#MASH directors
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tuttle-did-it · 8 months ago
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M*A*S*H fans- I've realised that some of you newer fans might have realised that Archive of American TV did dozens of interviews with the M*A*S*H actors, writers, producers, directors, etc.
If you haven't seen some of these, I'd really recommend it, because these are amazing interviews where some of these people tell stories you might not have heard, before from some really brilliant people.
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oopswrongaccountsoz · 1 year ago
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MASHBLR I'm doing an experiment reblog this and put your job in the tags. If you don't have one feel free to still reblog. I'm testing something important
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harbingerofsoup · 4 months ago
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worst part of mash for me is whenever they play stars and stripes and i get war flashbacks to the piccolo solo
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mourningmaybells · 4 months ago
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update on background checks for all the korean characters (played by various asian people) in mash. it could be a coincidence in names, but it also could be the same person
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honestly im still reeling from me recognizing mako in the background
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movietonight · 2 years ago
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Mash Part 2 uses a really weird phrase I don't understand. I google the phrase. There is exactly 1 mention on Google on a bike forum from 2004 explaining it's from the baseball film "Major League". The film is from 1989 though, so after Mash Part 2. I forget about it. I find out Mash Part 2 was directed by Michael Richter. I look him up on a dubbing forum. Someone mentions the film "Major League" and how he was probably involved in it because the dialogue "sounds like him". I watch the film. They actually use the same line.
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maxxxines · 2 years ago
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soo hard to watch the haunting i am sitting here giggling and twilring my hair every time catherine zeta jones speaks
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double-o-donut · 2 years ago
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the thing about MASH is that you really don't have much of a show without Alan Alda, which means for Hawkeye he can't be released from duty/sent home for the entire duration of the series, even as other characters get to be sent home
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tuttle-did-it · 2 years ago
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I’m not tech savvy enough to know how to turn things into a gif, but Alda sees his muffin top in the mirror, squishes it and then decides to cover it up with his boxers. Very funny scene, sorry I can’t post the gif. 
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wiser-girl · 1 year ago
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Sometimes I think I’m not like That kind of film student but I was making dinner last night and said “Ok step 1: start Citizen Kane”
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gloomwitchwrites · 15 days ago
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Monster (S)mash - Task Force 141 x Female Reader - Porn Star AU
Content & Warnings: Porn Star AU, group sex, oral sex (male & female receiving), unprotected piv, cnc, restraints, anal sex, double penetration, haunted houses, masks, knifeplay, creampie, multiple orgasms, cum swallowing
Word Count: 5.5k
A/N: For Kinktober 2024 (Group Sex)
On the set of Monster (S)mash, the monsters come out to play. It's your first themed porn film and it's set in a haunted house. You're eager. Excited. But you've never taken something like this on before. You're filming with four of the greatest names in porn, and you don't want to mess this up.
ao3 // main masterlist // kinktober 2024 masterlist
"Would you like to review the scene? Go over boundaries again?"
Kate Laswell, the Intimacy Coordinator, takes a seat on the opposite couch.
"I'd like a refresh," replies Johnny. "Now that I'm in character." He grins, gesturing at himself, and you almost laugh at how ridiculous he looks.
Johnny MacTavish, known in the industry for his many creampie videos, is dressed as a crazed clown with a red wig and exaggerated makeup. His clothing is nothing more than a black industrial vinyl apron covering up the important bits. Kyle Garrick, a connoisseur of the cam world, sits next to him in a fresh white robe with a Jason Voorhees mask sitting on top of his head, the elastic band digging into his skin behind his ears.
Kyle taps away at his phone. "I should go before you, mate." Kyle glances up and winks at you. "Since I’m up first."
You feel heat rush to your cheeks. Kyle is incredibly handsome—all four of them are—but Kyle has a gentle swagger that flusters you a bit every time he addresses you. The two others, John Price and Simon Riley, are still in the makeup tent transforming into a werewolf and a demon.
While you've been on various porn sets, this one is far more complex than previous films you've been a part of. Monster (S)mash is set in a "haunted house." You'll go room to room, each containing one of the four men before it ends with the five of you partaking in each other. Filming is expected to take all day and possibly into the next.
Kate finds a comfortable spot on the sofa and addresses the two of you. "Your scene takes place in a forest with a cabin. They'll be a fake machete. We're looking at knife play. Some c-n-c. A bit of a chase. What do you think about that?"
Kyle shrugs and then glances at you. "Sounds fun. I'm excited. But it's what you want." He gazes at you expectantly.
You shrug. "What we talked about during our meeting yesterday is good with me."
Kyle nods. "I remember."
"And we know the safe word and the non-verbal signal in case anyone needs to stop?" asks Kate.
"Apple," says Johnny.
"Three fingers with a wrist shake for non-verbal," adds Kyle.
Kate smirks. "And what if someone is restrained and cannot shake their hand?"
"Then three fingers will do," you finish.
She smiles, clearly content with that answer. "Very good." She clasps her hands and then pushes up from the couch. "My assistant and I will be standing off to the side watching and listening for a signal."
Rodolfo, the director’s personal assistant pops his head in. “We’re ready for the first scene.”
Kyle groans as he stands, returning the Jason mask to its proper place. The robe is gone and tossed onto the sofa beside Johnny. Kyle is completely naked underneath it all. You follow him out, robe still on.
"Head that way to mark," Rodolfo says to Kyle and then he gestures at you, beckoning you closer. "Stand here."
You find your mark and then remove your robe, handing it off to Rodolfo who politely keeps his gaze averted. Unlike Kyle who wears nothing, you're in a skimpy black thong that's more string than material.
“Quiet on set!” comes Alejandro Vargas’ voice from the director’s area. He’s standing behind a monitor, watching whatever is coming through on the camera.
There's some minor rustling before all goes silent.
"On three...two...one."
You stand just outside the entrance of the fake haunted house. Taking a deep breath, you count to three. Glancing over your shoulder, you deliberately stare off-camera, and then head inside. The camera moves forward as you walk, focusing in on the makeshift sign.
You will be touched, carried, restrained, played with...
The camera lingers on the sign for a few seconds before following you into the dark.
"Cut!" Alejandro calls out. "Let's hold there. Get her to mark two."
Rodolfo appears, gesturing toward the first "room" of the haunted house.
Each set is separated by curtains. With the lights on, it looks a bit silly, but during filming and post-production editing, no one will know that these scenes weren't filmed in an actual haunted house attraction.
As you step up to your mark, a tingle of excitement swells in your belly. You've always found your job fun and enjoyable, but this is the first themed film you've attempted. While the film crew and intimacy coordinator have solid reputations in the industry, the four men you're working alongside are known for their decency, politeness, and general kindness when working with others. During yesterday's meetings, they were incredibly focused, asking questions, and spent extra time wanting to know and remember your boundaries and limitations.
When you first started out, that was unheard of. You’d show up to set and hope for the best. Discussions about limitations and boundaries were few and far between.
"Going on three...two...one."
You enter the first room.
It's arranged to resemble the front of a cabin in the middle of the woods near a lake. The cabin is just a facade anchored onto a wall while blue lighting creates water-like ripples off the front of the cabin. The path to the "exit" is lined with two folding chairs, a metal picnic table, and a makeshift campfire with fake flame included. Ambient nature sounds play in the background, but it's only loud enough to create an unsettling atmosphere.
Slowly, you step around the two folding chairs and walk past the picnic table, glancing around in feigned nervousness as if danger lurks around every corner. That danger is just Kyle in his Jason mask.
As if summoned by your thoughts, Kyle appears. Standing near the makeshift exit, he is completely naked other than the mask and the machete clenched in his right fist. You freeze, holding up your hands in a placating gesture.
Kyle rolls his shoulders and neck. You hear the audible pop from where you're standing. He saunters forward, turning the machete handle end-over-end in his palm. Though you know the machete is fake, and that Kyle won't harm you, your fight-or-flight response kicks in. It fuses with your excitement and underlying arousal, sending your senses into overdrive. Your vision narrows, focusing on Kyle as he swaggers toward you.
"No," you whisper, backing toward the spot you entered from.
Kyle lunges, and you shriek, turning on your heel to dodge out of the way.
Spreading his arms wide, Kyle blocks your way forward. You step to the left and he matches your movement, the machete blade outstretched. While the two of you discussed this scene with the intimacy coordinator, the chase is entirely improvised. You don't know what Kyle will do or how he'll eventually trap you. The idea is thrilling, warming your body with heightened anticipation.
Stepping around the edge of the picnic table, you aim to dart around him on the right side. Kyle leaps over the fake flames and lands in your path. He swings the machete and you duck. The blade is nothing more than rubber, and his aim is purposefully wide.
As you turn away, Kyle follows, his stride casual and calm. It's infuriatingly sexy how sure of himself he is. And somehow, you're flustered by him, even as you try to make for the exit.
But there is no escape—and it's not like you want to get away from him.
Kyle's muscled arm catches you by the stomach. He hauls you against his chest, even as you wiggle and squirm, lashing out as if that will do anything. His strength is apparent in the way he confidently keeps you close, unafraid that you might accidentally clip his jaw with your knuckles.
The camera moves in as he brings the machete up to your throat, pressing the rubber blade against your jugular.
"Stop moving," he growls, the mask muffling the sound.
You cease your squirming, both hands grasping his forearm. The edge of the mask digs into the side of your face, and his hard cock presses roughly against your back.
"Are you going to be a good girl?" he asks. The low gruffness in his voice sends a bolt of heat straight to your pussy.
You whimper, but say nothing.
Kyle lightly slaps the inside of your upper thigh. "Answer me."
"I'll be good," you gasp, the sting of his strike causing your muscles to clench, ass bucking into his pelvis.
"You'll be what?" This time he squeezes your thigh.
"A good girl."
He makes a pleased sound as the machete falls away and his arm releases you. Grabbing the back of your neck, Kyle uses his grip to turn you around, to force you to look at his face. With the mask, all you can see are his eyes. They're in shadow, but fuck, they're gorgeous.
With a final squeeze, Kyle forces you to your knees. His cock bobs in front of your face. Your lips part, but Kyle keeps a firm grip, allowing nothing. He is in control.
Your gaze is entirely focused on him. You have no idea where the camera is, and there is no point in looking. It's not your concern.
"Wider," he instructs, and you present your mouth to him, tongue out. "That's it."
The head of his cock taps against your tongue and then slides back and forth over its surface, teasing what's to come.
You want it. You want him.
Kyle's hand moves from the back of your neck to the top of your head. He fists your hair there, and then guides your mouth around his cock, forcing you to take every inch of him. The cool rubber of the machete presses against your neck. Your hands rise, anchoring yourself by grasping the front of his bare thighs.
You hold on as he fucks your throat. Keeping your gaze on the mask, you relax your muscles, focusing on not gagging. Kyle is more length than girth, and the head of his cock roughly hits the back of your throat with each stroke.
"That's a good girl," he rasps. "My perfect slut."
The praise is wonderful. Perfect. You hold on to it, humming with contentment around him, the vibrations making him shiver. In your peripheral, you notice the glint of a camera lens but you don't glance over. You focus on Kyle, and how eager you are to get both of you off.
Kyle is rough but not overly slow. He's careful not to go too far. His movements are restrained but controlled, and that only turns you on more. One of your hands slips between your thighs and you find yourself blissfully wet.
You circle your clit and then dive downward to slip one finger, and then two, inside your pussy. Repeating the motions only builds the oncoming orgasm like a viper hidden in a pile of leaves, waiting to strike.
"Are you fucking yourself with your fingers?" Kyle's question isn't meant to be answered. It's rhetorical. He knows you are. He can see it.
With his cock in your mouth, you're unable to answer. One watery tear rolls down your cheek and Kyle lightly taps the machete blade against your throat.
"Not being a good girl. Didn't tell you to do that."
The machete disappears. Using his grip on the top of your head, Kyle guides your mouth off and away with a wet pop. He drags you to your feet, and as you move to run from him, Kyle presses the tip of the machete against your stomach.
"Get on the table," he growls. "Now."
You glance over your shoulder briefly to figure out where it is. The path is clear—just a few steps and you're on it. Kyle prods you with another poke of the machete.
Moving backward, you eventually bump into the edge of the table. Kyle does not help you up but the top is just below hip-level. You get on easily.
"On your back. Legs spread."
The command in his tone is undeniable. You do exactly as Kyle says. The camera is directly behind him, following his forward advance. Kyle wraps his hand around your ankle and tugs, dragging you to the very edge until you're close to falling off.
Without ceremony or elegance, he tears away your thong and tosses it aside. Kyle lines himself up and thrusts.
"Fucking hell," he groans.
You moan loudly, toes curling as your pussy takes all of him. The stretch is just enough to hurt but entirely euphoric.
Kyle slams the machete down onto the table next to you. In seconds, he has one hand over the front of your throat and the other on your inner thigh, keeping you wide as he drives in and out of your body.
This is where he's roughest, and you don't care at all. It's delicious. Glorious. From this angle you can watch every corded muscle shiver as he moves.
And the eye contact.
Kyle won't stop looking at you. His gaze is firm. Heavy. You are trapped by it as much as by his strength. His hand on your inner thigh slides further inward until he's almost on your pelvis. The camera shifts to point directly at where your bodies meet just as Kyle's thumb starts rubbing slow circles around your clit.
The building orgasm shivers outward, stretching into your limbs. A sense of numbness comes with it, as if you're floating above your body. It lingers there at the heightened apex before crashing down around you.
Your body tenses—seizes. Kyle groans, continuing to thrust through it. His thumb keeps stroking, and the intensity continues, wave after wave flooding through your system until you near overstimulation.
Kyle's thrusting increases, a pounding rhythm that signals his coming end.
"Fuck," he groans, hand around your throat tightening slightly.
The fingers on your thigh dig in, and Kyle stills, his sigh a gentle rainfall. You feel your pussy flood with warmth as his release hits him. You see the shudder, watch as his eyelids close behind the mask, and the keen pulse of his veins in his arms.
Kyle thrusts once. Twice. And then with a heavy sigh, grasps the base of his cock, stroking it as he slowly eases out. The camera comes into view, panning inward to catch the sight of his cum. Kyle keeps you still, gaze lingering on you. He's waiting for the camera's retreat.
Just as it backs away, Kyle's grip on you loosens. You're the pretend, helpless victim no longer.
Gripping the machete, you strike out. Kyle avoids your terrible swing, and that gives you your change. Off the table and onto the floor, you rush toward the exit, not looking back though you hear his enraged growl and the swoosh of air as he lunges for you.
You disappear, nearly stumbling into the next room as the director calls for the end of the scene.
"Cut!"
You catch yourself before falling forward, a little breathless. Poking your head out from behind the curtain, the set team comes rushing in, moving objects out.
"Let's set the next scene."
As you step out, Rodolfo and someone from the makeup department rush in. You're offered your robe which you politely decline but accept the water.
"You good, love?" Kyle approaches, removing his mask, gaze expectant and observing.
"Yeah. I'm good," you reply, taking another gulp of water.
His observation isn't one of keen interest but one of concern. He's checking you over. Making sure he didn't harm you.
"I didn't hurt you?"
You're a little sore but it feels good. "No," you answer. "Promise. I'm fine."
He grins, relief clear on his face. "Thought I might have been too much."
You shake your head. "Not at all."
Rodolfo checks his watch. "Ready for the next scene? Or would you like a break?"
You cap the water and hand it to him. "I can handle it."
He nods. "Be ready in five."
After a bathroom break, a brief touch-up, and a gentle cleanse between the thighs, you're herded to the next mark.
"We're going in ten...nine..."
Your robe is removed and water whisked away. The camera is somewhere in the room already, ready for you to step out from behind the curtain.
"...three...two...one."
You emerge, knowing that this might be the scene you need to call a stop to. Not that it'll be Johnny's fault, but the place is absolutely ghastly.
It's set up like a meat processing warehouse. The room is bathed in red light. Fake bodies wrapped up in cloth hang from the ceiling along with a few hooks on chains. There are two "exits" covered in plastic strip curtains. One is a true exit and the other is where Johnny is supposed to emerge from, but you have no idea which.
The camera follows your forward movements as you navigate around the hanging set pieces. Against the wall is a stainless-steel table. On it are bloody body parts all haphazardly stacked on top of each other.
As you make it to the middle of the room, Johnny appears—not that you see him. You don't notice him at all. It isn't until he revs the chainsaw he's holding that you do. It startles you so bad that you stumble backward into a fake body, almost tripping on your own foot.
Johnny charges forward, much faster than Kyle. The hanging bodies, hooks, and chains are in the way. You try to push them aside, to run as you're supposed to, but it hampers your movement.
Johnny catches you quickly.
Cornering you between a trio of hanging bodies, Johnny circles the space, revving the chainsaw as he walks. There is no chain on it, but he doesn't point it at you. He keeps it pointed away from his body and yours.
Transferring the chainsaw to one hand, Johnny snags your upper arm, dragging you against him. You beat at his chest, the vinyl apron slippery when your skin makes contact. Nothing happens. Johnny is solid.
With his grip on your arm, Johnny hauls you toward the body-covered table. He sets the chainsaw down and then both hands are on you. Spinning you around to face him, you attempt to fight him off even as he restrains you, attaching handcuffs to your wrists with ease.
“Let me go!” you shriek, but Johnny only laughs. It’s manic and high—completely deranged. It’s wonderful acting. You’ll give him that.
With a sharp tug on the connecting chain, Johnny sends you stumbling. He steps out of the way, his hand coming down on your ass with a sharp slap. You yelp but manage not to fall. The smirk on his face tells you everything. He’s loving this.
You attempt to strike out at him but Johnny is so much stronger.
Using his massive, muscled arms, Johnny wrestles for control, winning easily. You’re herded to the center of the room. At one of the hooks, Johnny lifts your arms over your head, hooking the connecting chain on the nearest one.
Everything stretches, but it’s not painful. It's a good stretch and just enough to keep you on your feet but appear as if you're hanging in the air. It's a great trick. You're on full display for the camera and for Johnny.
You’re facing away from Johnny, and you have no idea where the camera is. All you’re aware of is your breathing, and the swelling tightness in your muscles as the stretch starts to curl forth a gentle ache.
You’re hanging there. Untouched. Waiting.
There’s a gentle brush against the back of your thigh. You jerk against the touch, tilting your head to catch a glimpse of him. Johnny appears before you like a phantom. He steps into your view slowly. The red light bathes him in a blood-tinged glow.
Johnny grins, grasping your chin in his hand.
“Are you going to remain a good girl for us?” His Scottish lilt is sinful. You find yourself leaning forward as if you’ll kiss him. That grin softens, and then becomes a wicked thing.
Johnny drops to his knees before you.
His hands grab the backs of your upper thighs, lifting you off your feet. He guides your legs over his shoulders, hands adjusting to support your ass. Johnny’s mouth is on your pussy immediately, tongue teasing your entrance. The fake plastic nose he wears perfectly presses against your clit. It rubs back and forth against it as he devours your pussy.
The orgasm comes quickly and with sharp intensity. You scream out your pleasure, head falling back, eyes closed as Johnny continues to feast between your thighs. Your toes curl, the muscles in your lower back seizing and relaxing with each wave.
With a final lick, Johnny tilts his head back, smug with himself.
You’re gasping for air, chest heaving as Johnny returns your feet to solid ground. He ascends, hand undoing the ties that keep his black vinyl apron in place. He circles you as he does it, a teasing dance before it falls away.
Your gaze immediately drops, and fuck—Johnny is thick. There’s a decent amount of length but this man is all girth.
He palms his hard cock, gaze enraptured with the sight of you. Circling you like a predator, Johnny takes his opportunity to run his hands over your body, to touch everything. It’s been he comes to a stop behind you that the anticipation builds.
Johnny’s face presses against your neck as his hands grab hold of your hips. His cock rubs against your ass and then slides between your thighs. He rocks back and forth, coating himself in your wetness. The head of his cock pokes at your sensitive clit.
You whimper, and Johnny gives you relief.
With his grip on your hips, Johnny angles himself at your entrance. A quick thrust, and Johnny is home to the hilt. Your thighs are pressed against each other, and the thickness of Johnny’s cock is only intensified by the limited space.
He remains behind you, pumping steadily as you hang from the hook. Johnny’s hands on your hips delve, squeezing your thighs. He brings one palm down in a quick slap against it, your thigh jiggling from the strike.
“Fucking gorgeous,” he whispers into your ear, and you know that’s only for you to hear.
While Kyle was a bit rough with you, but Johnny is steady, his rhythm hitting all the right beats until you’re numb with lust. You fall into it, heading leaning back against his as Johnny as his way with you.
At his end, Johnny’s groan morphs into a whimper. He comes inside you, his grip tight as he holds you flush against him. A few more thrusts and then Johnny is pulling you, forcing your thighs apart to show the camera the mess there.
You expect a pause as the camera lingers there. What you don’t expect is for Johnny to put his mouth back to your pussy, to suck his cum out of it, to stand and force your head back, slipping his fingers between your lips only to spit his cum down your throat.
He grins at you, licks his lips.
This dirty fucker.
Your thumb finds the small button on the cuffs. Like everything else, it’s a prop. You press the button. The chain breaks as it’s supposed to. The moment your feet are flat, you take off, rushing toward the exit.
You hear pounding footsteps and then—
“Cut!”
Johnny almost knocks you down on the way out. “Shit,” he gasps, grabbing on to you before you topple forward.
“Take ten!”
A robe is thrust at you, and Johnny is pulled away as someone else shoves another water into your face and someone else fusses with your hair and makeup.
It’s the maze that’s next. This one is completely staged compared to the other scenes. At a certain point, you, Johnny, and Kyle will converge on a singular point. Johnny on one side of you. Kyle on the other.
When you’re set, you enter into the makeshift maze. You don’t need to go far. Just a few feet. Johnny is right behind you, every step heavy and loud as he navigates the maze. Only a couple striders further and you’re trapped.
Kyle steps out of the dark and you come to a halt. But as you retreat, Johnny is right there, blocking your exit. Their hands are on you immediately. You have no control. You give in to them, allowing them everything. It’s nice to surrender, to hand control off to someone else.
They move you into position. Johnny’s cock slides home, filling your pussy. Kyle takes the other side, and then you’re full in both holes, groaning loudly with each thrust. Your hands seek, fingers digging into whatever they can find.
Over your shoulder, Kyle pushes up his mask enough to reveal his lips. You go in, tasting Kyle’s sweetness. His hand grasps the front of your throat, dragging you in for a deeper kiss.
Johnny isn’t one to be left out.
As Kyle breaks away from the kiss, Johnny reaches for him, the two men locking lips next to your face as they both move in and out of your body. You drape your arm over the back of your Johnny’s neck, and all you know is the perfect way they fill you, and the feel of their lips against your skin.
And when it’s over, you’re a little disappointed that it couldn’t continue.
There’s another break—this one longer than the others. Kate’s assistant massages your muscles, and she checks in before the graveyard scene with John Price. You’ll truly need some rest before the final scene with Simon Riley and the rest of the men, but you can do one more.
But only one.
And it’s the easiest of the bunch.
There is no chasing. No running.
You play the helpless damsel, pushing at John’s chest as if you don’t want it. All around you is smoke and shadow. The headstones around the two of you create a little circle, almost as if you’re in the center of a ritual.
You’re put on your hands and knees on the ground, the fog from the fog machine swallowing up your hands and legs. Price is behind you, already pumping, already taking from you like the wolf he’s supposed to be.
The makeup department did wonders. They gave him sharp teeth, yellow contacts, and a partially transformed look to him. It’s brilliant, really. He looks very much the monster.
Each stroke is deep. John presses on your lower back, forcing you into a different position, pushing your ass higher into the air. Your legs widen and then John increases his pace, his pelvis smacking loudly against yours. Skin meets skin, and your pussy quivers with excitement as the orgasm builds.
You stroke yourself between your legs, leaning on one side to keep yourself upright enough not to slip. You’re slippery between your thighs, and you can’t help but trace where your bodies meet. Your nail grazes John’s cock, and he emits a low moan.
John grips your ass harder, and then he’s pounding into you, using your body like it belongs to him. You lightly bite your lip, trying to focus on your building orgasm. Each stroke comes with a spank, jerking you against your teasing fingers.
“Oh—fuck,” you mewl as your orgasm comes raging forward, curling outward.
John fucks you through it, growling like a fucking animal behind you. When your orgasm wanes, his hand grasps the back of your throat, holding you in place as he continues. All you have to do is sink into it, to grin with contentment and let him have what he wants.
There’s something primal to the way he holds you down and fucks you. It’s different from the way Kyle kept you in place or the way Johnny fucked you. Even in their roughness they were sweet. John is all business, and you’re perfectly fine with that.
His cock is fucking perfect, his dominating demeanor a soothingly sensual experience. There’s something to be said about giving in—to submitting.
But it’s after the extended break that completely alters your brain chemistry.
Simon is the last. The very last.
There is no chase. No true lead up.
This room is set in hell. There are fake flames, reddish-orange backlighting, and a throne. Simons sits on that throne, lounging casually, legs wide, his cock and heavy balls on full display. He’s dressed like the devil, but there are no plastic horns or dollar store red cape. He is perfectly painted in red and black. From his head are twisting black horns that curl up and back. They’ve given him red contacts and fake canines for a vampiric bite.
You are in his thrall, sitting at the base of his throne when the camera turns on. There is a leather collar around your neck connected to a silver chain that Simon holds in his fist. He lightly tugs on it, urging you forward.
Your hand wraps around his cock, stroking slowly, coaxing him toward hardness. You tease the head with a swirl of your tongue before taking him into your mouth. Simon fists the chain, twisting another link around his fist. Every time you take him deeper, Simon shortens the chain further and further.
At first, there is no tightness. It grows shorter. Shorter still. The leather begins to bite into your skin. With each twist of Simon’s wrist, the leash shortens. It draws you closer to Simon, leaving no room for you to retreat—to get air.
Your nostrils flare as you breathe through your nose. Relaxing your throat, you suck him down, cupping his testicles gently in tandem with your movements. The only sound he makes is a grunt and you have no idea if that’s good or bad.
But his cock is hard. Solid. You can’t take all of him or you’ll fucking choke on it.
He tugs sharply on the leash. "In my lap, pet."
You do as Simon instructs, standing between his legs before turning around toward the camera. You sink down into his lap, and Simon leans back, gently guiding you to straddle his lap, legs wide and draped over his thick thighs. He rubs his cock against your pussy, and then you’re sinking down on him.
John arrives from the dark, still in costume. He prowls forward, coming up to the left side of the throne. He grabs your wrist as he comes to a stop, guiding it to his cock. You fist John just as Simon thrusts upward.
Kyle arrives soon after. He kneels in front of you and Simon, teasing your clit with his fingers. It starts as a gentle stroke before his tongue replaces them, swirling little circles against your clit. Simon thrusts upward again, and your pussy clenches.
Just before your orgasm crests, Kyle’s tongue descends, stroking against the space where Simon’s cock intrudes. He descends further, lightly sucking one of Simon’s balls into his mouth. It’s brief. Just a blip. And then his tongue is back on your clit.
Your orgasm comes raging forward, but just as your mouth opens to cry out, Johnny appears, grabbing the back of your head, filling your mouth with his cock.
Your body is theirs to use.
Theirs to enjoy.
Simon thrusts upward, and Kyle draws back, his lips glossy with your arousal. He puts the mask back into place, and Simon lifts you off his cock. You’re picked up. Turned around. You sink back down on Simon’s cock, and Kyle is right there, adding his cock to your pussy. It’s an incredibly tight fit. They rock their hips gentle as John and Johnny touch your body, guiding your hand and mouth back to them.
One of them comes inside you—but you have no idea who before you’re full of just one cock. There are two sets of hands on your ass, bouncing you on whoever’s cock is filling you up. You’re simply clinging on, fingers digging into Simon’s shoulders. His head dips, the horns brushing against your cheek as his tongue circles a nipple.
John grabs the bottom half of your face. “Open,” he instructs and you do so, eagerly sticking out your tongue. John jerks himself until his cum explodes on your tongue. He tips your head to the side and Johnny follow suit.
“Swallow,” growls John and you do exactly that.
Someone groans, and whoever is inside you comes. You’re lifted off Simon’s lap, brought to standing, and then promptly bent over the arm of the throne. Simon’s cock returns to your mouth, and someone settles behind you, spreading your legs before sliding inside.
Every time someone comes in your pussy, you’re moved. Switched. Bent over. Spread wide. Forced onto your knees. You take it all. Enjoying every orgasm. Enjoying every touch.
As your energy fades, it is Simon that takes the final fuck, who brings you into his lap. His hands are firm on your ass, bouncing you up and down his shaft as the camera zooms in on it. You are lost in him—lost in the bliss that pulses throughout your body.
You are perfectly fucked.
Perfectly content.
taglist:
@glitterypirateduck @km-ffluv @tiredmetalenthusiast @miaraei @cherryofdeath
@ferns-fics @tulipsun-flower @miss-mistinguett @ninman82 @eternallyvenus
@beebeechaos @smileykiddie08 @whisperwispxx @chaostwinsofdestruction @weasleytwins-41
@saoirse06 @unhinged-reader-36 @ravenpoe67 @sageyxbabey @mudisgranapat
@lulurubberduckie @leed-bbg @yawning-grave81 @azkza @nishim
@voids-universe @iloveslasher @talooolaaloolla @sadlonelybagel @haven-1307
@itsberrydreemurstuff @cod-z @keiva1000 @littlemisscriesherselftosleep @blackhawkfanatic
@sammysinger04 @kylies-love-letter @dakotakazansky @suhmie @kadeeesworld
@marispunk @jackrabbitem @arrozyfrijoles23 @lovely-ateez @spookyscaryspoon
@ash-tarte @waves-against-a-cliff @gingergirl06 @certainlygay @greeniegreengreen
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apollos-boyfriend · 1 year ago
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instead of whatever it shapeshifts into being pink like nimona it turns cream w crumb’s orange and gray-brown markings. does anyone see my vision
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hi. is this anything. <- has rewatched this movie three times in the past two days
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movietonight · 1 year ago
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My mum was like "let's watch some Tom Hanks comedy about a violinist and the CIA because I remember it being funny" and I was like yeah sure whatever (scrolls through tumblr) but eventually there was a concert scene and the conductor was David Ogden Stiers getting So Mad at the main characters fucking up the concert
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blank-mange · 2 years ago
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kamehamehamlet · 9 months ago
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The Tumblr reblog sensation is returning. But like the Sayians or Shakespeare’s folios, it has the potential to develop in many forms.
Visit kamehamehamlet.com to be notified when we have more details.
Follow this blog for a peak behind the curtain.
And read on to learn more about the show, how we got here, and where we’re going.
Thank you for waiting just a little bit longer.
Revival Project FAQ
Who are you?
Hi! I’m Daniel Cole Mauleón (@writepictures), the writer of Kamehamehamlet. In 2015 I co-founded the theatre company Play-Dot Productions with KHH’s director Shalee Mae Cole Mauleón.
What is Kamehamehamlet?
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Kamehamehamlet: Good Night Saiyan Prince, was an hour-long one act play, performed during the 2015 Minnesota Fringe Festival. It’s a staged retelling of Vegeta and Freeza’s battle on the planet Namek. Marketed as a Dragon Ball Z and Hamlet mash-up, the parody quickly shuffled off its weighted gi, revealing it was actually a Waiting for Godot spoof. After five performances, Vegeta hung up his helmet of spiky hair. Seven years later, K (@amokslime) wrote this incredibly gracious post on Tumblr, which inspired two people to reach out to me via Reddit to ask if I had a script or a recording of the performance.
I want to pause the semi-marketing voice and say a heartfelt thanks to K. Kamehamehamlet was brought to life by an incredible team of artists during a summer I’ll never forget. We got laughs at jokes, gasps at fight choreography, and we broke even on the budget (a Fringe miracle TBH). K’s post gave me the chance to revisit that show through someone else’s eyes. The mix of pride and humility it stirs up is truly indescribable.
If there is art which has changed you, and especially if the artist is still alive I encourage you to non-intrusively share that with the artist.
Is there a copy of the script?
Yes, I’ll speak more about that at below.
Is there a recording of the performance?
There was, but I genuinely lost the files. And that’s for the best, honestly. It was a last-second attempt, filmed from two cheap cameras (with different qualities and resolutions!), both at bad angles and with truly awful audio. Trust me. It’s better this way.
That said, I do have other archival footage from rehearsal's, tech, etc. that I look forward to sharing for those curious.
What’s next?
This is the question I’ve been asking myself over the past year and the reason it took so long to post anything. Especially since one thing I want to do differently this time is make sure that any artists involved are meaningfully compensated for their time and skill. However, I can’t plan without a better estimate of what kind of support we would have, and I didn’t want to share our intentions without concrete details. Right now, the best way you can support this project is by signing up for the announcement on kamehamehamlet.com and following us on Tumblr and YouTube!
The second best thing you can do is to share with others about this project, if I’ve learned anything reading through the comments on K’s post, it is that there’s a much bigger audience for KHH than I could have ever imagined, and you likely know at least one more person who would be interested.
And while I don’t want to promise anything I can’t deliver on, I will share that I’m planning on making the script available this year and I’ll be writing a separate post about that in near future.
Update 5/21/24: We've announced a staged reading for later this year! (Click to learn more) Update 6/11/24: We're going live on YouTube every Saturday through June to rally fans and talk about the project. This link will always take you to the upcoming stream. And this link will take you past recordings.
If you’ve read this far thank you so much.
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Photography by Ann B. Erickson. Vegeta is played by McKenzie Shappell. Freeza is played by Cayla Marie Wolpers. Costumes by Sarah Noel Simon.
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t00thpasteface · 5 months ago
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all of your post are making me want to watch M.A.S.H.... and I do really like stuff involving the korean/vietnam war.... do i do it?
it really is great if you already have experience with other art/fiction created during and after the vietnam war. Apocalypse Now comes to mind, but that really undersells how much of a total fluke MASH was for its time. i mean, it started airing while the vietnam war was STILL HAPPENING, and they HAD to keep it about korea just so they could get on the air, AND this was less than five years after the Hays code ended. it was the 70s, but it was also the 70s, you know?
you NEED to go into this show acknowledging that it was produced in a very very particular window of time; as much as we tend to think of pop media as existing in this anachronistic homogeneity wherein which things remain static for decades, that is not the case, and MASH is very very clearly a product of its time, as everything unavoidably is. general consensus is that the show really "grew the beard" around season 4/5 (the last 2 episodes of s4 are some of my favorite episodes of the whole show) but it's never perfect, and you shouldn't expect it to be. and this too has a metanarrative merit to it. we are all capable of evil (or just saying things in poor taste) even when our intentions are good, etc...
on the other hand, sometimes that's an incredibly impressive thing. watching MASH with a solid lens of its contemporary audience and culture will reveal all sorts of little shocks and rebellions that would seem tame or even regressive to a later audience such as us. if you have a cool parent or older friend/relative to watch this with who was alive at the time of the vietnam war and remembers seeing the dead bodies on the news every night, watch this with them. alternatively, check out commentary online by people in that age range, as well as writer/actor/director commentary if that's your bag (sometimes alan alda was all 3). enjoying antiwar fiction like MASH with that cultural context is like using one of those little decoder lenses on a cereal box or whatever. i said to another asker: "by 70s tv censorship standards, this show was basically on-screen gay sex and flag burning."
it's fucking uncanny when something in MASH strikes you and you can see how little has broadly changed in global politics since. and yes that's a tragedy. but i think there's a corollary to it:
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maxwellatoms · 1 year ago
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This is the original marker comp done for the opening shot of the main titles. These sorts of things are done for important shots (or any time you've got time to give something a bit more love). I remember that Art Director Rae McCarson also made a more purple version and a red/orange. I like that this one looked like a bit of a punk rock eyesore, so I went with that.
I always felt that the Grim & Evil titles were obnoxious in the WRONG way, and I wanted to make sure that the Billy & Mandy titles were CORRECTLY obnoxious.
It was a fun title sequence, with the exception of the fact that we had three days and zero extra dollars to put it together. Once we had the art assets, I took a weekend with my roommate La and girlfriend (all of whom worked on the show) and shot a bunch of extra stuff. We threw water balloons full of paint at poster board (which would later be used as mattes for the "splatter" transitions. We filmed smoke swirling in a tube and that can be seen swirling around the edges of the whole sequence. We did dumb little drawings of sharp-toothed Billys and Mandys. Many of those made it in as film scratches or pops. Most of it (like the infamous names on the tombstones) is really hard to see in SD.
Nice we had all of the stuff, editor Bobby Gibis and I spent a couple of days mashing it all together with the music.
My biggest regret is that we weren't given the time or budget for any actual animation, as I'd really wanted Billy & Mandy's sketelons to drop down followed by organs and skin as in the pilot. Instead we just had to use "electricity magic". Still, considering the resources we had... I'm pretty proud of what we were able to accomplish.
This piece (and many others) are on eBay right now under username: gr1mb0t.
I'll be putting more stuff up through the next couple of months, so keep an eye out if you're interested!
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