle of life – maybe climate change is just our own overlords unplugging the freezer?

Alternate Histories

What if you could go back in time and kill Adolf Hitler before World War I? Fueling many a lively hypothetical discussion among friends, the question is used here to demonstrate a new app that generates the likeliest scenarios and then animates them for the viewer. Six different timelines are shown – some arguably better, but most worse than what’s actually happened – and all are fun to consider. As virtual reality and augmented reality continue to develop, software like this isn’t out of the realm of possibility, though the actual version will probably be less charming. That timeline where the squids visit the moon would be well worth a visit, all the same. In the end, though, Love, Death & Robots‘ “Alternate Histories” is a warning against changing the timeline, because the result may not always be better than what’s already happened.

The Secret War

Essentially “Hellboy, but Russian”, The Secret War” closes out Love, Death & Robots in a suitably grim fashion. A Russian platoon is sent to the snow-choked forests of early 1920s Siberia to hunt down demonic creatures summoned when the Red Army experimented with dark magic. The monsters are uncontrollable, killing anything that gets in front of them, and the only solution is extermination before anyone else finds out what happened.

The efficient squad find one of the main hideouts of these things and rig up explosives, but it isn’t enough. Sending one of their younger members to rally for help, the rest engage in a suicide mission to hold the line until a bombing run can arrive. Sure enough, the summoned hellspawn is erased and life carries on as if it didn’t happen, with only one soldier left fully aware of what it looked like to be among those things. A dark but apt end to a series all about ideas we don’t often like to consider, as “The Secret War” argues the true significance of centuries of conflict.

More: The Best TV Shows & Movies Coming To Netflix In March 2019


2019-03-17 04:03:23

Anthony McGlynn

Myers-Briggs® Personality Types Of Happy Endings Characters

Happy Endings is one of those TV shows that has devoted fans but not everyone has seen. Even though it may not be as popular as Friends or Seinfeld, it’s definitely worth checking out because it delivers the same laughs and interesting storylines. Happy Endings follows a group of friends living in Chicago who have to get used to life after Alex (Eliza Cuthbert) leaves Dave (Zachary Knighton) at the aisle on their wedding day.

RELATED: 10 Cancelled TV Shows Netflix Needs To Renew

The show is known for being zany and unique, and the characters are especially strong. They are each weird in their own way. What are their Myers-Briggs Personality Traits? Let’s look. Here are the MBTI of Happy Endings characters.

8 Francis Williams: ENFP

Sometimes, when a sitcom character’s dad or mom shows up, it’s especially poignant and helps move some character development along. That’s the case here. In the season one episode, “Like Father, Like Gun,” Brad’s dad, Francis Williams, is played by Damon Wayan Jr.’s actual dad, Damon Wayans. Brad is upset that his dad never says that he loves him, and he’s confused that his dad is suddenly only interested in having a good time. Of course, we know that this is because his dad has gotten good news about his health.

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Based on this episode, when it comes to this MBTI, Francis Williams would be an ENFP or “Imaginative Motivator.” This type has a “zest for life” and loves to be around other people. The official description says, “Their partner, peers, family members, and friends will likely see them as versatile and enthusiastic.”

7 Derrick: ESFP

Stephen Guarino plays Derrick on Happy Endings and he’s the “gay husband” that Penny has wanted. At first, the two of them bond so fast it’s like they’ve known each other their entire lives. But after a while, his fun-loving personality seems pretty dark and he’s actually kind of mean to her.

RELATED: 10 Seinfeld Characters And Their Real-Life Counterparts

Derrick’s favorite thing is to yell “DRAMA” at any given moment, so his MBTI has to showcase his dramatic personality. He’s an ESFP or “Enthusiastic Improviser” and sounds just like the description: “People with ESFP preferences tend to be adaptable, friendly, and expressive. They enjoy life and being around people.” He’s outgoing, loves having an active social life, and is cool with meeting new people.

6 Dave Rose: ISFP

Dave is a reliable guy who seems like a really amazing friend. He has a food truck with an amazing food pun — it’s called “Steak Me Home Tonight” — and it’s honestly had to see why Alex doesn’t want to be with him anymore. Sure, we get that she said that things didn’t feel the same anymore, but Alex is a stand-up kind of guy. In most episodes, he’s going on a date or spending the night with a new girl, and viewers hope that he’ll find The One.

RELATED: ABC Asks Viewers to Help Save ‘Happy Endings’ – Will it Work?

His MBTI is ISFP or “Versatile Supporter.” ISFPs are “sensitive” and “understanding” and “caring.” They’re there for the people who they love and they like to assist when they can. This is totally Dave. The best example? In the season one episode, “Of Mice & Jazz-Kwon-Do,” Dave hangs out at Alex’s apartment and says that he’ll help her find the mouse that has been bugging her.

5 Alex Kerkovich: INTP

Usually, when someone decides not to marry their partner on their actual wedding day, they’re not the most sympathetic character. That’s not the case with Alex. She’s still loveable and charming in her own way. Fans say that she’s ditzy and that’s definitely true, but she does have her own clothing store, which is pretty cool.

RELATED: ‘Happy Endings’ & ‘Don’t Trust the B in Apt. 23’ Move to Sundays

Alex’s MBTI would have to be INFP or “Thoughtful Idealist.” She seems to walk around with this feeling that her life will get better soon… but she just doesn’t know when or how. She’s often in a happy mood, too. INFPs don’t like “routines” and neither does Alex. She breaks up with Dave because she says that things have gotten stale and that she wants more from a relationship.

4 Brad Williams: INTP

Brad and Jane are the married couple of the friend group and they couldn’t be more perfect together. Brad’s a fun-loving guy who enjoys being with his friends and his wife. He seems like he could never have a bad day.

One aspect of Brad’s personality that fans and critics focus on is that Brad can’t do “small talk.” As it turns out, that’s a personality trait of INTPs or “Objective Analyst.” INTPs also don’t like things that make no sense.

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The official description also sounds like Brad: “In extreme circumstances they may tend to feel alienated and upset and prone to hypersensitivity.” Brad’s very sensitive and he needs a lot of support from Jane and his friends.

3 Jane Williams: ESTJ

Eliza Coupe plays Jane perfectly as a super organized woman who never rests for even one second. She has a perfect life and really seems to have everything, from a beautiful apartment to a wonderful marriage to Brad. She loves to host brunch and enjoy the finer things in life.

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Since Jane is the kind of person that we would want to plan our entire life, from a vacation that we want to take to any social plans, her MBTI is ESTJ or “Efficient Organizer.” ESTJs are described as people who “take charge” and are “structured.” The official website notes that if ESTJs are feeling too much, they will be “bossy” which describes Jane as well.

2 Max Blum: ISTJ

Adam Pally brings so much warmth to any role that he plays, and he shines as Max on Happy Endings. Max is kind-hearted and has a pretty hilarious, realistic view of the dating world. While it seems like he would be open to meeting someone, he seems less than thrilled whenever a guy gives him his number or his friends try to set him up.

RELATED: ‘Happy Endings’ & ‘Don’t Trust the B’ Get Pulled from ABC’s March Schedule

Max says it like it is and that makes him a “Responsible Realist” or an ISTJ. The official description says, “People ISTJ preferences are often described as dependable and systematic,” and that sounds like Max. He’s pretty tough and it takes a lot to get him excited. He’s got all of the ISTJ traits: he’s “detached” and “reliable” and “reserved.”

1 Penny Hartz: ENTJ

Penny, played by Casey Wilson, is one of the best TV characters. She’s absolutely hilarious, quirky, and seems to live in her own world. She does things her own way, and honestly, we would love to live in Penny’s world. Whether she realizes that she can speak another language when she’s been drinking or she’s trying to meet new guys, she’s always a welcome sight on this sitcom.

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Penny’s MBTI would be ENTJ or “Decisive Strategist.” When she makes up her mind, she does what she wants, and she’s a “take charge” person who has a lot of “self-confidence” as the description says. It’s safe to say that many fans of Happy Endings wish that Penny was real since she seems like the greatest friend to have.


2019-03-09 03:03:59

Aya Tsintziras