#chastity lynn

[sluttytoes]

[bcrude]

"Um, no... I want to feel it leak into my jeans."

[sweetesxx]

[shesgotbigfeet]

[starbreaker-event]

Hi everyone! This is the NSFW prompt list and the poly ship list - there is also a safe for work prompt list available here.

Please feel free to play around with these and mix and match however you like! Also do as many or as few days as you like. This is nothing more than a jumping off point and I can't wait to see what people make of it!

If you make any fan art or fanfic based on any of these, please do tag me and I'll reblog it here!

Alt text below the cut!

Day 1 - Bondage | Dirty Talk | Mage Hand

Day 2 - Sex Pollen | Punishment | Phone sex

Day 3 - Pet Play | Chastity | Mafia AU

Day 4 - Omorashi/wetting | Medical Fetish | Sounding

Day 5 - Spanking/Impact Play | Pegging | Priests & Nuns

Day 6 - Boot worship | Face-sitting | Torture

Day 7 - Cockwarming | Intoxication | Gunplay

Day 8 - Panties + Lingerie | Hypnosis | Brat-taming

Day 9 - Non-con/ Dub-con | Oviposition | Being recorded

Day 10 - Somnophilia | Edgeplay | Piercings

Day 11 - Breeding | Vibrators | Hold Person

Day 12 - Sensory Deprivation | Foodplay | Accidental Stimulation

Day 13 - Watersports | Tickling | Kidnapped

Day 14 - Praise kink | Master/servant | Candle/wax play

Day 15 - Humilation | Virginity | Centaur AU

Day 16 - Tentacles | Lactation | Faculty Lounge

Day 17 - Public Sex | Fisting | Cowboy AU

Day 18 - Massage | Omegaverse | Detect Thoughts

Day 19 - Sweat/scent kink | Mirror sex | Costumes

Day 20 - Frottage | Shotgunning | Dominate Person

Day 21 - Knifeplay | Sex Club | Shocking Grasp

Day 22- Breathplay | Voyuerism | Greater Invisibility

Day 23 - Leaving marks | Monsterfucking | Enlarge/Reduce

Day 24 - Fucking machine | Overstimulation | Suggestion

Day 25 - Shibari/Suspension | Inflation | Feet

Day 26 - Primal/Prey | Omorashi/wetting | Knotting

Day 27 - Masturbation | Bath/shower sex | LSOP

Day 28 - Gloryhole | Daddy/Mommy | Sex work/ Prostitution

Day 29 - Leather & latex | Violence/fighting | Shatterstar

Day 30 - Bloodplay | Collaring | Revivify/Resurrection

Day 31 - Free Choice/ Pick and Mix

Poly Ship Prompts

Day 1 to 6 - Jawbone O'Shaughnessy | Sandra Lynn Faeth

Day 7 to 13 - Zara Sool | Lucilla Lullabye

Day 14 to 20 - Jaceclones | Porterclones

Day 21 to 27 - Garthy O'Brien | James Whitclaw

Day 28 to 30 - Arienwen Abernant | Henry Hopclap

Day 31 - Free Choice | Orgy

[annabolinas]

Who is your fav portrayal of Jane Seymour and Kathryn Howard?

Good question! My favorite portrayals of Jane Seymour and Catherine Howard are Anne Stallybrass in The Six Wives of Henry VIII (1970), the BBC miniseries, and Lynne Frederick in its movie adaptation, Henry VIII and His Six Wives (1972), respectively. In case you want to watch either portrayal, both the 1970 show and the 1972 film are available on OK (dot) ru. Just search for "the six wives of Henry VIII Jane Seymour" for the first one and the title of the movie for the second, making sure to choose the video which is 1:59:19. Best of all, there's no ads or popups!

Anyways, here's the long answer itself. It's quite a long post below, so be warned.

It's very easy to make Jane into either a cipher (e.g. Wolf Hall, Anne Boleyn [2021]) or a bland non-entity (e.g. Anne of the Thousand Days, Season 3 of The Tudors), but Stallybrass portrays her sympathetically, yet as a rounded human. That's the key, really. This is a living, breathing Jane, not the bland Goody Two-Shoes of Annabelle Wallis in Season 3 of The Tudors. As an Anne fan, I do feel this portrayal exonerates her rather too much of culpability in the former's unjust execution - this portrayal of Jane isn't involved at all with the plot to get rid of Anne but feels guilty anyways. However, it's a very moving depiction of a gentle, introverted believer in traditional Catholicism who would much rather be in the countryside, at Wolf Hall, than dealing with court intrigue.

Henry falls for her during his 1535 visit to Wolf Hall, and while Jane wants to protect her chastity, they bond over their shared fear of the plague and faith. Despite her arrival back at court after the royal visit, she longs for the comforts of her country home. She tells her sister-in-law Anne Stanhope that she'd much rather be arranging flowers at Wolf Hall than be at court after Anne rips Henry's locket off her neck. This Jane also stands up for what she believes in. She shows a love for monasticism at her first meeting with Henry, passionately telling him that the locals visiting Hailes Abbey are "afraid for the abbeys, sir, for their souls!". Later, she pleads with Henry to restore the abbeys during the Pilgrimage of Grace, which she argues must be God's punishment. The fact Henry proceeds to scream at her and damage her faith by revealing the Blood of Christ from Hailes is in fact, a vial of duck's blood, doesn't diminish her bravery.

Indeed, Jane takes no part in the plot to get rid of Anne here, although she nevertheless feels guilty over it. She intercedes for Mary to return to court after her submission, to which Henry replies, "If you had your way, my little nun," he says, "every villain in the country would go free." Jane's shy reply that "I should make a very poor ruler" is met with more condescending "affection" from Henry. Indeed, this version of Jane actually flees from the Christmas 1536 celebrations at one point, as it gets too overwhelming for her. This makes Henry's condescension and later, outright mental and emotional abuse, even more heartbreaking; even worse, Henry's treatment of her is probably just how it really was in history. After he shows her the duck's blood, Henry quickly apologizes and sinks into self-pity so bad Jane has to comfort him while pitifully weeping, "I am bound to obey and serve you, sir." Even as Henry celebrates Edward's birth and baptism, he fails to notice Jane lapsing in and out of consciousness. His tears by her body, lying in state, are too little, too late.

Lynne Frederick was actually only 17 when this movie was filmed - looking back, perhaps they could've waited a year or two. Nevertheless, this is somehow the best portrayal of Catherine Howard on screen despite her only appearing on screen for fifteen minutes in a two-hour movie. Let me just briefly summarize her storyline and give some analysis, because there's so much good stuff in here.

Frederick's Catherine is a vivacious, warm-hearted teenager who finds herself the object of Henry's unwanted affections. This Henry is, as in history, prematurely aged and far taller/stouter than Catherine, which makes his asking her uncle Norfolk whether she is "a good girl" even more disturbing. As Henry leaves Lambeth, Norfolk and Bishop Gardiner walk with Catherine, who protests that "I had not looked for it, sir. I had wished -" Gardiner then cuts her off saying that she "may no longer consider your own wishes. You now have a duty to return England to the true faith." It's a very telling exchange, as Catherine's own emotions or feelings are brutally trampled on by the men around her; all she can do is look mournfully at both of them.

When next we see her, she's already married to Henry, enjoying the jewels and rich clothes that being his queen brings. It's a grotesque sight, as the teenage Catherine kisses, and is in turn fondled by an old man nearly three times her age. However, being queen isn't all positive, as she reveals to Henry that she had a nightmare of a bird caught in a room crying out to her for help, perhaps a manifestation of her own feelings of helplessness. Her kind-heartedness is shown when she sends a puppy to Anne of Cleves, who in this film has solely been depicted as comic relief. In a later scene, as Henry limps to the window on his cane, he blows a kiss to Catherine, who is walking in the garden with Culpeper. Although she returns his kiss, it's a sign of things to come.

While Henry and Catherine enjoy themselves on the Northern Progress, in private, he is disappointed to discover she's not yet pregnant. Nevertheless, he gives her a rich jewel, although he does have to read the text for her, as Catherine admits she can't read very well, another heartbreaking detail. The audience's (and my) horror skyrockets when Henry proceeds to uncover Catherine's thigh from beneath her dressing robe and rain kisses on it, as the camera pans up to an incredibly disturbed Catherine who winces and tries to pull herself together. Her marriage to Henry is a gilded cage, and it is difficult to escape the conclusion this Catherine thinks of Henry more as a father figure than a husband.

After Henry is told of her premarital relationships, though, he abandons her, much to her dismay. She is then questioned by Archbishop Cranmer, maintaining that she was raped by Dereham "without my will or consent" and staunchly denying a precontract, despite Cranmer's argument it would save her life. When he accuses her of adultery with Culpeper, though, she tearfully pleads for his help, weeping, "I would have wed him. And been his wife. But they worked on me, sir. My Lord of Norfolk - Bishop Gardiner - my grandmother. Talking, whispering together. Telling him I was bound. That I was bound to the king. And now my fame is gone and I'm nothing young and I -" When Cranmer tells her she must calm down, Catherine swings around and screams, "Don't touch me! You all handle me!" It's a poignant allusion to her premarital abuse, as it's specified in the movie that Catherine was only 13 when Manox preyed on her. She then recalls her cousin Anne's bravery in death before dissolving into another flood of tears.

In the end, she makes her way to the block, silently but with composure. She pays the executioner, is blindfolded, kneels, and then, holding a rosary, stretches out her hands like the wings of a bird in flight. The tragedy of this depiction of Catherine (and arguably the real Catherine) is that from the moment we see her, she's a pawn of men, who use her to further their own desires and agendas. Only in death is she freed.

[sluttytoes]

[bcrude]

"So, before we get started on my special project for my 'A' in your class, will you promise me something?" asked Chastity.

"What is it?" he asked.

Chastity blushed as she said, "No matter how much I shout 'stop,' promise me you won't stop until you're finished."

"You're absolutely sure about that?" he asked.

"Yes, sir. Make me regret neglecting my studies," she said.

"I can do that," he replied.

[rustbeltjessie]

My girl, my girl, don’t you lie to me—

Where Did You Sleep Last Night (also known as “In the Pines,” “Black Girl / Black Gal,” and “My Girl”) is a bit of a confusing one. Is it a murder ballad, or a death song? Someone in it is dead, and has died in a horrific way, but exactly who has died changes depending on the version you’re listening to, as does the way in which the victim died, and who is responsible for their death. And who is singing this song? The killer, someone that knows the killer, an omniscient third party? There are point-of-view shifts all over the place. My girl, my girl, don’t lie to me / tell me where did you sleep last night? That’s how the song begins. In the pines, in the pines, where the sun don’t ever shine, she replies, I shivered the whole night through. Most of the stanzas in the version I am referencing follow this formula, alternating between the person speaking to the ‘girl,’ and the girl’s responses. All save one, which starts: Her husband was a hard working man. In that one verse, the singer takes a different point of view entirely.

Some of these confusing aspects may stem from the fact that the song we now know as “Where Did You Sleep Last Night” is a mashup of two older ballads: “In the Pines” and “The Longest Train.” Some versions of the song reference the train explicitly, and state that the victim was decapitated by a train. In others, such as the one I’m most familiar with, the only reference to a train is that [his] head was found in a driving wheel. And in still others, the cause of death is reattributed and no reference to trains is made at all. Similarly, the person fleeing into the pines changes from version to version. In most, including this one, it is a woman, but why she is fleeing or what she is fleeing from is not made explicit. Is she fleeing her rapist? Is she a murderer, or the witness to a murder? Did she commit some other transgression that she is hiding from the repercussions of? Or are the pines simply a metaphor? My girl could be running from life and into death, or from chastity and into (her) sexuality.

I find that all these inconsistencies and mysteries only add to the song’s beauty and sadness. It’s easier to imagine yourself as the one in the pines when you can ascribe your own personal reasons for running—and your own personal places to run to—to the song’s protagonist, and that makes the song even more haunting. Speaking of: to my ear, Leadbelly’s 1944 recording is the most haunting take—his quavering voice, the scratchy blues guitar—though Nirvana’s 1993 MTV Unplugged version is also essential. Listen, and shiver the whole night through.

—Jessie Lynn McMains, from “I guess there’s just a meanness in this world.” (Murder Ballads and Death Songs) (October 2021)

[shesgotbigfeet]

[flowers-that-sing]

"baby, if it feels good, then it can't be bad"

(a post s3 steve harrington songfic based on Gibson Girl by Ethel Cain)

TWs// sexual content, dubious consent to put it lightly but it's more implied to be sexual assault, past csa, grooming, it's not super detailed (the csa much less so, and told through memories where steve doesn't even exactly know what's happening), but like. you know. it's pretty bad. referenced physical abuse. referenced past incestual sexual abuse. alcohol consumption, smoking. lightly implied drugging.

also, disclaimer: this is all told through steve's eyes—the way he sees things is very warped, his relationship with sex is unhealthy to say the least, and just because he's saying he feels good does not mean that anything that happens in this is good. it isn't. nothing about this is good or healthy at all.

She approached him in the dark behind the bar, where Steve was half-considering lighting up in spite of his promise of quitting to Robin. He had drank enough that it didn't seem to matter. She had leather pants on, and sunglasses, despite the dark. 

"Corey Hart fan?" he asked lightly. She didn't bother to answer. 

"Just saw you leave the bar. I'm glad you stuck around."

Steve didn't recognize her, and she didn't seem to recognize him either. She was dragging her eyes across his body, and Steve was suddenly all-too conscious of his scars on display, his sweat-melted hair wax. 

He was sick of it, he was sick of feeling ugly, and this girl had desire in her eyes. Steve was craving desire. 

And he was craving thrill. His thoughts had been rapid all week, his body more fidgety, his stomach constantly filled with bees and his energy so high he hadn't needed more than a couple hours of sleep a night. He had so much time in every day, but nothing to fill it with besides the monotony of work, and he needed adrenaline. There weren't any monsters to fight now, and there weren't any basketball games to play since high school, and he needed the feeling. The melting, excruciating, nauseating excitement, racing heart, the feeling of something about to happen, the fear, the risk. 

"You came alone to me—from however far away," he mused, lighting his cigarette, delicately placing it between his lips, exhaling into her face. 

"How'd you know?" she asked with a grin. 

You're all the same. 

Steve shrugged. "Lucky guess." 

She stepped in, so he could feel her breath on his face. "You gonna buy me a drink?" 

Steve put the cig out on his thigh. He didn't feel the burn. "I was just about to ask." 

If I'm still walking straight, I need another drink anyway. 

They went inside together, sat back at the bar. Steve opened a new tab. 

By the time he had a glass of whiskey in his hand, she had a hand on his thigh. She didn't even pretend to drink the vodka she'd ordered, and he was still downing his last gulp of whiskey when she pushed it into his hand with a little half-smile. He drank it. 

The lights were bleeding all over him. 

He felt a hand in his back pocket, and when he looked up, she was pulling cash out of his wallet. 

You wanna love me right now? 

"You wanna get alone with me?" Steve asked. Her eyes were bright, and she nodded, pulling him to his feet and all but dragging him out of the bar. He wasn't exactly sure when he'd gotten there, but he was in the trunk of a car, the backseats folded down to make room. "You wanna get my clothes off and hurt me?" 

He hadn't meant to say 'hurt.' But she just laughed and grinned, and ripped his clothes off.

☤

"Baby, if it feels good, then it can't be bad," Lynn says. Steve's eight now, beginning to question if it was wrong. He's remembering his Sunday school teacher talking about how nakedness was wrong, or something. And a new word, he doesn't know what it means. 'Chastity.' 

Lynn's touching him, she says it's to make him feel good. He doesn't really know how he feels. It reminds him a little of his grandfather, but Lynn's a woman, and she's not family, so it's different. It's better. If he closes his eyes and lets himself sink into it, he likes it. Is he supposed to like it? Lynn says he's supposed to like it. 

He tells her he does, and opens his eyes when she's done, and she's smiling. She promises him a new teddy bear. But for right now, it's his turn to make her feel good.

☤

Steve likes to think he's a good person now, but he knows he's still a whore, and he can't deny the high that comes with being immoral in a stranger's lap. He's kissing over her chest and grinding down onto her leather pants, and she's digging her nails into his back. He still doesn't even know her name. She doesn't know his. Maybe it's better that way. 

She hasn't taken off more than her shirt still, but he's fully naked. It's dark, the only light coming from a dim greenish streetlamp outside the car, and he thinks maybe she can't see his scars, but she's running her hands over the scar on his chest, from where the Russian guards had cut him open. She looks at it with something he can't quite decipher. It almost looks like fascination, but he knows that isn't it. Her eyes are wide, her pupils dilated. 

Ah. Desire. 

"You know, I was serious about hurting me. You wanna add some more?" 

☤

"I'm in love with your body. That's why I'm fucking it up." Steve listens to Lynn's voice from where she sits on the back of his legs. He is on his stomach, face turned to the side so he can breathe. He can’t see her. He sees his disorientingly patterned wall. He smells rosewater and orange zest, and his head feels fuzzy. Something hurts. Everything hurts. He doesn’t think about it too much. He just focuses on the warmth, the heat from the points of contact between him and his babysitter, the sweat in the backs of his knees, on his upper lip. The bedsheets are damp. It’s itchy. 

☤

Steve tasted his own blood on her teeth as she bit his upper lip. He was starting to see colors in the spaces where she'd been after she moved. And then his face was between her thighs, and when had her pants even come off at all? His heart was racing, exactly like he'd wanted, and his body was wracked with tremors. He listened to the music coming from her lips, the moans rising from her chest, and his heart leapt. I did that. I'm making her feel good. 

His arms felt a bit numb as he reached up to rub his thumbs into her hips. She was panting hard, and he was giddy. 

"Oh, fuck—you really are special, baby," she hissed. 

Steve's eyes widened, watered, and he whimpered against her. 

I'm special. She said I'm special. 

Steve was going to ride this high for at least a week. He was desirable, wanted, special. He basked in her attention, even if he knew he wouldn't see her again after tonight. 

He felt like he was being shown something he could never have. Something he'd searched for all his life. For a second, he could pretend it was love. Love for his brain and his scars and his body. Him taking all of her attention and giving back anything she wanted in return. Just to feel special. He'd do anything. 

Because that's what love was, right? Love, want, attention, specialness, was just tied to sex. Maybe his parents didn't love him since they couldn't fuck him. His grandfather loved him, his babysitter loved him, and for one night at a time, anyone could love him. And growing up, it was the only way he was really touched, with affection, at least. In ways other than a beating. 

He knew that wasn't right, because him and Robin loved each other. He loved the kids—never in that way, ever, and he still loved them. It was a different kind of love. But then, it was another different kind he was looking for, anyway. Maybe he was ungrateful. But he was hungry for attention, for someone to call him special, to want him around, he was starving for it. 

His thoughts weren't making much sense anymore. 

She was holding him in her lap, his boxers were back on, he was resting his head on her shoulder. He assumed she'd finished at some point, he didn't remember, and he knew he hadn't, but he hadn't really wanted to anyway. 

He was drooling, and he couldn't stop himself, and he couldn't see much, but her body was warm. He crawled closer, squirmed in tighter. It felt good to be held. He felt good. 

He woke up almost naked on the sidewalk in the sun with drool pooling at his chin and the rest of his clothes on a pile next to him. 

[fatummortem]

Roleplay History!

The rules are simple! Post characters you’d like to roleplay as, have roleplayed as, and might bring back. Then tag ten people to do the same (if you can’t think of ten, just write down however many you can and tag that number of people). Please repost, don’t reblog!

Current Muses

Kinney Ryouta/ (Daken/Fang) [Earth 616]

Bobby Drake / Iceman [Earth 616/Occasional plotted mix of movies]

TJ Wagner / Nocturne [Earth 2182, Adopted Earth 616]

Billy Kaplan / Wiccan [Earth 616]

Rose Worth / Ravager [DC Pre N52, Quiet]

Somnus [Earth 616]

Marian Carlyle / Rogue Malicia [Earth 1610, Displaced to Earth 616]

Cloud Strife [FFVII Remake/Crisis Core, Quiet]

Kyle Beaubier-Jinadu [Earth 616, Discord]

Want To Write

Megan Gwynn / Pixie [Earth 616]

Death of the Endless [All incarnations, Hiatus]

Robbie Reyes / Ghost Rider [Earth 616 & MCU]

Anna Marie / Rogue [Earth 616]

Roxie Blaze [OC, Earth 4321, Displaced]

Have Written

Soranik Natu / (Yellow Lanter/Green Lanter) [DC Pre N52 & N52]

Kory Anders / Korand'r / Starfire [DC, All incarnations]

Jane Foster [Earth 616]

Chasity Marks / Chastity [Chaos Comics]

Carin Taylor / Velocity [Image Comics]

Robert Lane / Burnout [Wildstorm]

Roxy Spaulding / Freefall [Wildstorm]

Abigail van Alstine / Necromancer [Top Cow]

Unknown / Enigma [DC, Pre N52]

Jennifer-Lynn Hayden / Jade [DC, Pre N52]

Harley Quinn [DC, all Incarnations]

Todd Rice / Obsidian [DC, Pre N52]

Oliver Hampton [How to get Away with Murder]

Connor Walsh [How to get Away with Murder]

Steve Rogers / Captain America [Earth 616 & MCU]

Wanda Maximoff / the Scarlet Witch [Earth 616 & various AUs]

Natalia Romanova / Black Widow [Earth 616, MCU & Various AUs]

Kirishima Ayato / Black Rabbit [Tokyo Ghoul]

Rose Wilson [Various AUs]

Fenris [Dragon Age]

Kaiden Alenko [Mass Effect]

Ignis Scientia [Final Fantasy XV]

Noctis Caelum [Final Fantasy XV]

Andrew Minyard [the Foxhole Court]

Various OCs

Other's I forget

Would Write Again

If there's a plot of some kind, I'm normally game to writing old muses. Most of them didn't last long on tumblr for an unknown fandom or what not, which happens. Other's I moved to discord just haven't writen them in years but the servers are still active for OOC chats. My Jane was just a self writing challenge & to fuck with an old friend So I probably won't write her again. I drifted many of my female muses ages ago when I came out or just switched platforms. Though there are a few I'm just not interested in writing.

Tagged by: Stolen from: @positivelybeastly Tagging: if ya wish to, just steal it & tag me in it so I can take a gander c:

[chastityslave1961]

Chastity Question?

[sluttytoes]

[shesgotbigfeet]

ariel anderssen vs. chastity lynn!