#he's totally showing off

[hippolotamus]

Thirsty Fuck it Friday 🪩

Tagged by @tizniz for Thirsty Thursday and @daffi-990 for Fuck it Friday. And let me just say... go read their snippets if you haven't because 🔥🔥🔥

okay! so, two tag days, two snippets... right? a little Buddie here, a little Lutalia there. bon appetit!

from debatably (i use that so loosely lmao) sfw watch my shattered edges glisten:

Whatever Eddie thought he was going to see tonight– this was not it. He was prepared for flowing, graceful, and ethereal. For simultaneously muted and vibrant blending together in what could almost be described as an erotic ballet.   This, however– it’s loud and bold. Like being thrust into the daylight after years of darkness, or an endless storm, sending the shadows scattering.  Arsen steps out to music that begins with roughly ten seconds of synthesized horns before melting into an intense beat. He’s forgone his usual long sleeved mesh tee, wearing only a black chest harness on top. Even that’s slightly different, using a shiny patent leather instead of a matte finish. It hugs his muscles perfectly, with horizontal straps encasing his pecs and a singular vertical strap down the middle that disappears under matching booty shorts that showcase his thick thighs. Normally, Arsen seems to tease at whatever’s hiding beneath his clothes. Just enough of an outline to make Eddie wonder. Tonight there is no hinting. There’s an obvious bulge under the skin tight attire, further highlighted by the way he drags his palms up his quads and deliberately frames it with his fingers. Like he’s showing off. Strutting around like a peacock looking to prove he’s the best mate.

Buck’s music 😏

And some definitely nsfw untitled Lutalia (they are strangers at this point and Lucy hasn't given up her name):

Her right hand slips over Nat’s abdomen, past the hem of her dress until she’s grazing Nat’s inner thigh. A torturous barely there touch that sets her alight. Fuck.  How did she let herself go so long without this? How did she get so lost in the business of people dying that she denied herself the chance to live? Nat lets out a breathy whine, already just this side of desperate.  The woman nibbles her ear, chuckling darkly. “Impatient, are we?”  “Y-yeah. Yes.” Corset moans, somehow holding Nat closer. “Goddamn, what a fucking dream you are. Bet you’re all wet for me, too, aren’t you?” Nat knows she is, can feel the slickness between her legs. All she’s able to manage is a nod in response.  Corset hums appreciatively, tracing an invisible path up, up, up.  The prospect of relief is so near, Nat buzzes with excitement, eagerly anticipating the moment she’ll finally be touched the way she wants. Short nails scrape along her skin, toying with the seam of her underwear. She’s never been more grateful for being low on clean laundry and being forced to choose a thong tonight.  Except Corset pulls away then and Nat whines. A high pitched undignified thing that should leave her drowning in shame if she wasn’t so turned on.  “Don’t you worry. You’re getting what’s coming to you. Just gonna make a few adjustments first.” Corset deftly unzips the back of Nat’s dress, allowing the front to drop, exposing her breasts. Sleek leather and ribbon presses into her spine while Corset grins salaciously, rolling each nipple between her fingers. Corset’s other hand brushes over her swollen, sensitive clit through damp lacy fabric.  Nat meets her eyes in the mirror, pleading for more.  “Christ, just look at yourself, baby. Look how beautiful you are for me.” Nat does and fuck. She looks as debauched as she feels. Tits out and makeup smeared, letting a complete stranger be in control of her pleasure.

np tagging @stereopticons @shortsighted-owl @eddiebabygirldiaz @disasterbuckdiaz @actuallyitsellie @apothecarose @barbiediaz @buddierights @chaosandwolves @diazsdimples @elvensorceress @epicbuddieficrecs @eowon @fortheloveofbuddie @gayedmundodiaz @giddyupbuck @say-bi-for-me @honestlydarkprincess @hoodie-buck @indestructibleheart @jesuisici33 @thekristen999 @ladydorian05 @lemonzestywrites @lizzie-bennetdarcy @loserdiaz @loveyouanyway @monsterrae1 @rmd-writes @spaceprincessem @spotsandsocks @statueinthestone @steadfastsaturnsrings @the-likesofus @theotherbuckley @theplaceyoustillrememberdreaming @thewolvesof1998 @vanillahigh00 @watchyourbuck @weewootruck @welcometololaland @wikiangela @wildlife4life @your-catfish-friend @maygrantgf and anyone else who wants to 😘

[bigfatbreak]

Birds of a Feather previous / next

[bluegiragi]

in action (part 3)

early access + nsfw on patreon

[killjoy-prince]

House M.D. but it's when Wilson says House's name

[snip-stein]

New Wardrobe wohhhh

[al-luviec]

vito

[undertheleaves]

Maybe it wasn't the best idea for Tav to try and catch up with Gale in his realm

Ty @rainydaygt for providing the lovely inspo :]

[cluescorner]

A Batman who kills people is a bad Batman. Except for Terry because he is my special boy. Terry can drown a man it's ok. He can literally shatter a woman it's fine.

[ghastlyaffairs]

for something as trivial and simple those feelings sure are hard to get rid of

also made a gif a version for fun + alt version with no tears under the cut

the gif is in very low resolution...this is a feature (i could make it bigger but that would require saving each frame individually and than glueing it all together. also i feel like low resolution suits it better. aesthetically and fits the mood)

[triglycercule]

sleep deprived dust can't recognize what's dream and what's real when he goes in and out of consciousness so i think dust is allowed to be incredibly reckless when he's awake but thinks he's in a dream. he will kill whoever passes by him (or attempt to. for him it's an instict to shoot bones anyways.) he will drink 4 bottles of alcohol just because he thinks its just a lucid dream. have incredibly loud conversations with phantom paps because he's asleep so nobody will hear him talk. or just have loud ass breakdowns because again he thinks he's asleep!!! nobody's gonna know what he gets up to in his dreams. and until someone (probably phantom paps) tells him that he's not asleep and this is reality he won't realize until he's done something really reckless

horror is seconds away from exploding dust's skull open with his magic while dust is trying to strangle him and FINALLY phantom paps tells him he's awake and dust snaps out of it. killer is walking around the house with bones sticking out of him like pins on a sewing pattern (casually too. another day in the life for him) and he just asks dust what that was about. dust just gets off of horror and shrugs his shoulders with an idk. and then walks away. this is the 6th time its happened this month

[superherospinoff]

jack and janet drake were honestly so revolutionary for creating an only child that was a middle child from birth

[thisiswhereikeepdcthings]

Bernard is the one who handles the spiders. Tim can handle many things, but spiders is not one of them

He can’t handle them *well.*

He, of course, protests this statement. C4 and swords stolen from his brother are perfectly acceptable solutions, Bernard

[themisterhip]

The Sun-Borg is here✨

(Reference to that Mizuki cover <3)

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[killjoy-prince]

House M.D. but it's when House says Wilson's name

[detectiveneve]

Please,,,, please more rambles about astarion and him healing and his slowly changing relationship with (-tav-) Sex and intimacy and choice and-

LISTEN BUDDY...

Okay gonna talk about the Grave Scene. this scene truly lives in my head rent free. I've been rewatching it a few times and every way it plays out is so touching. Especially the way he.. hmm... expresses himself here? There's such earnestness to him that frankly is unimaginable to the person we met in act 1. He really went from being both so sly & yet obviously lying ("[you trusted me...] an objectively stupid thing to do.") to someone who admits and lists the way Tav makes him... feel.... SAFE? and held? and I understand why it's not something a lot of people focus on but I actually am so heart-touched by how complex and intricate his journey to reclaiming sex and desire is at the end of this conversation. None of it is gratuitous. None of it is for show. The blending of the nonsexual intimacy, and openness (the grabbing of the hands, the showing of the grave, the raw admittance of so much vulnerable material he gives to Tav; all things he would never have even CONCEIVED of offering up in even act 2.)

("I've been dead in the ground for long enough. It's time to try living again." ... "With everything that life has to offer.")

It's an extremely nuanced and thoughtful approach to an SA survivor rediscovering & reclaiming what they want to make of their desires, their sexuality, in the aftermath of what was done to their bodies without their consent. It's so thoughtful & beautiful imo. Finally here at his grave, he tells Tav that they're someone he feels safe & accepted with, & he can experience intimacy on both sides with someone who has put forth the effort, the time, the willingness to learn and wait and watch and care for his own desires in a manner no one else EVER has.

("I feel safe with you. Seen. And whatever the future holds for me, I don't want to lose that.")

It REALLY... gets me in the heart here. It doesn't avoid the difficulties of sexuality in the aftermath of abuse, and it ultimately shows one individual's journey toward reclamation and reconciliation with autonomy on their own terms. That's so vital here, that he reaches out, chooses to make the step forward, HIS choice. There's no lingering gratuitously on the trauma, if that makes sense? the descriptions and vulnerability are raw; Tav is grounding person here, Tav gives him room to speak. The true balance of intimacy in verbalizing his feelings, intimacy in being close physically with Tav, intimacy in discerning for himself what he desires, intimacy in accepting touch, contact, affection, togetherness. It's all so... [BITES INTO FIST SCREAMING]. And the ending. Where he and Tav get to set off on another adventure. Get to explore who they are truly now, with each other, without any higher powers looming over and putting a yoke around their necks. I'm personally partial to the "finding a way for you to be in the sun," ending myself but all of them are just ... so delightful. He really SHINES in a way that exceeded my expectations so completely in act 3. he went from totally closed off and locked away and unaware of how to navigate his own personal relationships, no idea what a "relationship," even was, no idea how to express boundary or unravel his complicated ideas and feelings around his body, what it was forced to do for Cazador, to:

("For nearly two centuries I stalked the streets like a ghost while the person I was lay here, dead and buried. Now I need to figure out who I am. What I want.")

also laying a flower on his grave and all he says is "cute." but there's such a minor moment of tenderness there. I weep I wept I will weep.