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hotvintagepoll · 4 months

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Propaganda

Eartha Kitt (Anna Lucasta, St. Louis Blues)—My friend and I have a saying: NOBODY is Eartha Kitt. A thousand have tried, and they've all come up empty and will continue to do so. Everyone knows her for something: from "Santa Baby" to Yzma in Emperor's New Groove to Catwoman to making Lady Bird Johnson cry for the Vietnam War. She was a master of comedy and sex, an extremely vocal activist, and she aged like fine wine... I honestly don't know what I can say about her that hasn't already been said, so I'll stick to linking all my propaganda. Like what else do you want from me. She was iconic at everything she ever did. Literally name another. How can anyone even think of her and not want to absolutely drown?

Hedy Lamarr (Samson and Delilah, Ziegfeld Girl)—Look. I'm sure someone has already submitted Hedy Lamarr because she was spectacularly beautiful, and a very strong lady too: she fled both an abusive marriage AND nazi persecution at a very young age and rebuilt a life for herself pursuing her love for acting all on her own!! Her career as an actress was stellar; while she began acting outside of Hollywood (her very first movie, Ecstasy, won a prize at the Venice Film Festival), she conquered American hearts very quickly with her first movie in the US, Algiers, and then just kept getting better and better. If all this isn't enough, she was also an inventor: her invention of the frequency-hopping spread spectrum radio transmission technique forms the base of bluetooth and has a lot of applications in all kinds of communication technologies. I think that deserves a prize, don't you?

This is the final poll of the Hot & Vintage Movie Women Tournament. Please reblog with further support of your beloved hot sexy vintage woman.

THIS POLL LASTS FOR 24 HOURS.

[additional propaganda submitted under the cut.]

Eartha Kitt:

"A hot vintage woman who was not just known for her voice, beauty, poise, and presence, but also her unapologetic ways of speaking about how she was mistreated in the show business as a girl who grew up on cotton fields in South Carolina in the 1930s through the 1940s coming to Broadway first and then Hollywood."

"Have you watched her sing?? Have you seen her face?? Have you heard her talk?? How could you not fall instantly in love. She makes me incoherent with how hot she is."

"She can ACT she can SING she can speak FOUR LANGUAGES she is a GODDESS!!! Although she is (rightfully) remembered for her singing, TV appearances (Catwoman my beloved), and later film roles, her early appearances in film are no less impressive or noteworthy!! She’s an amazing actress with so much charisma in every role. She was also blacklisted from Hollywood for 10 years for criticizing the Johnson administration/Vietnam War, so. Iconic. Also Orson Welles apparently called her “the most exciting woman in the world.”

"She had such a stunning, remarkable appearance, like she could tear you to shreds with just a glance- but the most undeniable part of her hotness was her voice, and it makes sense that it's what most people nowadays know her for. Nothing encapsulates the sheer magnetism of her singing better than this clip of her and Nat King Cole in St. Louis Blues, she pops in at 2:49. Also I know it's post-1970 but her song that was cut from Emperor's New Groove is likely to make you feel Feelings."

"Even with as racist as Hollywood was in the 1950s and 60s, Eartha Kitt STILL managed to have a thriving career. She also once had a threesome with Paul Newman and James Dean, and called out LBJ over the Vietnam War so hard that it made First Lady Johnson cry. Eartha Kitt was talented, sexy, and a total badass activist."

Hedy Lamarr:

"The only person you can find both on the Hollywood Walk of Fame and in the Inventor's Hall of Fame--her radio-frequency-hopping technology forms the basis for cordless phones, wi-fi, and a dozen other aspects of modern life. She was also passionate in her efforts to aid the Allies in WWII (unsurprising for a Jewish-Austrian Emigree to America), and her name served as the backbone for one of the best running jokes in what is possibly Mel Brooks' best movie. Look, Louis B. Mayer apparently believed he could plausibly promote her as "The world's most beautiful woman". Is an entire website full of people going to be less audacious than one Louis B. Mayer? I didn't think so!"

"Described as "Hedy has the most incredible personal sophistication. She knows the peculiarly European art of being womanly; she knows what men want in a beautiful woman, what attracts them, and she forces herself to be these things. She has magnetism with warmth, something that neither Dietrich nor Garbo has managed to achieve" by Howard Sharpe, she managed to escape her controlling husband (and Nazi Germany) by a) Disguising as her maid and fleeing to Paris or b) Convincing the husband to let her wear all of her jewelry to a dinner, only to disappear afterwards. Also she was particularly clever and helped develop Frequency-Hopping Spread Spectrum (I can't really explain it but anyway...)"

"Her depiction of Delilah and Samson and Delilah just lives rent free in my head. The woman was gorgeous."

"One of the most beautiful women ever in film, spoken by many critics and fans. Beautiful shapely figure, deeper seductive voice, and often played femme fatale roles. She was also brilliant and an inventor. Mainly self-taught, she invested her spare time, including on set between takes, in designing and drafting inventions, which included an improved traffic stoplight and a tablet that would dissolve in water to create a flavored carbonated drink, and much more."

"Gorgeous and brilliant pioneer of modern technology and the middle part."

#ladies final showdown #hedy lamarr #eartha kitt #hotvintagepoll #fuck that old woman

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ms-demeanor · 3 months

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So you know absolutely positively nothing about photography

Cellphone cameras are fucking great. I love them. I love the ability to take photos whenever and wherever at basically zero cost.

Point-and-shoot cameras have always been awesome and accessible devices.

This is not a post shit-talking "basic" cameras. This is a post for people who have only ever used basic cameras who want to know at least slightly more about photography.

Because, the thing is, a remarkable amount of photography is math. And if you don't know it's math, it looks like a mystery. And you may be standing there snapping a photo with your phone that looks pretty good, but your friend with a DSLR looked at the sky, twisted a dial, and took three steps to the left and they took a photo of the same subject that looks like it belongs on a magazine cover.

How did they do that?

Probably math.

If you've come into possession of a DSLR camera and are disappointed that the photos you're taking aren't looking like the photos you thought came from DSLRs, I'm here to tell you about the math you may not know about.

What is a photograph?

At its most basic, a photograph is the result of light on a sensor. Let's consider a pinhole camera for a moment. A pinhole camera is a lightproof box with a piece of photographic paper on one side and a tiny hole in the other.

When you create a photo with a pinhole camera, you're using pretty much all of the math you would in a big fancy camera, just in a cruder form they are:

The sensitivity of the paper, film, or camera sensor to light (this is your "ISO" if you're using a digital camera or film). Light sensitivity can be easily changed on a digital camera, but on chemical-treated paper or film the sensitivity is predetermined and cannot be changed. If you want to change the ISO on an analog camera, you need to change the medium that's being exposed.

An opening to let light in - your F-stop, or aperture. The F-stop of a photo is how wide open the lens is to let light onto your film or sensor. In a pinhole camera, you have something that is theoretically a very very large F-stop because you have a very, very tiny opening to let light through (F-stops run in reverse - the bigger the number, the smaller the opening).

Exposure - your exposure is the amount of time you leave your sensor open to the light. The majority of photos you see in the world have exposure times that are measured in tiny fractions of a second, sometimes in thousandths of a second. If you're using photo paper in your pinhole camera, you may have an exposure time of minutes rather than tiny portions of a second, but your photo exposure will still depend on how long you want to leave your "lens" open.

Focal length - your focal length is a description of the relationship of the distance between the light source and the light sensor. You can manipulate this in a pinhole camera by making the camera longer or shorter. A larger focal length means a narrower field of view - it zooms in on the subject.

A pinhole camera is the simplest camera that lets you, the photographer, control all of the elements of a photo. This is, functionally, fully manual photography.

So what's the difference between all that and a cellphone camera?

Point-and-shoot cameras like those on cellphones give the user more limited control over these settings. For instance, think of a disposable camera. On a disposable camera, the photographer has control over one setting - the ISO of the film, which they can select at purchase. They can't control how wide the lens opens or how long it stays open, and the only way they can compensate for lighting that is a poor match to the ISO is flash.

Cellphone cameras are very much like a standard point-and-shoot. By default, users point their cameras, then shoot a photo. Many cellphones have a "pro" mode that will allow the user to emulate different ISOs or f-stops, but the sensors in cellphone cameras aren't as good as the ones in camera-cameras, and the lenses are very limited as well. Some cellphone cameras and point-and-shoot digital cameras WILL allow users to set longer exposures, and many cellphone cameras have multiple lenses which does allow for some lens effects, but they don't give a huge amount of control to the user.

Okay so let's say I've got my new shiny camera, what do I need to know?

For best results, you want your ISO to match the light you're shooting in. Low ISO is for bright light, high ISO is for low light. If you wanted to take snapshots of your family outdoors at disneyland in the summer, you'd buy 100 ISO film. When I used to shoot football games at night in oddly lit stadiums, I'd use 1600 ISO film. If you have a DSLR camera, there's a setting somewhere in there that tells you how to set the ISO. If you are shooting in relatively low light and the photos are turning out darker than you'd like *but* things are moving too quickly to use a longer exposure, you can bump up your ISO for brighter, sharper images but they will be more noisy and grainy than ones shot at a lower ISO. If you want clean, smooth, crisp images, your goal should be to shoot with the lowest ISO possible.

The Aperture of your camera lens determines your F-Stop. This acts like the pupils of your eyes. When it's really really bright out, your pupils shrink down to let in less light. When it's darker out, your pupils get bigger to let in more light. If you are shooting in low light, you want a low F-Stop, which means that your camera's lens is open really wide. If you are shooting in a bright environment, you want a higher F-Stop, which will mean the opening is very small. Since your F-stop interacts with the focal length of your lens, you will find that zooming in with the lens often makes images darker. To shoot clear images from far away, you need to be very conscious of your F-stop, your ISO, and ambient lighting conditions.

Exposure describes the length of time you set the camera to leave the aperture open. In many DSLRs this can span from 1/3200th of a second to infinitely long (the "bulb" setting means "aperture is open until you close it.") If you want sharp images of frozen motion, you want the fastest speed that you can get. Sports photography and photography of things like insects or milk crowns often use extremely short exposures to get sharp images. If you want blurry images you want slower speeds. If you want to take a photo in a low-light environment and capture motion within that environment - for instance, taking photos of cars on a freeway at night - you want slower speeds (if you want to do this in a brighter environment, like taking photos of a stream in the daytime, you want slower speeds and a specific kind of lens filter called a neutral density filter). When exposures are set to be longer than about 1/60th of a second, images with motion start to look blurry.

Focal Length determines the field of view of your subject. If you have a lens with variable focal lengths, this is called a zoom lens. A longer focal length zooms you in and a shorter focal length zooms you out. Lenses with fixed focal lengths are called prime lenses, and can't zoom in or out.

Depth of Field - your depth of field is a combination of the interaction of your focal length, your distance from your subject, and your F-stop. The depth of field describes the relative amount of space in a photograph that is in focus. A long depth of field means that much of the image plane is in focus. A short depth of field means that a narrow portion of the image plane is in focus. A low F-stop produces a narrow depth of field. A long focal length produces a narrow depth of field.

You can think of your camera as a tool that measures time and space. Your ISO and Exposures are measurements of time (how quickly the sensor senses the light, how long the sensor is exposed to the light), the F-Stop and the focal length are measurements of space (how wide the aperture of the camera is, how far the lens is from the sensor).

The pre-set modes on your camera, the ones on the dial that show a person running, flower, or a cloud, or a lady with a hat - these are generic settings that combine an ISO, exposure time, and f-stop that are likely to work well for outdoor action shots, landscape photography, cloudy light, and portraits. When you're using those pre-set modes, you control the focal length and not much else.

When you understand that the running person/action mode means low-ish ISO combined with high shutter speeds, you can start just setting your own ISO and shutter speed when you're shooting sports. When you know that portrait mode sets you up for low-ish f-stops, relatively quick shutter speeds, and mid-range ISOs, you can just start setting those things on your own so you can have more control.

"What about light metering?"

Since your camera is a machine that records light, light metering is pretty important. The light meter of your camera will tell you if your settings are "correct" for the amount of that the light sensor senses. In most modern cameras there is a light metering display on the bottom edge of the viewfinder that goes from negative to positive; if the meter shows that you are in the negative it means that your photo will be under-exposed (too little light will get to the sensor and the image will appear dark), if the meter shows that you are in the positive it means that your photo will be over-exposed (too much light will get to the sensor and the image will appear too bright - "blown out"). The way to correct for under or over exposure is to change the length of the exposure, making it longer for underexposed images and shorter for overexposed images.

What the light meter is doing is thinking about all of your settings and the lighting for you. It looks at the ISO, focal length, f-stop, light hitting the sensor, and planned exposure time and tells you what that combination of settings is likely to produce - something too bright, or something too dark.

When you are more experienced with photography, you get good at juggling these things on the fly and messing around with them more, which is how you can do the magic of looking at the sky, twisting a dial, taking three steps to the left, and knocking it out of the park with a picture.

It only looks like magic because you're doing a ton of math under the hood that is extremely non-obvious to people who are new to photography.

Anyway, here is a good guide to depth of field and what goes into it.

Here is a basic photography textbook that explains the principles that I've gone over here in a lot more detail with a lot better explanations. It's a film photography textbook, but one of the cool things about photography is that a lot of stuff from the analog era is still relevant in the digital area, and the basics haven't changed.

However all of that is about the *technical* aspects of photography. Photography isn't just a record of exposure time and focal length, so here's a basic photo composition textbook that talks about the artistic principles of photography.

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ubourgeois · 6 months

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A Touch of Sin (2013) dir. Jia Zhangke

#A Touch of Sin #Tian Zhu Ding #Jia Zhangke #Remarkable how there's just a little bit of all of his other films slipped into this #Such a weird pivot in hindsight but still maybe the best thing he ever made

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retiredteabag · 19 days

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The soul does not lie

synopsis: Sukuna allows tedious nonsense when he can feel your soul's cravings.

〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰

Though he hardly mentions it, Sukuna can, in fact, feel your soul in a way that a normal sorcerer never could. Knowing this helps to make sense of the fact that the man can always tell when you are distressed, even when you try to hide it.

You had discovered this little ability of his when he had come stomping in from the gardens one day while you watched unblinkingly at a horror film.

With your eyes only visible through the slots of your fingers you looked up to see him standing, arms crossed, in the entry way of his chambers.

"What is it that brings you fear?" He had thundered.

"W-what... no, nothing, I'm just watching a movie, see?" You flipped your phone around for the man too see but he did not take his eyes off your form.

"I do not repeat myself." His four eyes were squinted and his eyebrows arched in a dangerously attractive way.

"Kuna' it's a horror movie, that's all, I'm not really scared." You finally announced to the rolling of four red eyes.

"Your soul states otherwise." He quipped before drawing close to try and see what had your soul trembling so fearfully. He was disappointed, to say the least when he was unable to identify what was so "horrific" about your film.

And that marked the moment you realized that Sukuna was able to feel you in a way you could not understand.

Sukuna was NOT a gentleman, he was far, far from it. He loved to bring terror to the masses, very rarely did he allow another beings to so much as speak in his presence. He did, however, have "soft spots" for creatures that sparked his interest, and those remarkably loyal.

Even so, he did not make efforts to calm your nerves when you were anxious. He did not feel the slightest effect in his chest when your sorrow was palpable. He would certainly not allow for time to be wasted on your souls quivering's. That-was none of his concern.

It was not as if he was taking any actions when he allowed your pathetic "cuddling" nonsense when he felt the pangs of misery that surrounded your essence.

You had tried to hold him in the past but he did not see the use in wrapping oneself around another. Even so, he found himself pretending to sleep (even though he did not need it) when he sensed your desperation for his touch.

Likewise, when he could feel the shaky and childish excitement that bled from your soul when you were happy, he could not seem to help but humor you.

As mentioned, Sukuna does not require sleep like your helpless human form. Still, it was not uncommon for the king of curses to close his eyes, relaxing in his ultimate power. Be it when he bathes, when he is lounging on his palace's engawa, when he is seated on his throne, or even when he reclines himself along his chamber's bed.

Sukuna had his eyes closed one evening, feeling his power splay out from his body, grasping at the forms of everyone within his domain. When he sensed your spirit, quickly approaching his chambers.

He made the decision then to seem uninterested when you clambered through the doors.

He could hear the switch in your step as you drew in a breath, clearly forgetting what you had wished to say at the sudden image before you.

The bloodthirsty man had never looked more like a jungle cat, lying atop his bed in such a lazy fashion. He felt the exact moment your soul leapt. He knew you had covered your mouth as your heavy breathing had dulled despite your heartbeat climbing to unusual heights.

He knew of your antics. Having felt you chew on each of his biceps several times. You had that same giddiness now. It was simply that he did not care to move that he kept his eyes closed. Pretending not to notice as you took out your phone, your feet dancing around him. He'll allow you to take your ridiculous photos, he's too... relaxed... to... take issue with your senseless mischief.

He could tell you had finished when he heard you pocket your phone once more, your hands covering your beating heart, you leaned down, holding your breath. The king of curses had to keep himself from squishing his face in ....disgust.... as you planted a chaste kiss in the space between his lower eye and his upper lip.

"You're too precious." You quietly whisper. Brushing your hand softly through his hair. And Sukuna rolled his eyes behind his lids.

Such foolishness he has never seen. Even so- he will allow it.

#jujutsu kaisen #sukuna headcanons #sukuna x reader #ryomen sukuna #ryoumen sukuna #sukuna #sukuna hcs #sukuna x y/n #sukuna x you #ryomen sukuna fluff #sukuna fluff #ryomen x reader #sukuna ryomen #jujutsu kaisen fluff #jujutsu kaisen sukuna

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pedrospatch · 11 months

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strawberry

Daddy Dom! Joel Miller x Sub! Female Reader

summary: You feel ashamed for using your safe word with Joel during a session—he assures you you’re his good girl no matter what.

warnings/tags: 18+ only, MINORS DNI. (TW) daddy kink, lots of dd/lg lifestyle elements, reader is collared (day collar) age gap that is self indulgent, reader is mid to late 20’s and Joel is in his 50’s but tweak that to your imaginations if you like. SMUT; p in v sex, rough sex (that reader asks to try), spanking, possible overstimulation (if you squint??) Joel basically fucks reader too much and too hard. USE OF SAFE WORD. aftercare and lots of fluff, references to a pop culture film that i haven’t seen in forever but it’s fine. PLEASE BE MINDFUL OF TAGS AND WARNINGS. if this isn’t your thing, no worries just scroll on by.

MOODBOARD FOR AESTHETIC PURPOSES ONLY, READER HAS NO PHYSICAL DESCRIPTION.

word count: 2.4k

a/n: this is totally self indulgent, all for me as someone who has dabbled in the lifestyle before. if this is not your thing, no problem at all but kindly keep any negative comments to yourself. huge shoutout to the lovely @swiftispunk for inspiring this with the snippets of her own upcoming series that i am oh so excited for, darling han thank you for not only inspiring this, but for listening to me talk about it and encouraging it! and also to sweet mya @cavillscurls because truth be told her own fic brought back so many memories of a time in my life where i was genuinely so happy, in love, and felt safe with a partner. okay, i am gonna run away to the gym now to listen to 1989 tv (again) and pretend posting this is not nerve wracking as hell.

He’s fucked you plenty of times before.

But never like this. No, never, ever like this.

He’s relentless.

His thrusts are coming quicker, sloppier, harsher.

It doesn’t hurt, but it’s intense. Too intense.

Joel Miller is truly testing your limits tonight.

No, he was pushing you past your limits.

Because that’s what you’d asked him to do.

“Alright, sweet girl. This is the last time I’m gonna ask you before we get started. Are you absolutely, one hundred—no, one thousand percent sure that you wanna try this out tonight?” he had asked you beforehand, skimming the strap of your light pink, lace lingerie with his index finger, his feathery soft touch sending a plesant little chill down the length of your spinal column. Of all the sets you owned, it had to be Joel’s absolute favorite. Normally, it was him who would pick out what you would wear, but tonight he’d decided to let you choose for yourself and oh, you did not disappoint. He fucking adored you in the color pink; loved how sickeningly sweet, precious, and innocent you appeared in the hue as you did the filthiest things to him, with him. When you nodded eagerly in reply to his question, a sigh fell from his lips, the doubt written all over his face as he remarked, “I really don’t think you’re ready. I think we should wait just a little a while longer.”

“I’m ready,” you’d insisted, stubbornly. “I promise. I wouldn’t be asking for it if I thought I wasn’t. But I am, I promise, promise, promise I am.”

“Daddy knows what’s best for you, sweetheart—”

Fingers curled around his bicep, you’d batted your eyelashes, giving him those eyes that brought him down to his knees for you a lot more often than he cared to admit, those eyes that made Joel feel like he was learning his role all over again, despite over two decades of experience under his belt. He used to pride himself for his ability to stand firm against pouting lips, fluttering lashes, and pleading gazes. And then you come along and suddenly it’s like he is in his thirties again and he’s navigating this kind of dynamic for the first time. Even after a year and a half with you, he’s still trying to figure out how to completely unwrap himself from your little finger.

“Please? Pretty please with a cherry on top?”

Christ, you made things so goddamn difficult.

“You really think you’re gonna be able to handle it? You think you’re gonna be able to handle me when I get real rough with you, baby? Hm?”

Without missing a beat, you replied, “Yes, Daddy. I can handle it. I know I can.”

You had been so certain that you could.

Confident, even. So confident that when he began going over the rules and reminded you to use your safe word if you needed him to stop, you’d giggled and stated, “I’ve never needed to use it before and I don’t plan on using it tonight.”

Oh, how very wrong you had been about it all.

You’d overestimated yourself, and underestimated Joel. Severely.

His hips snap roughly into yours without an ounce of mercy, over and over, again and again. Beads of perspiration start trailing their way down the sides of his face, the tip of his nose. His chest is flushed, red, and also slicked with a thin sheen of sweat.

You’ve already shattered, unraveled, come undone all over his cock several times—every time with his granted permission, of course. Because you knew better than to come without Daddy’s permission.

Your cunt is swollen, sensitive, too sensitive and at a point where it could start aching if he doesn’t let up soon. However, it seems like Joel’s only getting rougher and rougher as he chases another release.

“Joel—Daddy,” you manage to correct yourself at the very last second through a slew of frantic little gasps for air. “Daddy, please! Daddy please—”

His large hand tightens around both of your wrists pinned to the mattress above your head. Surely he must think you’re begging him for more, when the reality is you’re about to start begging him to stop because it’s just too much and you can’t handle it; but there’s a part of you that doesn’t want to stop, the part of you that doesn’t want to disappoint the man who means the whole, entire world to you.

The man you belonged to, the man you loved.

Even through the haze, you try telling yourself that it’s all mind over matter, mind over matter, mind—

“Stop,” you whine, squirming underneath him. “I—can’t take it anymore, Daddy, I can’t take it—!”

Releasing your wrists, Joel pulls himself out of you and you breathe out in relief, until he flips you over onto your stomach without warning. You let out an audibly loud gasp when his hands reach down and take your hips, pulling them up off his bed, putting you on your hands and knees. He brings down one of his hands on your ass in a stinging slap. “That is just too bad, ‘cause Daddy ain’t done with you yet, darlin’ girl. Not even close to bein’ done with you.” Wrapping his other hand around his base, he grins to himself as he glides the head of his cock up and down your slick folds. When it grazes your clit, you jerk forward, away from him, and he tuts, bringing you back to him, his fingers digging into the pillow soft flesh of your hips. “Oh no baby, you ain’t goin’ anywhere.”

“But Daddy, I just can’t—”

You’re cut off by your own cry when you feel Joel’s length stretching your walls all over again. It’s just too much.

And you really, really can’t.

He leans over you and presses his lips to your ear. “You asked for this, didn’tcha? Asked to be fucked like a big girl, huh?” He bucks forward into you, eliciting another strangled cry followed by a string of pathetic whimpers. Bringing his palm down in a second strike, he demands, “Answer me when I’m takin’ to you. You wanted this, said that you could handle Daddy bein’ rough with you, ain’t that right now?”

“Strawberry.” You say the word so quietly, you can hardly hear it over the ringing in your ears.

Joel spanks you for a third time, in the exact same spot—so hard, there was simply no way you would wake up without a mark in the morning. “I need’ya to speak up. You’re such a big girl after all—”

“Strawberry!” You grasp fistfuls of bedsheets and the signal for it all to end tears itself from the back of your throat. “Strawberry, Joel! Strawberry!”

It’s only a millisecond that he freezes, if that.

“Fuckin’ hell,” Joel curses under his breath, pulling out of you. The bed shifts as he climbs off of it and scrambles to pull on his sweatpants before he’s at your side—you’re still on your hands and knees, an unmistakable look of panic on your face. He puts a gentle hand on your back. “Baby, are you alright?”

Your heart is pounding, your breathing labored but you manage a small, tight nod of your head. “I-I’m fine. I just—” Stopping, you grip the sheets tighter, warm tears brimming your eyes. Shame over what you’ve just done is already creeping in and sinking into your bones.

“Are you hurt, sweetheart? Did I hurt you?”

Joel’s voice is calm, but you can hear the concern that laces his tone.

“No.” Your own voice is small. “No. You didn’t hurt me.”

“Is it alright if I move you?” he asks. When you nod your head, he reaches out for you and helps you to sit on the side of the bed. Dropping to his knees in front of you, he takes your hands and his and feels his stomach sink when he realizes they’re ice cold; he begins rubbing them between his own to warm them up. “Baby if I hurt you, you need to tell m—”

“I promise, you didn’t hurt me,” you reassure him, swallowing the thickness rising in the back of your throat. You clock the skepticism in his dark brown eyes and a tear slips out, rolls down your face, and splatters onto your bare thigh. “I’m not lying, Joel. I swear.” Tugging one of your hands out of his, you reach up and instinctively clasp it around the blue sapphire pendant hanging from the delicate, gold chain around your neck—he’d presented you with his birthstone last year, not only as a symbol of his ownership of you, but also as a beautiful reminder of your commitment to one another. “You believe me, don’t you? You believe I’m telling the truth?”

Joel’s expression softens. “‘Course I do, baby.” He cups the side of your face gently, brushing away a second teardrop with his thumb. “But I’d really like to know what happened so I can figure out how to best help, okay? Can you tell me what happened?”

Embarrassed, you try turning your head away, but he holds your cheek in his hand, gentle but firm.

“S’okay. You can talk to me,” he encourages softly, his gaze meeting yours once again. “Tell me.”

“It was just too much,” you mumble, meekly. “And too intense.” Heat floods your face as you admit to him, “You were right. I just wasn’t—I wasn’t ready for that yet.”

In an effort to lighten your mood, Joel lightly gives your cheek a delicate pinch and chuckles.

“Daddy’s got that real annoyin’ habit of bein’ right ‘bout a lot of things, don’t he?”

“I’m sorry.” Your bottom lip quivers. “I’m so sorry.”

His smile falters. “Sorry for what?”

“For using the safe word—”

Joel’s eyebrows shoot up in surprise. “Y’know you ain’t supposed to apologize for needin’ to use your safe word, right? That ain’t how it works, darlin’.”

Dropping your necklace, you place your hand over his on your cheek. “But I feel bad,” you confess. “It makes me feel like—like I let you down, you know? And that’s the last thing I want to do. I just wanted to be really good for you.”

“Oh baby.” Joel lifts himself from the floor. He sits on the bed and pulls you onto his lap, brushing his lips against your temple. “You are such a good girl for me, sweetheart.”

“But I couldn’t take it,” you sniff. “I had to stop.”

“And that’s okay,” he assures you. He wraps you in his arms and gives your body a gentle squeeze. “It ain’t nothin’ to be ashamed ‘bout. You’re still really new to a lot of this stuff, y’know? S’why I told you I didn’t think you were ready.”

“I should’ve listened to you.”

He winks. “You should always listen to Daddy.”

You offer him a tiny, watery smile. “I know.”

“And say we try this again one day and it’s just not somethin’ you like or that makes you feel good—or maybe you never wanna try it again at all,” he says with a nonchalant shrug. “That’s okay too. You are still my good girl no matter what—my perfect girl. Always. You understand me?”

“Really? You promise?”

Joel holds up his pinky.

“Oh, you’re being really serious,” you tease him.

“Sure as hell am, darlin’.”

You lock your finger around his and he pulls you in for a sweet kiss.

“I love you, Joel,” you murmur against his lips. You giggle again when he clears his throat and smacks your ass lightly, playfully. “I love you, Daddy.”

“I love you too, baby.” Joel pulls away and touches the tip of his nose to yours. “How’s ‘bout we get in the bath and get all cleaned up? Hm?”

“A bath?” You instantly perk up. “With bubbles?”

“With bubbles. And I’ll even let you throw in one of those smelly ball things you fuckin’ love so much.”

You swat at his chest. “Hey! My bath bombs smell really good, thank you very much!”

Joel doesn’t particularly like emerging from a bath smelling like a petunia, but for you, he’s more than happy to bathe in a sea of them, glitter and all.

You trace his collarbone with your index finger.

“Daddy? After our bath can we just cuddle in bed? Maybe watch a movie?” He raises an eyebrow and you smile sheepishly, adding, “Please?”

“‘Course. Pick any movie you want, sweetheart.”

“And can we have ice cream while we watch too?”

He pins you with a stern look. “Alright, now you’re just pushin’ it and takin’ advantage.”

You jut your lower lip. “Please, Daddy?”

There’s no arguing with that, not tonight.

Joel decides to let you have your way. “Alright.”

The two of you spend quite some time in the bath; normally a bath together ends with him inside you all over again, but tonight, all he’s doing is running a soapy wash cloth with your favorite shower gel—japanese cherry blossom—all over your body as he sits behind you, lips pressed against your ear. Joel washes you slowly, carefully, and all the while he’s whispering sweet, tender praise.

My good girl.

My perfect girl.

I’m s’proud of you.

I’m the luckiest man in the whole world.

After the bath, once you’re both dried and dressed in comfortable clothes—him in a clean pair of gray sweatpants and you in nothing but his t-shirt, Joel gives you the remote and instructs you to pick out a movie to watch.

“Make yourself real comfortable, baby,” he says to you, kissing the top of your head. “I’ll be back with that ice cream.”

You shoot him a hopeful glance. “Strawberry?”

“You tryin’ to be funny with me, darlin’?”

“No! That’s just my favorite flavor, silly.”

Joel grins to himself as he leaves the bedroom.

He knows that. Of course he knows that.

It’s why he always keeps a pint of it in his freezer.

You hop into bed and pull the blankets around you as your scan through the guide for a movie—you’d just decided on The Notebook when Joel appears again, a bowl and two spoons in his hands.

“You picked The Notebook again, didn’t you?” he asks without even looking at the flat screen that’s mounted on his wall over the fireplace.

“You said I could pick any movie I wanted.”

“Was just hopin’ you’d pick one we haven’t seen a thousand times,” he chuckled, sliding into his bed next to you. Joel places the bowl of strawberry ice cream in his lap and hands you a spoon. “C’mere, my sweet girl. Come closer.”

You snuggle up to him, and the two of you dig into the frozen dessert as the movie begins to play.

“Baby?” Joel speaks after a while, just as Allie and Noah share a passionate kiss in the pouring rain.

“Hm?” you ask, your fixed eyes on the flat screen, your mouth full of ice cream.

“You sure you’re okay?”

Swallowing, you look up at Joel, meeting his gaze.

“Yeah, I’m okay,” you answer honestly.

“‘Cause if there’s anythin’ else I can do for you…”

You purse your lips together and let out a tiny hum as you mull it over for a moment.

“You can hold me closer?” you finally suggest.

Joel shifts in his spot. “I can definitely do that—”

You stop him and point to the empty bowl.

“After you go and get us some more ice cream?”

He exhales an amused snort through his nose and shuffles out of bed, taking the bowl with him.

“Don’t get so used to bossin’ Daddy around,” Joel warns you playfully over his shoulder.

“Too late.”

divider credit to @saradika 🍓

#tw daddy kink #tw: daddy kink #joel miller x reader #joel miller smut #joel miller fanfiction #joel miller fluff #joel miller x you #joel miller x y/n #joel miller one shot #joel miller drabble #joel miller x f!reader #joel miller x female reader

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laroserie · 4 months

Text

— Various x-men characters dating a non-mutant!reader

— characters ; Scott Summers, Peter Maximoff, Kurt Wagner, Hank McCoy

— version with others characters ; not out yet

— warning ; no particular tw. talk about self estimee and doubt. (as always author has not started reading the comics and their knowledge come from the different xmen cartoon and my hazy memories of the film <3) ( also no cartoon gif for peter because i couldn't find any ... is he even in any of the xmen cartoons ), author decided that Peter has self-confidence issues, also Peter part kinda slide tracked and has more about Peter and his struggle than him dating reader whose a human ... sorry! (his part is also a bit short ...)

— Scott Summers

Scott has no particular qualm around you being a regular human, he loves you just as you are, and nothing can change that. That said, Scott cannot help himself but be, patronising at time. In his mind, you being a human just make you be at risks, you can't defend yourself if you get attacked, by others humans or mutants. He doesn't view you as weak, but, he know how fleeting life is. He isn't the greatest at expressing his feelings, and notably his worry for you.

He will also be more protective than if he was with a mutant. And it show in him being at first very against you befriending any others x-men, he very much care for most of them and he loves you very much, but he doesn't want to have those two part of his life mix up. He doesn't want you to get in dangers because of his job, but he also doesn't want you to possibly endanger one of his mission, he wasn't capable of choosing between you and one of his mission. Not to say, you are as or more important than his mission, but he was responsibilities as a X-Men and he cannot forget about them. But that said, with enough asking and pleading, making him crack and let you meet his friends and fellow X-Men.

Talking about you interacting with mutants, Scott will not let any remarks about you - well not being one - slide. He knows and understand why his friends may feel wary of humans, he get it, but you are different. You are quite literally dating him - a mutant, it couldn't make any sense for you to be against them. Scott may let it slide the first time actually, but anymore than that, and he's making them do extra session in danger room - or they aren't allowed in it, depending on who.

In general, there isn't that much of a different between how he treat his mutant or non-mutant partner, he just will be more protective and worried for them. He doesn't feel particularly insecure in your relationship - because of his mutation or your lack of mutation.

Again, he doesn't have any problems with you not being a mutant - he more so has problem being a mutant, not in general of course, but in your relationship yes. Peter can't really give an answer as to why, but if he had to guess it was probably due to this father, and the fact that he didn't want to do anything like his father did, to you. The worst is, he know damn well he isn't anything like him but he can't help but think that way.

He feels like he's going to mess your relationship up, because of what he is. He try to play it off as if it was nothing, but it's a feeling that lingers in the back of his mind often. He never truly wished to be a regular human before, and he still doesn't, but he just want your relationship to be more normal. Which isn't really possible. Peter knows that, he also knows that you don't care, about that kind of thing.

He can mask his doubts and awful self-confidence with his quirky attitude, he can fool most people pretty easily - expect you. At some point, it get to point, where you have to sit down with Peter and try to have a conversation about it, at first he will just act dumb and pretend he doesn't get what you are talking about, but his facade cracks relatively fast.

You listen, his fears and doubts. You comfort him, and assure him, that everything is fine, you reassure him that weither your relationship is 'normal' or not it's the last of your problem. You love him, he loves you and that all that matter in your eyes.

Now, Kurt could be the one that has the most difficulty dating someone that is not a mutant. He could be scared to hurt you more than anything. He's stressing out about doing or saying the worst thing, that will just break everything. One of the reason why he is friend, with his friends is because they share at least one thing - they can all relate on one crucial part of their identity - them being mutant, it's one thing that link them all together and make it at least a little bit easier to connect. You lacking that, make it hard for him. He still loves you all the same of course, but he feels like not being able to share something so crucial is sad.

So he desperately try to make it up in some way, he looks everything he can about your interests to be able to share that with you, everytime you share something about your interests Kurt will make mental note of it. And he will share a lot about what interest him in return. If you speak an another language that he doesn't know, he'll try to learn it, after all what is better than learning the language of your lover! Kurt can even teach you some german if you want to!

He wants something to link the two of you together even more. It's something he heavily crave. To be linked to you, by more than just, your love for each others.

Kurt may feel insecure at time, that you may leave him for well, a regular human, that isn't blue, has five fingers on each hands - he will try to keep it to himself, but he isn't really good at that. His insecurity just overflow and he end up offhandedly asking you while you are hanging out, if you could prefer to be dating a human rather than him. Obviously, you tell him that you don't, and ask where did this idea came from. He feels reluctant to admit as to why he asked. He feels, ashamed ? After seeing your reaction, he feels a bit silly, and even more when you comfort him and tell him that you very much prefer and could always choose to date him more than anyone else just because they are human.

On a more happy note Kurt loves seeing how amazed you are by his mutation, you never really were around mutants before - there isn't actually a ton of opportunity to meet mutants and to know that they are mutants, even if antis mutant politicians like to make people believe the contrary - most humans he met, weren't exactly thrilled by his, but you are the exactly opposite. Even after being together for a while and getting used to his mutation, there is still this curiosity and shine in your eyes when he teleport for example.

He is by far, the most chill about your relationship and you not being a mutant while he is. Well, that is if we are talking about Hank, after he accepted his entire mutation and all, which we are, Hank pre-self acceptance is different deal.

But once, Hank is settled as a scientific and has member of the X-Men, and has fully accepted his mutation, he doesn't personally really care. But sadly, a lot of people seemingly do and that's one thing that annoy him. The worst is it come from both fellow mutants, even his friends and colleagues sometime! And from regular humans. He doesn't really get why people care about him dating a non-mutant or you dating him - a mutant.

He personally try to not let it get to him, and if it does he will do everything but make you suffer because of it. It most often will result in him shutting himself in his lab for a bit of time, to calm down.

And like others, he feels like he needs to protect you because, you are so ... weak in his eyes, not in a bad way of course ! But in comparison to him you are so small and fragile. This cause Hank to usually like putting his arms around you, around you waist or on your back, to show you that he is there, and to show people around that you are his, and that they shouldn't try to hurt you in anyway.

#i pulled up with the gifs .. yk that a long post #a magic piece ?#time to write every tags ever #xmen x reader #x-men x reader #x men x reader #marvel x reader #scott summers x reader #peter maximoff x reader #kurt wagner x reader #hank mccoy x reader #the beast x reader #nightcrawler x reader #quicksilver x reader #cyclop x reader #x reader

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