#Robert L. Mills

[uwmspeccoll]

Classic Lessons in Love

Publius Ovidius Naso (43 BC-AD 17/18), more familiarly known as Ovid, was a Roman poet most famously known for his mythological history of the world, Metamorphoses. His satirical and sometimes dark take on all the intricacies of love and relationships is exhibited in Ars Amatoria. The Art of Love is a 1971 English translation edition of Ars Amatoria, translated by English classicist and scholar of Latin poetry B. P. Moore (1877-1955), with pen and ink illustrations by British artist Eric Fraser (1902-1983). The edition was designed by Robert L. Dothard and printed at the Press of A. Colish in Mount Vernon, NY, for members of the Limited Editions Club in an edition of 1500 copies on specially-made, oyster-white, mould-made paper crafted at the Arches mill in France.

In the first book of Ars Amatoria, Ovid guides men on how to successfully find a woman. In the second book, we see Ovid's advice shift towards maintaining a healthy relationship with one's partner. The third and final book, produced two years after the first two, focuses on advice for women on how to win and keep the love of a man. The work, however, was considered salacious and was banned by Emperor Augustus, with the charge of it being immoral, and is one of the few examples of the Roman government censoring a Roman author’s writing.

The topic's typical scenarios are presented engagingly, incorporating elements from Greek mythology, daily life in ancient Rome, and universal human experiences. Ovid offers hilarious advice, such as how women can keep their lovers from becoming neglectful by making them artificially jealous. He also advises men to never argue with their mistresses, as it could lead to expensive gift-giving in order to reconcile. When it comes to the sexes, it seems some things never change!

-Melissa, Special Collections Classics Intern

View other Classics posts.

View more posts from the Limited Editions Club.

[bluehandscalzonepersona]

The Disciple |1|

Pairing: Jill Roberts x Male Reader

Summary: In which Jill didn't have Charlie, but her exact definition of the ideal Ghostface partner she found in Cinema Club. But will she kill him for her alibi, or stop herself at the end of the road?

Warning(s): Casual Swearing, Teens Drinking

Word Count: 3k+

It was the night for the Stab-A-Thon once again at Woodsboro, with this annual's event taking place at an old mill that was eventually left to rot after it's purpose dried up, pun intended, giving it a haunted crime scene-like-vibe, perfect for a horror movie event. Like always, it was hosted by Charlie Walker, the leader of the Cinema Club, and his two pawns, Robbie Mercer and Y/N L/N. The three of them stand in the back as they watch their guests enjoy the movies, currently at Stab 2 so far.

"And so, that's how Jason Voorhees easily survived and kicked Freddy Kreuger's ass, simple math." Robbie Mercer finishes his pitch about the ending of Freddy vs Jason, the movie from about eight years ago that is still talked about to this day because, well.... why wouldn't it be? "Freddy was in the real world, trying to kill Jason when he couldn't even do it in his own dreamscape."

"That's because Ronny Yu clearly had a boner for the undead Micheal Myers rip-off." Y/N retorts with a small scoff as he finishes this third can of beer, having been drinking to no ends because he's still been on a conflicted run with his crush who already had a boyfriend. Yup, he's one of those people. "If that first fight had actual common sense, Freddy would've realized that all he needed to do was tear off all of Jason's limbs and make him wake back up with no arms or legs. Bam, movie over."

"Wow, the fact that the two of you haven't tried debating all of our guests under the table at this point is mind-baffling." Charlie remarks with a small snort as he shakes his head. "It's a fucking horror movie about two horror icons fighting, with the only sin being that we never got the ending with Pinhead looking down at all of them during the end credits, or that Freddy vs Jason vs Ash was reduced to a comic issue. Pinhead, by the way, will kill them both blindfolded."

"I'm sorry, what?!" Y/N utters as the two right hands rapidly blink at Charlie. "You can't just bring a being with an unfair advantage like that into here. Besides, we all know that Pinhead would pose no threat to Jason once he realizes that there's no 'soul' to tear apart and crap."

The three keep going at it for as long as they can, constantly sipping on their red solo cups and idly watching the movies one by one when a familiar face eventually pass them.

"Hey there, losers." Kirby Reed's teasing voice chimes in, prompting them all to see her rolling in with a cup of her own, shaking it like it's an empty money jar. "Key advice, you might want to bring in some more booze and popcorn next time around, one of your three kegs is already empty."

"Well, as long as it keeps you around." Charlie is quick to reply with a salute of his own cup, causing Y/N and Robbie to share a look at how obvious he's being, for like, the millionth time. But secretly, Y/N knows he wouldn't have much room to talk, especially if the others knew how he felt about a girl.

Speaking of.....

"Hey, Kirby, have you seen Jill around?" Y/N asks the blonde before the two can engage in more queen and minion like banter that is supposed be called 'romantic' in this day and age or something. "I thought we sent them an invite as well."

Kirby snorts loudly in response to hearing that question. "You really think Jill would show up here? This isn't even Trevor Sheldon's scene, and that says a lot about him." She answers bluntly, causing Y/N to bitterly shake his head. "She doesn't even know that the movie is a franchise, and she lives here for irony's sake."

"Well tell her that she's missing out, especially Trevor for that matter." Y/N advises with a look that features a mix of disappointment masked with humor. Kirby simply smirks at him as if amused before walking off to use a make-shift bathroom or something as the three boys turn back to the screen. During which, Y/N takes a very strong gulp of his drink which ends up draining the cup, marking it as his forth beer today, and they're still at Stab 2.

"Hey, join the club, buddy." Charlie remarks as he pats Y/N on the back, only for him to realize the phrasing of his words. "Oh wait! You have! In both ways."

"Not helping man." Y/N mutters with a shake of his head as he looks down at his empty cup with only a droplet of the stuff he shouldn't be drinking yet, disappointed. He's going to be waking up with a hangover tomorrow, that's for certain.

"You know what? I think it's time that we all pact, starting right now." Robbie proposes as he steps closer and pulls both of them into a little hurdle or something, much to their confusion. "Before Senior Year, we vow that at least one of us will get lucky with a girl, sparking an incredible moment for geek history. We can't let our way of life be diminished and tarnished into being nothing but wannabe comic relief characters for slasher films, like that one guy in Freddy vs Jason who I've already forgotten the name of, but still ended up winning the black chick's heart." He declares, before smirking sheepishly at them. "I forgot her name too."

"For some reason, that feels more degrading that inspiring." Y/N comments while making a weird face, probably because Robbie just compared them to meat bag characters who barely even have a last name. "You could've have just used Ricky for your comparison?"

"Okay, stop, before you kill his bomb-ass speech." Charlie sarcastically requests with a look that shows that he's really just making fun of his best friend.

"Hey, screw you both, alright? This is important." Robbie persists with a seemingly serious face, but all it gets from the other two boys is a little bit of laughter. "Whatever, you guys know what I'm talking about." He says before stepping back and raising up his red solo cup. "To film geek history."

Charlie and Y/N share another look before coming to the conclusion that their pal isn't exactly wrong. Crushing on a girl for three years, soon to be four, will not only look bad on their culture, but curse the next High School generation with even more anxiety. The latter knows especially what it's like to have this feeling inside of him, and he'd rather die than have it be ignored.

Yes, a little over the top, but not for him.

"To film geek history." The rest of the geeks chant as they clink or whatever sound red solo cups make when they tap themselves against each other. They take another sip, except for Y/N, who goes to refill his beer.

Something tells him he's going to beat his old record of ten cups by the end of this marathon, if he doesn't empty the kegs by then.

Little did he know, fate was on his side the second that pact was made.

A few weeks later, Y/N was driving his car back to his place now that school was over. Summer break is beginning tomorrow, and he couldn't contain his excitement because it finally meant that he would be able to be the person he wants to be rather than the good boy who act to get his act together for the sake of a grade.

He was maybe pushing himself a little too fast to get to home as fast as possible, as he ended up getting the Sheriff's attention with his speed. "Whoa! Whoa! Whoa! Hey! Twenty-Five! Stay alive!" Dewey Riley barked at him loud enough that Y/N heard it.

"Oh shit!" Y/N utters as he frantically presses on his breaks to lower his millimeter, lowering his passenger window to shout back. "Sorry Sheriff!" He apologizes before putting his eyes back on the road, while the older man scoffs with a disappointed shake of his head.

"Kids...." Dewey mutters.

With a now smoother pace, Y/N kept himself in control as he continued down the roads of the suburbs at a more legal speed. The last thing he needs to do is to get on the kindest policeman's bad side by running into another car and getting the 'I'm not mad, I'm disappointed' kind of pep talk from Dewey. One can only imagine how that would make them look.

As his eyes idly glances at the other houses containing most of his neighbor/fellow film geeks, he eventually notices one scene that strikes him as wrong.

He catches Jill Roberts marching out of a house that, if his address memory is correct, is not hers. Yes, he knows her street name/number as well, don't ask questions. The way she retreats out of the house as if she got forced out of it like in Red Alert gives him the clue that she has just learned something she regrets figuring out.

Still remembering the pact he once made with his Cinema Club friends, or maybe he just has a psychic's kind of intuition, he rolls up and stops in front of the sidewalk leading up to the house. Jill stops in her tracks when his vehicle suddenly appears right in front of her. "Hey, is someone being killed in there?" Y/N asks her jokingly with his passenger door still lowered.

Jill glances between him and the house, and instead of answering the question, she swiftly hops into the car without needing to ask for it to be unlocked. "Please, just get the fuck out of here." She pleads with a voice Y/N realizes is on the emotional side, letting out a small sniffle which indicates that she's currently on the edge of crying.

Taking the cue fairly easily, Y/N complies and rolls up his windows before driving away. Just before the house is out of sight though, he notices Trevor Sheldon frantically running out with a panicked face as if having planned to follow her and 'explain things' before she disappeared on him. A little follow up on his original comment, that is not his house either.

"What the heck happened back there?" Y/N couldn't help but ask the second they were at least a block away from that house, still keeping his eyes on the road, but glancing at Jill with a perplexed face. The second he saw that Jill was in distress, he couldn't help but feel angry earlier. That was probably why he was quick to pull up earlier.

"Trevor, that..... son of a bitch...." Jill, despite her emotional state, still answers for him in a way that indicates she really needs to vent this shit out before she unleashes whatever negative emotions she's feeling onto him. "He was sleeping with that.... that slut, Jenny!" She reveals with her hand over her face, clearly in the mood to use such a harsh word for another girl. "I fucking knew it. I followed that asshole and I caught those sons of...." She stops herself to hold in another sob threatening to break loose.

Jenny Randal, Y/N somewhat recognized that name. To be completely honest, he's not surprised that not only was it her that was the problem, but that Trevor ended up cheating. Something about him always seemed bored with the world, something that would make him take a risk like that for the sake of enjoyment. It's what made him stupid enough to get caught, Y/N reckons.

"Damn....." Y/N mutters as he lets out a small whistle. "I am.... I'm sorry to hear that."

"I just can't fucking believing it...." Jill seethes as she clenches a fist while looking out the window, as if worried how Y/N will see her if he catches at least one tear rolling down her cheek. "I..... he.... we had sex. He wanted it, and I fucking gave it to him, and this is the shit that he pulls?!" She curses up a storm as she is a few words away from shouting the car up.

Y/N meanwhile, grips the wheel a little bit tightly with both hands when he hears what she is saying. Trevor was her first? Are you fucking kidding? The fact that this was the outcome can't help but make him think that his might be a blessing in disguise, his calling sign. That may be selfish as fuck to believe, but when has he ever put his needs before others?

He's a slave to the devil, a slave to his emotions, and his lust.

"Wow, talk about a gut-wrenching plot twist." Y/N remarks out loud before his silence kills the mood, though that probably wasn't the best thing to say either. "Sorry...." He quickly apologizes to her with a guilty glance. "It's just.... you know, not cool."

"Yeah." Jill replies quietly as she rubs her forehead with one hand, which Y/N suspects is kind of her way of saying, 'no shit, sherlock, you want a lollipop for that?' After a few minutes, they finally come to their destination, one of theirs, at least. "Hey, this is...." Jill is about to point out her house, only for Y/N to already be parking his car in front of it before she could even get the first word out. "Thanks." She says in a slightly uneasy look, not sure how to take him knowing her house faster than she did.

"No problem." Y/N replies with a big smile, tapping on his wheel as he watches her get out with a face that's still able to hide her emotions inside. Or maybe.... they're slowly fading away with every passing second, knowing that tears aren't going to fix the obvious break-up that's about to happen via text message.

Oooh, that would be the icing on the cake. Breaking up with your cheater on the phone, the ultimate revenge that would most certainly fit the crime.

"Hey! Jill!" Y/N loudly calls out to her as he finds himself getting out of his car without thinking once again. Thankfully, Jill stops and turns around, blinking at his actions. "I know I already said this, but just to make it, um..... you know, feel genuine...." He walks towards her, but only in a platonic distance. "I'm really sorry this happened to you." He expresses to her, earnestly meaning it. To see her in pain makes him hurt, but in a.... third party, kind of way.

"Thanks, but.... I'll be fine." Jill promises him as she quickly wipes her eyes of any tears she feels is burning under her eyelids, understanding there's no use anymore in trying to hide them from him. "I guess I should've expected this, being Sidney Prescott's cousin. It makes sense that all anyone ever sees me as is a..... a real-life definition of a plot device."

"I don't think that way." Y/N is quick to retort, seeing her materialization as something much more important than that. And if there's any time to say it, now would be a good time, but more just to make her feel better. "Honestly, I see you more as the...... the main character everyone adores for ten decades or so." He tells her honestly, his film geek way of saying that she matters to him.

Jill giggles when he hears it, glancing down as if not expecting it. "Um.... thanks, Y/N." She replies with a seemingly quiet, blushing tone. Hearing her say his name laced with gratitude makes Y/N smile a bit, even if romantic body language is not the best time here.

She seems to notice it though, the way his smile is formed. The way his eyes stare at her as if she's a goddess that has been cursed with a sin that nobody should be tainted by. Her expression changes slightly as if gears start rolling in her mind. Y/N can't exactly comprehend what she's feeling, but it seems like a dark venomous cloud as whispered in her ear.

"I... I need to go, tell everyone what happened." Jill mentions as she nods towards her house, her eyes looking like they aren't in the mood to shed tears anymore. "But, um...." She bites her lip, taking a few steps closer towards him. Then, to his surprise, she slowly leans her face closer to his and softly kisses him. "I'll see you later."

She then walks away with a seemingly bright smile before she eventually enters her house and closes the door behind her. Y/N feels glued to the floor as he processes that action. His mind is practically shouting at himself with excitement, Jill Robers just fucking kissed him.

But he shouldn't be thinking that way. Jill just got hit with the most heart-breaking scene no girl should ever have witnessed. Giving a boy that kind of affection five minutes later is usually never possible.

Why did she just do that?

Meanwhile, as Jill enters her home, a twisted smile creeps up on her lips. She is not an idiot, she could see the glint in Y/N's eyes. She knows what he was after, what all guys are after. One could say she jumped a little too quickly to take advantage of it, but she's glad that she did. Already, her original thoughts of sorrow and pain are blending together into ideals of revenge.

She is not going to be remembered as the cousin of Sidney who got fucked and dumped just like she did, but with the difference of being tossed away like yesterday's newspaper. Oh, hell to the fucking no. She's fed up with horrible and depressing life, this hand that she's been delt. She's going to take some new cards, slide them under her sleeves, and make an entirely new script staring Jill Roberts' story.

She's going to make the world know her name, starting with her new toy. The only question now, is how she is going to pull that off. Hmm.... ideas... ideas. She has a lot of planning to do.

Good thing the summer will give her plenty of time to get on to it.

[taranodongirl]

A

Act English

The Age of Not Believing

Are We Dancing

B

Beautiful Beulah

The Beautiful Briny

The Best Time of Your Life

The Bombie Samba

The Boogie Woogie Bakery Man

Bright and Shiny (song)

C

Chim Chim Cher-ee

Chitty Chitty Bang Bang (song)

Christmas in Los Angeles

Chu-Chi Face

Colonel Hathi's March (The Elephant Song)

Come to the Funfair

D

Dakota (1968 song)

Detroit (1967 song)

Doll on a Music Box

Drummin' Drummin' Drummin'

F

Feed the Birds

Fidelity Fiduciary Bank

For Now, For Always

Fortuosity

G

The Glorious Fourth

H

The Happiest Girl Alive

He Danced With Me/She Danced With Me

Heffalumps and Woozles

Hip Hip Pooh-Ray!

Hushabye Mountain

I

I Believe In This Country

I Hum to Myself

I Love to Laugh

I Wan'na Be Like You (The Monkey Song)

I'll Always Be Irish

It's a Small World (After All)

J

Jo Jo the Dog Faced Boy (song)

Jolly Holiday

K

Kiddy-Widdy-Winkies

L

Let's Get Together (Hayley Mills song)

Let's Go Fly a Kite

Let's Put It Over with Grover

The Life I Lead

Little Black Rain Cloud

Lovely Lonely Man

M

Mad Madam Mim

Magic Journeys (song)

Makin' Memories (song)

A Man Has Dreams

Me Ol' Bamboo

Mind over Matter (Sherman Brothers song)

Miracles from Molecules

Mr. Piano Man, Please!

My Own Home

O

Oh, Benjamin Harrison

The One and Only, Genuine, Original Family Band (song)

One Little Spark

Over Here! (song)

P

The Parent Trap (song)

The Perfect Nanny (song)

Pineapple Princess

Portobello Road (song)

Posh!

R

A Rather Blustery Day

The Rain Rain Rain Came Down Down Down

The Right Side

River Song (Sherman)

The Roses of Success

Rumbly in My Tumbly

The Rutabaga Rag

S

Sister Suffragette

Someone Like Me (Sherman Brothers song)

The Spectrum Song

A Spoonful of Sugar

Stay Awake (Mary Poppins song)

A Step in the Right Direction

Step in Time

Strummin’ Song

Summer Magic (1963 song)

Supercalifragilisticexpialidocious

T

Tall Paul (song)

Teamwork (song)

Ten Feet off the Ground

That's What Friends Are For (The Vulture Song)

There Are Those

There's a Great Big Beautiful Tomorrow

Think Vulgar

The Tiki Tiki Tiki Room

Truly Scrumptious (song)

Trust in Me (The Python's Song)

Try a Little Something New

U

The Ugly Bug Ball

Up, Down and Touch the Ground

V

Valentine Candy

Vulgarian National Anthem

W

West o' the Wide Missouri

What's Wrong with That?

Winnie the Pooh (song)

The Wonderful Thing About Tiggers

The World Showcase March

Y

You Two

You're Sixteen

You're the Only You

Your Heart Will Lead You Home

Thank you for everything Sherman Brothers. I’m so glad that I sent Robert that letter before he passed. I’m going to believe that he read it.

[bobbie-robron]

Robron Fanfiction Recommendations (May-2024)

The below were recommended on Twitter during May 2024.

Love Me Blind (2019) 25.1K words, exploring_in_space

When Aaron was 17, he fell in love with Robert, his soulmate, over the summer. But then Chrissie found them and they split. Now, ten years later, Aaron is moving in with boyfriend Ed (a ‘comfortable’ relationship) into the Mill while Robert (not completely happy but happy enough) is a single father to Sebastian. When the two meet up again at a machinery convention, it doesn’t take long before Aaron initiates an affair while keeping Robert in the dark that he’s still very much still involved in all manner with his boyfriend. Oh, did I forget to mention that Aaron’s lapse in paying attention lead him to believe Sebastian is a dog? Something’s got to give and who will lose in the end?

All Over Again (2016) 4.5K words, Miss_Romance_Lover

It’s post-SSW2016 and the lads made it through alright but Aaron has a seizure while in hospital and now has lost a full year of his life. That means he doesn’t recall opening up about the vile one, his sister being back in his life and, most importantly, that he and Robert were happy and living together. As Chas and Robert are there to support Aaron as his memories gradually begin to return, in the end it’s about Aaron falling for Robert who he is now.

Skins and Torrents (2019) 20.0K words, Illgetmerope

Aaron left the village not only to escape the Dingle name but to be close to the ocean… becoming a fisherman. He keeps to himself and pretty much is on his own but then a freckled seal starts to stay very close when he’s out on his boat to retrieve his catches and begins to enjoy seeing the animal. Soon after, a freckled blonde shows up with eyes for Aaron and there is a connection. But when Robert disappears after their night together, all good feelings are gone. Oh, there’s this legends about selkies that Sarah tells Aaron but he brushes it off until he realizes there may be truth in it after all…

Behind the Bar (2015) 3.2K words, robronsugsy

Diane and Doug have plans to go out and Chas is feeling under the weather. What shall become of the bar for the evening? Well… Robert volunteers himself and Aaron to cover for them! How will they do I wonder 🤔?

May to December (2017) 23.6K words, Activeimagination

Hell year was a disaster and hard to watch, if at all, most times. Here, we get a different take of the lads’ breakup but with major differences. There is no OTT ad nauseam plotting by Robert, Doc Dulliard does not exist and Chas/Liv aren’t trying to make Aaron prove to THEM he’s over Robert. Instead, we focus on the lads individually as they try to cope with their breakup via regular counseling for Aaron and the bottle being Robert’s best friend but all roads lead them back together before December.

Something wretched about this (something so precious about this) (2016) 2.9K words, Port_in_a_Storm

It’s post Aaron finding about Andy being behind Robert’s shooting. With Robert mentioning how Aaron wanted him dead at one point, he begins to question whether Aaron still has some of those residual feelings especially since he has not said the L word since they got back together. Time for a chat to clear the air.

And You Are? series (2016) 11.3K words, brangelina_of_the_gallaghers

A series of eight stories that take place in 2010 when Robert (23) returns on the day of Sarah’s birthday and it’s Aaron (19) who he runs into first. And right from that first night they get together and decides on being friends with benefits. Each story focuses on the usual suspects one by one finding out about them as the pair continue to get together but do not admit there are emotions involved until the end.

Down by the Sea (2016) 4.0K words, MonkeyLuv

Robert, Aaron and Liv go off on a trip to Wales that Aaron hopes will brings some Robert and Liv bonding. Well, when you have nicknames tossed about, Taylor Swift blaring, the beach and pesky hair gel (along with a wee bit of Adele in 2016 🥺), how could they not all get along better by the time they head back home?

[flyingupward]

new muse list!

okay folks ! first step in the revamp is a shiny new muse list ! i've mostly included muses that i tend to have a lot of muse for or that i've written for a long time. however, if there's someone i used to write that you miss from this blog, shoot me a message. odds are, i'll still love to write them with you !

list is under the cut. thank you all for your patience !

if you want to start sending me asks and stuff now, i'll reblog a couple of memes ? i might be a little slow in responding though as my chronic illness is pretty bad right now. but i'm really looking forward to being back here with you all !

stella's working muse list c. dec 2024

the archangels: GABRIEL, MICHAEL, and RAPHAEL - mythology

CASSANDRA BIANCHI - the blacklist

DELILAH BRIARWOOD - critical role

JOYCE BYERS - stranger things

SAMANTHA CARTER - stargate

KARA DANVERS/SUPERGIRL - dc tv

JOCELYN FRAY - the shadowhunter chronicles

ALMA GARRET - deadwood

RIZA HAWKEYE - fullmetal alchemist: brotherhood

TINA KENNARD - the l word

KEYLETH OF THE AIR ASHARI - critical role

ELAINA LASKO - original character

HELEN MAGNUS - sanctuary

JULIA MCNAMARA - nip/tuck

MAGDELENA MILLS - once upon a time (oc)

RAQUEL MURILLO - la casa del papel

CATHERINE PARR - historical (also with a six verse)

PERSEPHONE - mythology

MAUREEN ROBINSON - lost in space

DANA SCULLY - the x-files

ELIZABETH SINSKEY - the robert langdon series

CALLIE STEVENSON - goliath (divergent)

MYFANWY THOMAS - the checquy files (book based)

ALLURA VYSOREN - critical role

STACY WARNER - house md

EMMA WHITMORE - timeless

[missanthropicprinciple]

miss anthro’s film recs: May 2021

Jurassic Park 1993: Watched this for the third time in a month today to celebrate it's release 28 years ago. Like most excellent films, it was created by a lucky intersection of talent. The remarkable premise was crafted into a brilliant script by David Koepp and author Michael Crichton; it was tight, clean, fast-paced - no plot holes and unnecessary scenes. Steven Spielberg really did a fantastic job of making a cohesive production and giving it a kind of emotional continuity. The cast is outstanding. I could write an essay about each one. Richard Attenborough brings pathos to John Hammond, the delusional tycoon. Sam Neill is perfect as Alan Grant, a jaded paleontologist who finds deeper compassion. Laura Dern gives a raw performance as the resolute and charming paleo-botanist Ellie Sattler. Jeff Goldblum stars as Ian Malcolm, chaotician and prototype "rock-star scientist." Bob Peck is wonderful as the sensible game warden Robert Muldoon. Samuel L. Jackson works his magic as sardonic chief engineer Ray Arnold. And of course, excellent performances from Martin Ferrero, Wayne Knight, Joseph Mazzello, and Ariana Richards. The special and physical effects are remarkable and most of them remain so nearly three decades later, including the life-sized animatronic Tyrannosaurus rex and just the right amount of CGI. Cinematography by Dean Cundey features god-tier-level use of scale framing. Not to mention great use of color, blocking, sound, costume, John Williams' beautiful score - you name it, this film really has everything going for it. Is this a perfect film? No, but it gets bloody close. Unmissable science-fiction that examines the horror unleashed by the arrogance of mankind. 

The Birdcage 1996: This 25* year old film is a real gem. While the modern viewer (myself included) could find fault with some stereotypes, etc., the classic comedy has aged quite well. There’s a lot of slapstick and hysterically funny and clever dialogue. Williams and Lane are outstanding. There’s a very touching scene between the two of them which is very romantic and sweet. And of course the whole cast is perfect. I’m always impressed by this film when I haven’t seen it in a while.

The Moon-Spinners 1964: You don’t need to be a Disney fan to love this incredible classic. Hayley Mills is well loved but I don’t think she’s given enough credit for being not only a brilliant child actor but also a great actor as she aged. Her performance is stellar. The whole movie is fun and tense, bringing Mary Stewart’s novel to life in the great and beautiful country of Greece. It’s a fun adventure from start to finish with humor and romance.

Fairytale: A True Story 1997: Want to cry your eyes out about the Cottingley fairy hoax of 1917? You may not trust me but I recommend this experience. Honestly, this movie is life-changing. This is a depiction of a real life story involving historical figures. Usually no one gets that quite right but this movie kinda does. Peter O’Toole looks nothing like Sir Arthur Conan Doyle, but Harvey Keitel looks remarkably like Harry Houdini. Something about the music and what they do with this story gets into your bloodstream. I couldn’t possibly spoil for anyone who knows nothing about it, but I can say that there is some incredible CGI and a scene where someone faces retribution from an unexpected and shocking source.

edit 2023:

*now 27

I found this in my drafts. Clearly, life got in the way and I didn’t continue my recommendation posts (I have the templates drafted in text form.) Also, while drafting this edit I was attacked by a small beetle. I remain unharmed and have released the beetle into its natural environment.

[fearsmagazine]

HAYRIDE TO HELL | Trailer, Poster & Images

Set on the Coxe Family Farm in rural Willis County, Farmer Sam exacts his bloody revenge on unscrupulous local town-folk, including Sheriff Jubel, who menace him and attempt to steal the farm that has been in his family for 200 years.

Inspired by the real haunted hayride executive producer and farmer Bob Lange used to have on his family's multi-generation pumpkin farm back in the 80s and 90s, the film is a cult-horror classic in the making that dually highlights the charm and necessity of preserving Pennsylvania's family farms. The film is directed by Dan Lantz from a screenplay Kristina Chadwick and Robert Lange.

Horror legends Kane Hodder (best known for his portrayal of Jason Voorhees in the FRIDAY THE 13th Franchise) and Bill Moseley (THE TEXAS CHAINSAW MASSACRE 2) meet their match in HAYRIDE TO HELL. Joining the cast is veteran genre actor Bill Moseley’s daughter Marion Moseley. 

(L-R) Actor Bill Moseley & actress Marion Moseley on location for HAYRIDE TO HELL.

In addition to acting Marion is a writer and visual artist. Before graduating from UCLA in 2020 she starred in a number of theatrical productions and had three short films screened at the Cannes Film Festival; the first two as an actress and the third as the writer, director, and producer. She studied comedy at the Groundlings and dramatic acting at NorthWestern University. Since graduating she has appeared in three horror films: Kansas Bowling's “Cuddly Toys,” Michael Lazovsky's “Another Christmas,” and Dan Lantz's “Hayride To Hell.”

HAYRIDE TO HELL opens in the following theaters across the country on October 20th, 2023, before expanding to more venues in the coming weeks:

Charlotte, NC - Carolina Pavilion 22 & Concord Mills 24 Dallas-Ft. Worth, TX - Mesquite 30 Houston, TX - Gulf Pointe 30

[fibula-rasa]

Lost, but Not Forgotten: The World’s Applause (1923)

Direction: William C. de Mille

Scenario & Titles: Clara Beranger (more about Beranger at the Women Film Pioneers Project)

Camera: L. Guy Wilky

Sets & Costumes: Paul Iribe

Studio: Famous Players-Lasky (production) & Paramount (distribution)

Performers: Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa, James Neill

Status: presumed entirely lost

Synopsis (synthesized from magazine summaries of the plot):

Corinne D’Alys (Bebe Daniels), f.k.a. Cora Daly, is a theater star who has “taken the Rialto by storm.” Unfortunately, Corinne also has a desperate hunger for publicity. Her manager, John Elliott (Lewis Stone), who also happens to be in love with her, advises her to be more sensible about her career. A famous artist, Robert Townsend (Adolphe Menjou), has become enamored with Corinne, and wants to paint her portrait. Despite John’s warning that Robert wishes only to “see more of her,” Corinne sits for the portrait. 

Robert plans on throwing a party to celebrate finishing the painting but declines to invite his wife, Elsa Townsend (Kathlyn Williams). Elsa comes to her husband’s studio anyway and finds the portrait and a pearl headdress that Robert is going to gift to Corinne. In a jealous rage, Elsa takes a knife to the painting and then to her husband—fatally stabbing him. Elsa also happens to be John’s sister and she calls him in a panic to help her. John arrives at the studio in secret and helps Elsa escape the scene. Meanwhile, Corinne and the guests begin to wonder where their host is, and Corinne then finds the body of the painter.

John convinces the police that Corinne is innocent. Corinne leaves town to avoid the storm. Unfortunately, John then becomes the primary suspect, as he had a notable fight with his brother-in-law months prior. When John is arrested, Corinne returns and confesses to Elsa that she feels morally responsible for Robert’s murder. Elsa then confesses to committing the murder herself. It’s implied that Elsa commits suicide via “the watery route.” 

Now that both John and Corinne have been cleared of suspicion, they are free to marry and Corinne has lost her appetite for publicity.

Transcribed sources & annotations below:

Moving Picture World, November 11, 1922

News from the Producers

Conducted by T.S. da Ponte

Changes Titles of Two

Three new titles have been chosen for as many forthcoming Paramount pictures.

William de Mille’s recently completed production from an original story by Clara Beranger, in which Bebe Daniels, Lewis Stone, Kathlyn Williams and Harrison Ford have the important roles, has been permanently titled, “The World’s Applause.” “Notoriety” was the title originally chosen, but when it was found that another company had a prior claim, it was changed temporarily to “Paths of Glory,” which in turn has now given way to “The World’s Applause.”

Mary Miles Minter's latest picture, just completed under the direction of Charles Maigne and adapted from Stephen French Whitman's novel, "Sacrifice," is to be called "Drums of Destiny."

"Racing Hearts" is the title chosen for the new picture Agnes Ayres is just starting under the direction of Paul Powell. This is a story by Byron Morgan, author of the Wallace Reid automobile racing pictures, and Miss Ayres has the role of a race driver who goes in and wins a thrilling speed contest when the regular driver fails to show up.

Both "Drums of Destiny" (titled "Drums of Fate" on release in 1923) and "Racing Hearts" are also lost films.

Exhibitor’s Herald, January 20, 1923

REVIEWS

BEBE DANIELS IN

WORLD’S APPLAUSE

(PARAMOUNT)

A fascinating story of the life of an actress who unwittingly becomes involved in a murder mystery which almost brings about her downfall professionally. Lavishly presented, very well acted and directed in William deMille’s best style. Length, 6,528 feet.

An original story by Clara Beranger provides Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolph Menjou and others with a suitable vehicle in which to display their talents. There is good story interest for the most part, with good surprise value and considerable dramatic suspense in the contest of wits between the detectives and John Elliott and his sister.

Lewis Stone plays the role of Elliot and gives an unusually convincing and consistent characterization. The director, author and producer are to be congratulated upon securing Mr. Stone’s services for this part. Miss Daniels appears in the role of an actress who is a hound for publicity, and the moral of the story shows how ready the public is to condemn these children of the stage. Kathlyn Williams has the role of Elsa Townsend, wife of an artist in love with the little actress, who in a fit of jealousy kills her husband. A difficult role, but played with restraint and conviction. Adolphe Menjou is the artist. Bernice Frank was the maid; Mayme Kelso, secretary to the actress, and George Kuwa, valet to Townsend. James Neill was Elliot’s valet, while Brandon Hurst played James Crane, owner of a string of newspapers.

Corinne d’Alys, popular Broadway star, poses for Townsend while he paints her portrait. On the day he is to display the painting he gives a party at his studio. As the guests assemble, Mrs. Townsend comes to the studio, discovers a valuable pearl headdress which her husband is to give to Corinne, and the portrait of the actress. In a fit of jealousy she strikes him down and leaves the studio with her brother, John Elliot. The discovery of the dead artist throws suspicion upon the members of the party. Corinne telephones to her affianced husband Elliott and he succeeds in convincing the police that she is innocent. Crane takes a hand in the investigation, however, and dogs Elliott’s footsteps. A confession from Mrs. Townsend finally clears Elliott and the little actress, and she no longer seeks the world’s applause, but is content to settle down with John.

The Film Daily, February 2, 1923

A Typical DeMille Entertainment With the Usual Atmosphere

William DeMille Prod.

“THE WORLD’S APPLAUSE”

Paramount

DIRECTOR…William DeMille

AUTHOR…Clara Beranger

SCENARIO BY…Clara Beranger

CAMERAMAN…L. Guy Wilky

AS A WHOLE…Consists of situations and atmosphere intended to provide visual appeal but that is as far as it gets

STORY…Artificial and quite theatrical; flavored with sensational bits that will make it popular with a certain crowd

DIRECTION… Very good as far as production goes and usually handles story with good judgment but ending is too long arriving

PHOTOGRAPHY…Excellent

LIGHTINGS… Good

PLAYERS… Lewis Stone and Bebe Daniels featured with Stone doing his usual good work and Miss Daniels a suitable but not beautiful Corinne d’Alys; others Kathlyn Williams and Adolphe Menjou

EXTERIORS…Few

INTERIORS… Many elaborate settings

CHARACTER OF STORY…Star seeking publicity is cause of man’s death at the hands of his jealous wife

LENGTH OF PRODUCTION… 6,526 feet

Probably because there is a moral to it the unpleasant bits in “The World’s Applause” will have to be excused but it does seem unfortunate that they have to wade so deeply into scandal and sensation providing incidents in general, to get to it. Before you finally learn the lesson of this film—that success is not measured by the amount of prominence you attain—you are treated to some mighty intimate scenes in which a popular stage favorite is the sensuous, central figure. She is very deliberately sought by a famous portrait artist, a married man, who plans his seduction in elaborate style. Of course he has a studio establishment which figures prominently in his scheme and the very innocent young moth runs headlong into the flame heedless of the warning of her manager, who really loves her. The aggravating thing about these petty publicity seekers is that you are expected to accept their sugar-wouldn’t-melt-in-their-mouth attitude for the real thing.

But this Corinne d’Alys spoils it all, or the title writer does it for her, when she admits that her would-be lover will give her everything but “a narrow gold band.” The titles, incidentally, are very bad. There is one in which the true lover warns the girl that the artist wants her to pose for him so that “he can see more of her.” The titles are quite off color in many similar instances. This one particularly seemed to strike the Rivoli audience as a thoroughly fine humorous touch.

William DeMille is following closely in the footsteps of his brother, Cecil, when it comes to making pictures with plenty of pictorial appeal and colorful atmosphere. In this respect the picture is interesting and should satisfy. From a story angle, it is all a matter of taste. Where they like theatrical, sensational stuff, it is all very nice but where they want clean, wholesome stories, it may be different.

Bebe Daniels handles the role of Corinne adequately but she never gives the impression of being sufficiently beautiful to have “The World’s Applause.” Lewis Stone is always capable but deserves a more sensible role. The cast, on the whole, is suitable.

Story: John Elliot’s new star, Corinne d’Alys, is swept off her feet by sudden success. She accepts the attentions of Townsend, an artist, the husband of Elliot’s sister, who paints her portrait. Townsend is accidentally killed by his jealous wife and Elliot is arrested. His sister, realizing Elliot loves Corinne, commits suicide, leaving a confession which clears Elliot and cures Corinne of her craving for publicity.

One of those negative reviews that makes you want to watch a movie more, eh? Moralizing and misogyny on full display! Phew.

The Moving Picture World, February 1923

“World’s Applause” Released January 21

William de Mille, Paramount producer, departed temporarily from his custom of filming stage dramas when he made "The World's Applause," which was on the Paramount release schedule of January 21.

This is an original story by Clara Beranger, who has written the scenario of all of Mr. de

Mille's recent photoplays. Bebe Daniels and Lewis Stone are the featured players in a cast which Mr. de Mille considers one of the best he has had in his long career as a producer.

An ultra-modern note is struck by Miss Daniels in her costumes, it is reported. In each succeeding scene she wears something different from the preceding one, and although Mr. de Mille never allows his photodramas to descend to the level of mere fashion shows, this feature of "The World's Applause" is certain to intensify every woman's interest in the picture, Paramount says.

Variety, February 1923

WORLD'S APPLAUSE

Paramount picture presented by Adolph Zukor. William DeMille production, featuring Bebe Daniels, Lewis Stone and Kathlyn Williams in story by Clara Beranger.

At the Rivoli, New York, week of Jan. 28.

Corinne d'Alys..........Bebe Daniels

John Elliot........Lewis Stone

Elsa Townsend...Kathlyn Willams

Robert Townsend, her husband…Adolphe Menjou

James Crane...Brandon Hurst

Maid to Corinne...Bernice Frank

Secretary to Corinne.........Maym Kelso

Valet to Townsend..George Kuwa

Valet to Elliot......James Neill

“The World's Applause" is a screen treatise on theatrical publicity and exploitation with a twist that a certain theatrical personage's craving for newspaper "notices" and the desire to be the talk of the town boomerangs viciously when she is indirectly implicated in a murder mystery.

The theatrical personage is Corinne d'Alys (born Cora Daly), who has "taken the Rialto by storm," but who is counselled by her manager-lover (Lewis Stone) to cease her craving for the world's applause and deal seriously with her work. This is momentarily disparaged by her

with ensuing developments taking the audience rather interestingly through the usual five-reel span.

It starts with Robert Townsend, an artist who has "arrived" (Adolphe Menjou), becoming enamored with the favored and favorite footlights beauty and honoring her with painting her portrait for the annual Parisian exhibition. Townsend is married to the sister of John Elliot, the impresario, and a parallel situation develops of Townsend slighting his wife for Corinne, and

Townsend interposing himself between the actress and her suitor, Elliot.

At a studio party in Corinne's honor to which Townsend did not invite his wife, the latter enters

through the private studio door and, enraged at her husband's nonchalance, slashes the portrait and stabs the artist fatally. She telephones for her brother, who also enters unbeknown to the guests in the outer rooms. Both slip away, but not without being seen by a newspaper

publisher, whose testimony implicates Elliot, who shields his sister. Elliot is arrested on first degree murder charges, but is absolved when his sister confesses to Corinne. The sister runs away, and there is a suggestion she commits suicide via the watery route.

Not much to the story, but rather deftly handled by DeMille in his customary pretentious manner—never lavish but always in good taste. The captioning is pithy and bright, and such leaders as "the public always believes the worst about an actress" is good lay propaganda for the profession.

Miss Daniels sports a nobby collection of clothes to excellent advantage. Mr. Stone is a sincere opposite, who also has the ability of really acting when called upon. Miss Williams, too, accounted for herself handily.

The picture pleased at the Rivoli

Abel

Cine-Mundial, April 1923 p. 218 & 239

EL APLAUSO DEL MUNDO

(The World’s Applause)

“Paramount” — 150 metros

Intérpretes principales: Bebé Daniels y Lewis Stone. Colaboradores: Kathryn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa y James Neill.

Argumento de Clara Beranger. Dirección de William DeMille.

Argumento

Corina, actriz, tiene sed insaciable de publicidad y se muere por ver su nombre en letras de molde, bien grandes, aunque sea a costa de escándalo, sin escuchar los consejos de su empresario, Elliot, que la ama. Los periódicos mezclan a la joven en un lío en el que ver un famoso pintor que le está haciendo su retrato. La noche en que el artista va a celebrar con un banquete la terminación del cuadro, se presenta en escena su mujer, disputan, y en un acceso de rabia, la consorte se apodera de un cuchillo para destrozar la pintura y, accidentalmente, mata al artista. La homicida es hermana de Elliot y éste trata de salvarla a to-

(Continúa en la página 239)

NUESTRA OPINION

(Viene de la página 218)

da costa del presidio. Llega hasta a asumir la responsabilidad del delito, cuando las sospechas recaen en su contra, por causa de un disgusto tenido, meses antes, con su cuñado. Pero, justamente cuando la policía va a detenerlo, la hermana confiesa su crimen y Elliot y Corina, sus nombres limpios de mancha, se casan.

Tengo debilidad por Lewis Stone como actor. Quizá por eso me haya gustado tanto esta película, de impecable dirección. Por causa de la reducción de los escenarios, se concentra el interés en el tema y eso añade fuerza dramática a toda la obra, aunque el argumento no tenga, ni con mucho, excesiva novedad. Si se sujeta la película al análisis, se corre el riesgo de dejarla maltrecha. Prefiero, pues, dar sólo idea de lo que a mi me pareció. — Guaitsel.

Translation:

Lead actors: Bebe Daniels and Lewis Stone. Supporting actors: Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa and James Neill.

Scenario by Clara Beranger. Direction by WIlliam DeMille.

Scenario

Corina, an actress, has an insatiable thirst for publicity and would die to see her name in lights, even at the cost of scandal, without listening to the advice of her manager, Elliot, who loves her. The newspapers mix the young woman up in an imbroglio with a famous painter, who is painting her portrait. On the night that the artist is going to celebrate the completion of the painting with a banquet, his wife appears on the scene, they argue, and in a fit of rage, the wife seizes a knife to destroy the painting and, accidentally, kills the artist. The murderer is Elliot’s sister and he tries to save her from prison at all costs. He goes as far as assuming responsibility for the crime, when suspicion falls on him, due to a disagreement he had with his brother-in-law, months before. But, just as the police are going to arrest him, the sister confesses her crime and Elliot and Corina, their names clean, get married.

I have a soft spot for Lewis Stone as an actor. Maybe that’s why I liked this impeccably-directed film so much. Because of the limitation of settings, interest is concentrated on the theme and this adds dramatic force to the whole work, even though the scenario isn’t very excessively novel at all. If you subject the film to analysis, you run the risk of dealing damage to it. I prefer then to give only the outline of how it seemed to me. — Guaitsel.

Photoplay, April 1923

THE WORLD’S APPLAUSE—Paramount

CLARA BERANGER seems to have dramatized the recent newspaper headlines. An idol whose fame has been built upon publicity gets involved innocently in a murder and the aforementioned publicity turns out to be a boomerang, demolishing said idol. Tritely told by William de Mille, who isn’t living up to early expectations. Bebe Daniels is pleasant enough as the idol.

Presumably, this writer is alluding to the Mary Miles Minter / William Desmond Taylor scandal from February of 1922. Kind of an interesting assumption given that, at the time, Minter was still under contract with Famous Player-Lasky, the same company that produced The World’s Applause.

The Story World and Photodramatist, April 1923

The World's Applause

With the excellent theme of regeneration after a terrifying experience, William De Mille slices his emphasis a bit in the story of The World's Applause; though he presents a warning to all actresses or public servants who, in their greed for applause, get themselves talked about in the wrong way, he misses the hole by a few inches because Corinne D'Alys is not the one to pay the piper most heavily. Even though she claims she is morally guilty of the murder, I found it

difficult to believe her regeneration more than skin-deep, possibly because the suggestion of the suicide of the physically guilty but wholly justified wife fades so quickly into the scene of Corinne's future happiness.

In lieu of convincing plot to express his theme, Mr. De Mille has resorted for public appeal to the tinsel more often found in a C. B. de Mille production—to lavish sets and to gowns for Bebe Daniels as daring and gorgeous as any of Miss Swanson's. For admirers of this young actress, the picture will doubtless be more or less satisfying, but contrary to dramatic principles, to the opposition have been given the histrionic opportunities 

It is many pictures since I have seen such an amusing lothario as the unfaithful husband; but pushed too far by his desperate wife, he rises to the breaking point very naturally. The development of the battle of their wills into one of physical violence and murder deserves high

praise as an example of loss of mental control at the moment of physical contact. The stellar role from the dramatic angle is that of the neglected wife—excellently portrayed by Kathlyn Williams. The story revolves around her problem of protecting her home and retaining her

husband's love. It is she who struggles and suffers through her hasty deed, and in the end sacrifices herself that her brother and the foolish enticer of her husband may be happy.

The weakness of the plot is early evident for the first big dramatic scene does not include the supposed lead. While Corinne is in another room with the guests, the artist's wife declares to her husband her intention of being present at the dinner to celebrate the completion of his portrait of the actress. When her husband urgently remonstrates, she seizes a knife and in the old sensational manner slashes the portrait. He seizes her hand, the exasperated animal rises in her, and she plunges the knife into his side. Horribly frightened, she phones to her brother; he assists her to escape and later denies all knowledge of the crime.

Meanwhile the supposed lead, growing tired of waiting, opens the door on the body of the artist. The guests, sensing a scandal, leave Corinne to enjoy the notoriety her desire for applause has brought upon her. The brother is suspected and his and Corinne's financial backers withdraw their support. Instead of remaining to fight it out, Corinne leaves town. The brother is arrested, and his sister is torn between her love for him and her fear of prison bars for herself. When Corinne returns, she goes to the wife and claims the moral guilt.

In a rather confused manner the story rushes through the confession of the wife and the suggestion of her suicide to the inferred regeneration and future happiness of the actress with the recently bereaved brother. Odd thing, poetic justice! Frankly this picture is not up to the De Mille standard; its appeal is to the more superficial emotions and through the eye rather than through the intellect or heart of the discriminating spectator. It is not the clean, wholesome picture I had anticipated.

Picture Play Magazine, May 1923

The Screen in Review

“The World’s Applause.”

If you are a young actress who will do most anything for publicity, this film will be a lesson to you. Otherwise it will be sheer entertainment, cooked up by William De Mille and charmingly acted with Bebe Daniels as the publicity-mad star and Lewis Stone as her manager. The story has really original twists in it and is directed with humor and restraint. Its only flaw is the incredibly silly subtitles. I don’t understand how Mr. De Mille let them get by in one of his productions which always bear a certain imprint of good taste and sophistication.

[deanwasalwaysbi]

23 Republican Senators & 124 Congressmen signed an amicus brief to the Supreme Court asking for a 50 state ban on mifepristone, a drug safer than tylenol that is standard treatment for abortion & miscarriages, "due to safety concerns". The brief DARES to argue that banning the life saving drug would save women from 'reproductive control'. (x) These 147 people would rather have women die of sepsis than let women control their own bodies. If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

United States Senate

Lead Senator: Cindy Hyde-Smith (MS) John Barrasso (WY) Mike Braun (IN) Katie Britt (AL) Ted Budd (NC) Bill Cassidy (LA) Kevin Cramer (ND) Mike Crapo (ID) Ted Cruz (TX) Steve Daines (MT) Josh Hawley (MO) John Hoeven (ND) James Lankford (OK) Mike Lee (UT) Cynthia Lummis (WY) Roger Marshall (KS) Markwayne Mullin (OK) James Risch (ID) Marco Rubio (FL) Rich Scott (FL) John Thune (SD) Tommy Tuberville (AL) Roger Wicker (MS)

United States House of Representatives

Lead Representative: August Pfluger (TX–11) Robert Aderholt (AL–04) Mark Alford (MO–04) Rick Allen (GA–12) Jodey Arrington (TX–19) Brian Babin (TX–36) Troy Balderson (OH–12) Jim Banks (IN–03) Aaron Bean (FL–04) Cliff Bentz (OR–02) Jack Bergman (MI–01) Andy Biggs (AZ–05) Gus Bilirakis (FL–12) Dan Bishop (NC–08) Lauren Boebert (CO–03) Mike Bost (IL–12) Josh Brecheen (OK–02) Ken Buck (CO–04) Tim Burchett (TN–02) Michael Burgess, M.D. (TX–26) Eric Burlison (MO–07) Kat Cammack (FL–03) Mike Carey (OH–15) Jerry Carl (AL–01) Earl L. “Buddy” Carter (GA–01) John Carter (TX–31) Ben Cline (VA–06) Michael Cloud (TX–27) Andrew Clyde (GA–09) Mike Collins (GA–10) Elijah Crane (AZ–02) Eric A. “Rick” Crawford (AR–01) John Curtis (UT–03) Warren Davidson (OH–08) Monica De La Cruz (TX–15) Jeff Duncan (SC–03) Jake Ellzey (TX–06) Ron Estes (KS–04) Mike Ezell (MS–04) Pat Fallon (TX–04) Randy Feenstra (IA–04) Brad Finstad (MN–01) Michelle Fischbach (MN–07) Scott Fitzgerald (WI–05) Mike Flood (NE–01) Virginia Foxx (NC–05) Scott Franklin (FL–18) Russell Fry (SC–07) Russ Fulcher (ID–01) Tony Gonzales (TX–23) Bob Good (VA–05) Paul Gosar (AZ–09) Garret Graves (LA–06) Mark Green (TN–07) Marjorie Taylor Greene (GA–14) H. Morgan Griffith (VA–09) Glenn Grothman (WI–06) Michael Guest (MS–03) Harriet Hageman (WY) Andy Harris, M.D. (MD–01) Diana Harshbarger (TN–01) Kevin Hern (OK–01) Clay Higgins (LA–03) Ashley Hinson (IA–02) Erin Houchin (IN–02) Richard Hudson (NC–09) Bill Huizenga (MI–04) Bill Johnson (OH–06) Mike Johnson (LA–04) Jim Jordan (OH–04) Mike Kelly (PA–16) Trent Kelly (MS–01) Doug LaMalfa (CA–01) Doug Lamborn (CO–05) Nicholas Langworthy (NY–23) Jake LaTurner (KS–02) Debbie Lesko (AZ–08) Barry Loudermilk (GA–11) Blaine Luetkemeyer (MO–03) Tracey Mann (KS–01) Lisa McClain (MI–09) Dr. Rich McCormick (GA–06) Patrick McHenry (NC–10) Carol Miller (WV–01) Mary Miller (IL–15) Max Miller (OH–07) Cory Mills (FL–07) John Moolenar (MI–02) Alex X. Mooney (WV–02) Barry Moore (AL–02) Blake Moore (UT–01) Gregory F. Murphy, M.D. (NC–03) Troy Nehls (TX–22) Ralph Norman (SC–05) Andy Ogles (TN–05) Gary Palmer (AL–06) Bill Posey (FL–08) Guy Reschenthaler (PA–14) Mike Rogers (AL–03) John Rose (TN–06) Matthew Rosendale, Sr. (MT–02) David Rouzer (NC–07) Steve Scalise (LA–01) Keith Self (TX–03) Pete Sessions (TX–17) Adrian Smith (NE–03) Christopher H. Smith (NJ–04) Lloyd Smucker (PA–11) Pete Stauber (MN–08) Elise Stefanik (NY–21) Dale Strong (AL–05) Claudia Tenney (NY–24) Glenn Thompson (PA–15) William Timmons, IV (SC–04) Beth Van Duyne (TX–24) Tim Walberg (MI–05) Michael Waltz (FL–05) Randy Weber, Sr. (TX–14) Daniel Webster (FL–11) Brad R. Wenstrup, D.P.M. (OH–02) Bruce Westerman (AR–04) Roger Williams (TX–25) Joe Wilson (SC–02) Rudy Yakym (IN–02)

If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

Help to patients who have to cross state lines to get medical care by donating to your local abortion fund here. (x)

[ghelgheli]

The Stuff I Read in August 2023

Stuff I Extra Liked Is Bold

Books

Raven Stratagem, Yoon Ha Lee (2017)

Reconsidering Reparations, Olúfẹ́mi O. Táíwò (2022)

The Mirror of My Heart: A Thousand Years of Persian Poetry by Women, trans. Dick Davis (2019)

The Origins of Unfairness, Cailin O'Connor (2019)

Short Fiction

the prisoner, ignatz

The Unwanted Guest, Tamsyn Muir

She Loves to Cook, and She Loves to Eat, Sakaomi Yuzaki

Still Sick, Akashi

Born Again Bunny, ignatz

A Museum of Dubious Splendors, Studio Oleomingus

In the Pause Between the Ringing, Studio Oleomingus

The Indifferent Wonder of an Edible Place, Studio Oleomingus

Game Theory

The Bargaining Problem, John Nash (1950)

Two Person Cooperative Games, John Nash (1953)

Perfect Equilibrium in a Bargaining Model, Ariel Rubinstein (1982)

Marriage and household decision making: A bargaining analysis, Marilyn Manser and Murray Brown (1980)

Evolutionary Game Theory

The theory of games and the evolution of animal conflicts, John Maynard Smith (1974)

The Logic of Animal Conflict, John Maynard Smith and George R. Price (1973)

Why imitate, and if so, how? A boundedly rational approach to multi-armed bandits, Karl Schlag (1996)

On the Stability of Racial Capitalism, Liam Kofi Bright, Nathan Gabriel, Cailin O'Connor, Olúfẹ́mi O. Táíwò

Fairness and Signaling in Bargaining Games, Mihaela Popa-Wyatt, Roland Mühlenbernd Jeremy L. Wyatt

Inequality and Inequity in the Emergence of Conventions, Calvin Cochran and Cailin O'Connor (2019)

Power by Association, Travis LaCrois and Cailin O'Connor (2020)

Why Natural Social Contracts are not Fair, Cailin O'Connor (2022)

How to Put the Cart Behind the Horse in the Cultural Evolution of Gender, Daniel Saunders (2022)

Division of Labor, Economic Specialization, and the Evolution of Social Stratification, Joseph Heinrich and Robert Boyd (2008)

On the emergence of minority disadvantage: testing the cultural Red King hypothesis, Aydin Mohseni, Cailin O'Connor, and Hannah Rubin (2021)

Philosophy (broadly construed)

"But What Are You, Really?" The Metaphysics of Race, Charles W. Mills (1998)

Heterosexualism and the Colonial/Modern Gender System, Maria Lugones

Extracted Speech, Rachel Ann McKinney (2016)

Nozick's Entitlement Theory of Justice, Kenneth J. Arrow (1978)

Nietzsche, the Chinese Worker's Friend, Ishay Landa (1999)

Measuring Conventionality, Cailin O'Connor (2020)

Other

Who Was Barbie? various @ nplusonemag

Lockhart's Lament, Paul Lockhart

Female Hunters of the Early Americas, Randall Haas et al.

We Have No Moat, and Neither Does OpenAI, anonymous

The Bitter Lesson, Rich Sutton

The Evolution of Individual and Cultural Variation in Social Learning, Alex Mesoudi et al.

Medieval Arab Lesbians and Lesbian-Like Women, Sahar Amer (2009)

"My son was castrated as a result of a medical error. Is it OK to raise him as a eunuch?" Thomas W. Johnson and Richard J. Wassersug (2021)

[nem0c]

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

[janjoycesmitz]

Music- rhythm and beauty ❤️⭐

"Night Mail"

by W.H. Auden (Wystan Hugh Auden)

(The rhythm of this poem is reminiscent of a train but it is also very reminiscent of a much earlier poem : " From a Railway Carriage" by R L Stevenson)

see under text of this poem

read by Jeremy Irons 👍🏽👍🏽👍🏽👍🏽⭐

This is the night mail crossing the Border, Bringing the cheque and the postal order, Letters for the rich, letters for the poor, The shop at the corner, the girl next door. Pulling up Beattock, a steady climb: The gradient’s against her, but she’s on time. Past cotton-grass and moorland boulder Shovelling white steam over her shoulder, Snorting noisily as she passes Silent miles of wind-bent grasses. Birds turn their heads as she approaches, Stare from bushes at her blank-faced coaches. Sheep-dogs cannot turn her course; They slumber on with paws across. In the farm she passes no one wakes, But a jug in a bedroom gently shakes. Dawn freshens, Her climb is done. Down towards Glasgow she descends, Towards the steam tugs yelping down a glade of cranes Towards the fields of apparatus, the furnaces Set on the dark plain like gigantic chessmen. All Scotland waits for her: In dark glens, beside pale-green lochs Men long for news. Letters of thanks, letters from banks, Letters of joy from girl and boy, Receipted bills and invitations To inspect new stock or to visit relations, And applications for situations, And timid lovers’ declarations, And gossip, gossip from all the nations, News circumstantial, news financial, Letters with holiday snaps to enlarge in, Letters with faces scrawled on the margin, Letters from uncles, cousins, and aunts, Letters to Scotland from the South of France, Letters of condolence to Highlands and Lowlands Written on paper of every hue, The pink, the violet, the white and the blue, The chatty, the catty, the boring, the adoring, The cold and official and the heart’s outpouring, Clever, stupid, short and long, The typed and the printed and the spelt all wrong. Thousands are still asleep, Dreaming of terrifying monsters Or of friendly tea beside the band in Cranston’s or Crawford’s: Asleep in working Glasgow, asleep in well-set Edinburgh, Asleep in granite Aberdeen, They continue their dreams, But shall wake soon and hope for letters,

And none will hear the postman’s knock

Without a quickening of the heart,

For who can bear to feel himself forgotten?

From a Railway Carriage

by Robert Louis Stevenson

Faster than fairies, faster than witches,

Bridges and houses, hedges and ditches;

And charging along like troops in a battle,

All through the meadows the horses and cattle:

All of the sights of the hill and the plain

Fly as thick as driving rain;

And ever again, in the wink of an eye,

Painted stations whistle by.

Here is a child who clambers and scrambles,

All by himself and gathering brambles;

Here is a tramp who stands and gazes;

And there is the green for stringing the daisies!

Here is a cart run away in the road

Lumping along with man and load;

And here is a mill and there is a river:

Each a glimpse and gone for ever!

From A Child’s Garden of Verses (1885)

[inevitablemoment]

The Pact (Book #1 in the Claridge Court series) Playlist

i. let's get together (hayley mills)

let's get together, yeah yeah yeah // think of all that we could share // let's get together, everyday // every way and everywhere // and though we haven't got a lot // we could be sharing all we've got.

ii. love alone (katelyn tarver)

it’s on the line // i’m waiting for a sign // i see it in your eyes, i // i know you really feel the same

iii. if only (dove cameron)

a million thoughts in my head // should i let my heart keep listenin'? // 'cause up till now // I've walked the line // nothing lost, but something missin'

iv. i belong to me (suzan erens)

i'm here when you need me // i live and i die with you // to share all your troubles // i'll laugh and i'll cry with you

v. belle [reprise] (susan egan)

i want adventure in the great wide somewhere // i want it more than i can tell // and for once, it might be grand // to have someone understand // i want so much more than they've got planned

vi. you'll never walk alone (celtic woman)

at the end of the storm // there's a golden sky // and the sweet silver song of the lark

vii. ready for a miracle (fiona kernaghan)

if you could be anything you want // would you play nonchalant // or loosen up those tight heartstrings?

viii. kind of woman (rachel bay jones)

i've no special glamour // no bait I can twirl // for I'm just a plain everyday // commonplace come-what-may // average ordinary wonderful girl!

ix. london boy (taylor swift)

you know I love a London boy // i enjoy nights in brixton, shoreditch in the afternoon // he likes my american smile, like a child when our eyes meet // darling, i fancy you

x. [i love you] for sentimental reasons (linda ronstadt)

i think of you every morning // dream of you every night // darling i'm never lonely // whenever you're in sight

xi. l-o-v-e (nat king cole)

love is all that i can give to you // love is more than just a game for two // two in love can make it // take my heart and please don't break it

xii. one moment more (mindy smith)

oh, please don't go // let me have you just one moment more // oh, all I need // all I want is just one moment more // you've got to hold me and keep me now

More under the cut

xiii. so this is love (ilene woods & mike douglas)

i'm all aglow // and now i know (and now i know) // the key to all heaven is mine

xiv. love story [taylor's version] (taylor swift)

romeo, take me somewhere we can be alone // i'll be waiting // all there's left to do is run // you'll be the prince and i'll be the princess // it's a love story // baby, just say yes

xv. the shoop shoop song [it’s in his kiss] (linda ronstadt)*

does he love me? i wanna know // how can i tell if he loves me so?

xvi. lovely, lonely man (sally ann howes)*

how did he touch my heart? // how did this feeling start? // this glow that feels so warm inside // this sudden summer storm inside

xvii. she's in love (cast of the little mermaid on broadway)

she's in love, she's in love // see her blush, see her grin // got to be love she's in

xviii. i won't send roses (robert preston)

i won’t send roses or hold the door // i won’t remember which dress you wore // and should I love you, you would be the last to know // i won’t send roses and roses suit you so

xix. i promise you a happy ending (robert preston)

i promise you a happy ending // like the ones that you see on the screen // so if you’ve had a bad beginning // love will come out winning in the closing scene // i can promise you a happy ending // that has you, loving me, loving you

xx. starlight [taylor's version] (taylor's swift)

don't you see the starlight // don't you dream impossible things?

xxi. uptown girl (billy joel)

uptown girl // you know I've seen her in her uptown world // she's getting tired of her high class toys // and all the presents from her uptown boys // she's got a choice

xxii. la vie en rose (cristin milioti)

hold me close and hold me fast // the magic spell you cast // this is la vie en rose

xxiii. doll on a music box/truly scrumptious reprise (sally ann howes & dick van dyke)*

you cannot see // how much i long to be free // turning around on this music box // that’s wound by a key

xxiv. mine [taylor's version] (taylor swift)

do you remember we were sitting there by the water? // you put your arm around me for the first time // you made a rebel of a careless man’s careful daughter // you are the best thing that’s ever been mine

xxv. a million dreams (p!nk)

however big, however small // let me be part of it all // share your dreams with me // we may be right, we may be wrong // but I wanna bring you along // to the world I see

xxvi. tightrope (michelle williams)

but I’d follow you to the great unknown // off to a world we call our own

xxvii. so close (jon mclaughlin)

oh, how i could i face // the faceless days // if i should lose you now // we're so close to reaching that famous happy ending // almost believing this one's not pretend // let's go on dreaming, though we know we are // So close // So close // And still // So far

xxviii. wildest dreams [taylor's version] (taylor swift)

say you'll remember me // standin' in a nice dress // starin' at the sunset, babe // red lips and rosy cheeks // say you'll see me again // even if it's just in your // wildest dreams

xxix. love song (matthew james thomas & rachel bay jones)

private little jokes and silly pet names // lavender soap and lotions // all of the cliches and all of the games // and all of the strange emotions // singing a love song

xxx. i guess i'll miss the man (rachel bay jones)

i guess i'll miss the man // explain it if you can // his face was far from fine // but still I'll miss his face // and wonder if he's missing mine

xxxi. top of the world (michael arden, ciara renee, and ensemble)

for all these years // you've stayed alone // and free from danger // we shared your fears // it wasn't safe to trust a stranger // but maybe we were wrong here // could she belong here?

xxxii. ocean away (barlow & bear, ft. darren criss)*

am i the one to blame // when we’re dancing in the same room // but you’re an ocean away

xxxiii. if i loved you (joey richter & mariah rose faith casillas)*

if i loved you, you would know it // if i loved you, i would show it // if i loved you like you should be loved // loved you like i'm capable of // if you were the one i'm thinking of, whoa-oh // oh, babe

xxxiv. hopelessly devoted to you (olivia newton-john)

but now // there's nowhere to hide // since you've pushed my love aside // i'm out of my head // hopelessly devoted to you // hopelessly devoted to you

xxxv. tonight i celebrate my love for you (roberta flack & peabo bryson)

tonight, i celebrate my love for you // and that midnight sun // is gonna come shinin' through // tonight, there'll be no distance between us // what i want most to do // is to get close to you

xxxvi. written in the stars (elton john & leann rimes)

you are all i'll ever want // but this, i am denied // sometimes, in my darkest thoughts // i wished i never learned // what it is to be in love // and have that love returned

xxxvii. a whole new world (peabo bryson & regina belle)

a whole new world // a new fantastic point of view // no one to tell us no // or where to go // or say we're only dreaming

xxxviii. delicate (taylor swift)

my reputation's never been worse, so // you must like me for me

xxxix. 'tis the damn season (taylor swift)

there's an ache in you put there by the ache in me // but if it's all the same to you // it's the same to me

xl. dorothea (taylor swift)

if you're ever tired of bein' known // for who you know // you know // you'll always know me

xli. in whatever time we have (darius dehaas & kelli rabke)

from this day forward, nights won’t seem so black // from this day forward, we will never look back // in whatever time we have // we will make the most of time // and at least we’ll be together // in whatever time we have

xlii. never knew i needed (cassandra steen)

i must admit you were not a part of my book // but now if you open it up and take a look // you’re the beginning and the end // of every chapter

xliii. say you won't let go (james arthur)

i'll wake you up with some breakfast in bed // i'll bring you coffee with a kiss on your head // i'll take the kids to school // wave them goodbye // and i'll thank my lucky stars for that night

xliv. ours [taylor's version] (taylor swift)

and it's not theirs to speculate // if it's wrong, and // your hands are tough // but they are where mine belong in // i'll fight their doubt and give you faith // with this song for you

xlv. electric touch [taylor's version] (taylor swift)

all i know // is this could either break my heart or bring it back to life // got a feelin' your electric touch // could fill this ghost town // up with light

xlvi. enchanted [taylor's version] (taylor swift)

and this is me praying that // this was the very first page // not where the storyline ends // my thoughts will echo your name // until i see you again

xlvii. far longer than forever (liz callaway & howard mcgillin)

sure as the dawn brings the sunrise // we've an unshakable bond // destined to last for a lifetime and beyond

xlviii. karma (taylor swift)

ask me what i learned from all those years // ask me what i earned from all those tears // ask me why so many fade // but I'm still here

xlix. something good (julie andrews & christopher plummer)

somewhere in my wicked miserable past // there must have been a moment of truth // for here you are, standing there, loving me // whether or not you should // so somewhere in my youth or childhood // i must have done something good

l. lover [first dance remix] (taylor swift)

my heart's been borrowed and yours has been blue // all's well that ends well to end up with you // swear to be overdramatic // and true to my lover

li. evermore (josh groban)

i let her steal into my melancholy heart // it's more than i can bear // now i know she'll never leave me // even as she runs away

li. cruel summer (taylor swift)

snuck in through the garden gate // every night that summer just to seal my fate // and i screamed for whatever it's worth // "i love you, ain't that the worst thing you ever heard?!"

liii. you are the reason [duet version] (calum scott & leona lewis)

if i could turn back the clock // i'd make sure the light defeated the dark // and spend every hour of everyday // keeping you safe

liv. come to your senses (alexandra shipp & vanssa hudgens)

i finally open up // for you, i would do anything // but you turn off the volume // just when i've begun to sing

lv. if i never knew you (michael crawford & sherie rene scott)

i thought our love would be so beautiful // somehow we'd make the whole world bright // i thought our love would be so beautiful // we'd turn the darkness into light // But still my heart is saying we were right

lvi. promises (reeve carney & eva noblezada)

i don't need gold, don't need silver // just bread when i’m hungry // fire when I’m cold // don't need a ring for my finger // just need a steady hand to hold // don’t promise me fair sky above // don't promise me kind road below // just walk beside me, love // any way the wind blows

lvii. paper rings (taylor swift)

i like shiny things // but i’d marry you with paper rings

lviii. [this will be] an everlasting love (natalie cole)

you brought a lot of a sunshine in to my life // you filled me with happiness I never knew // you gave me more joy than I ever dreamed of // and no one, no one can take the place of you

lix. at the beginning (donna lewis & richard marx)

life is a road and i want to keep going // love is a river i want to keep flowing // in the end i want to be standing // at the beginning with you

lx. ever ever after (carrie underwood)

no wonder your heart feels it's flying, your head feels it's spinning // each happy ending's a brand new beginning // let yourself be enchanted, you just might break through // to ever ever after

[kanako91]

Mi piacciono i FORSE ahah E per la seconda domanda, sì, sono sempre io :) Allora, sì, la tipa scrive femdom e l'ultimo uscito è con un sick sub. E no, non ho letto nulla di lei anche se le trame m'intrigano. Ecco perché chiedevo: la tua lista mi sta aiutando molto a trovare letture interessanti e quindi mi sono detta "chissà se Alex conosce questa autrice". Grazie mille per le risposte e, buona scrittura <3

Direi che dopo un anno quella lista può avere un sequel, perché ho aggiunto altri titoli in wishlist e ne ho letti un paio! Giacché c'ero, ne ho approfittato anche per indicare quelli della vecchia lista che ho letto nel frattempo, se vuoi andare a recuperartela ;)

Letti e piaciuti

Curio The Complete Series di Cara McKenna, che non è propriamente Femdom, ma la protagonista va da un gigolò per avere le sue prime esperienze s3ssuali e nelle novelle successive esplorano vari aspetti del loro rapporto e c'è una parte più Femdom, comprensiva di p3gging. Ho scritto una lunga recensione, se vuoi più dettagli!

Pleasure and Purpose di Megan Hart, che è un fantasy erotico composto da tre racconti: il primo è decisamente Maledom/femsub, ma il secondo già è più sfumato come dinamica (il protagonista maschile domina a mo' di principino viziato che è) e il terzo è puramente Femdom. Storie davvero meravigliose, il worldbuilding mi è piaciuto molto!

The Gargoyle's Captive di Katee Robert, fantasy romance in cui nonostante l'asta in cui la protagonista femminile viene "acquistata" dal protagonista maschile, c'è una bella dinamica enemies-to-lovers e Femdom (per quanto solo a letto).

Saving Suzy di Stefanie Simpson, questo è più romance erotico e devo dire che la parte romance non mi ha coinvolta molto, ma il Femdom è abbastanza vario e con praticità che non si vedono spesso.

If She Says Yes di Tasha L. Harrison, è anche age gap in cui è lei quella più grande (la madre del migliore amico di lui!) e c'è un percorso molto bello di riscoperta di sé dopo la morte del marito e soprattutto in una posizione più dominante.

Bonus: non è Femdom (se non nella novella extra), ma Release di Suzanne Clay è stata una lettura meravigliosa che consiglio vivamente!

Abbandonati

I'll Do Anything di Daisy Jane, è un bully romance con Femdom... almeno così promette. Mi aspettavo una bella storia di vendetta che si trasforma in amore, ma alla fine c'è molto angst per il 40% e quando inizia il Femdom è così concentrato su di lui (c'è una c0ck cage, ci speravo!) e poco su di lei. L'ho messo in pausa due settimane e quando l'ho ripreso ho detto "nope" così forte che l'ho abbandonato. Ho altri libri della stessa autrice già acquistati in sconto e quindi li leggerò, nella speranza che siano migliori.

Ancora da leggere

Unbound di Cara McKenna

Love and Pretence di Stefanie Simpson

The Only One di Daisy Jane

Cohen's Control di Daisy Jane

Soul of a Witch di Harley LaRoux (mi dà vibes fortissime Femdom, ma non ricordo se l'autorə ha confermato)

Surrendering to Scylla di Wren K. Morris (monster romance, lei è il mostro! E mi pare proprio sia Femdom)

In wishlist

Bound to Me di Katie Ashley

Servicing the Target di Cherise Sinclair

Femdom Tales di Lola Bowie (3 racconti)

Crossing the Line di Megan Hart

Wanna Be Yours/Voglio essere tuo di Megan Hart

Vanilla di Megan Hart (la protagonista è una Femdom, ma non ho capito bene se poi "coinvolge" il protagonista maschile)

Beg For It di Megan Hart

Sanctuary di Rebekah Weatherspoon

The Devil's Doorbell di AA.VV. (raccolta di racconti erotici tra cui ce ne sono forse un paio con del Femdom, dalle recensioni che ho letto)

Stray di Daisy Jane

Crystals and Contracts di A.A. Fairview (è esplicitato che il protagonista maschile è sub, almeno)

Bind Me di Esme Taylor

Prelude to Hope di Stefanie Simpson

Mutual Beginnings di Stefanie Simpson

Neon Hearts di Stefanie Simpson

Lay Me Down in Ivy di Stefanie Simpson

Maneater di Emily Antoinette

Power Play di Charlotte Stein (mi sembra di aver capito sia Femdom, da confermare)

Direi che ti ho dato parecchio da spulciare :D

(Lato scrittura posso dirti: con il fill non sto andando avanti al momento, ma sto lavorando alla revisione di una novella MMF k1nky che voglio pubblicare quest'anno 😬 Poi, la fine del fest è lontana, vediamo come vanno le cose...)

[kyledefoor]

KIA August 6, 2011

SGT Alexander J. Bennett

SPC Spencer Duncan

CWO Bryan J. Nichols

CWO David R. Carter

SSG Patrick D. Hamburger

TSgt John W. Brown

SSgt Andrew W. Harvell

TSgt Daniel L. Zerbe

PO1 (SEAL) Darrik C. Benson

CPO (SEAL) Brian R. Bill

PO1 (SEAL) Christopher G. Campbell

PO1 Jared W. Day

PO1 John Douangdara & Navy SEAL Dog “Bart”

CPO (SEAL) John W. Faas

CPO (SEAL) Kevin A. Houston

Lt. Cmdr. (SEAL) Jonas B. Kelsall

MCPO (SEAL) Louis J. Langlais

CPO (SEAL) Matthew D. Mason

CPO (SEAL) Stephen M. Mills

CPO Nicholas H. Null

PO1 (SEAL) Jesse D. Pittman

SCPO (SEAL) Thomas A. Ratzlaff

CPO (SEAL) Robert J. Reeves

CPO (SEAL) Heath M. Robinson

PO2 (SEAL) Nicholas P. Spehar

PO1 Michael J. Strange

PO1 (SEAL) Jon T. Tumilson

PO1 (SEAL) Aaron C. Vaughn

SCPO Kraig M. Vickers

PO1 (SEAL) Jason R. Workman

[hollow-triad]

Bleach’s Trilingual Voice Cast - Quincies

[Karakura Town]

Masaki Kurosaki (🇯🇵: Sayaka Ohara // 🇺🇸: Ellyn Stern) Masaki Kurosaki "Young" (🇯🇵: Sayaka Ohara // 🇺🇸: Cherami Leigh)

Uryū Ishida (🇯🇵: Noriaki Sugiyama // 🇺🇸: Derek Stephen Prince) Uryū Ishida "Young" (🇯🇵: Takako Honda)

Sōken Ishida (🇯🇵: Eiji Maruyama // 🇺🇸: David Lodge -> Liam O'Brien)

Old Man Getsu (🇯🇵: Takayuki Sugo // 🇺🇸: Richard Epcar)

Ryūken Ishida (🇯🇵: Ken Narita // 🇺🇸: Michael McConnohie -> Christopher Swindle)

Izumi Ishida (🇯🇵: Rei Igarashi // 🇺🇸: Karen Strassman)

Kanae Katagiri (🇯🇵: Mamiko Noto // 🇺🇸: Megan Hollingshead)

[Wandenreich]

[A] Yhwach (🇺🇸: Richard Epcar)

[B] Jugram Haschwalth (🇺🇸: Robbie Daymond)

[J] Quilge Opie (Xander Mobus)

[H] Bazz-B (🇺🇸: Xander Mobus)

[O] Driscoll Berci (🇺🇸: Bill Butts)

[D] Askin Nakk Le Vaar (🇺🇸: Daman Mills)

[N] Robert Accutrone (🇺🇸: Neil Kaplan)

[E] Bambietta Basterbine (🇺🇸: Anne Yatco)

[F] Äs Nödt (🇺🇸: Elijah Ungvary)

[U] NaNaNa Najahkoop (🇺🇸: Zeno Robinson)

[K] BG9 (🇺🇸: Aaron LaPlante)

[W] Nianzol Weizol (🇺🇸: Robbie Daymond)

[I] Cang-Du (🇺🇸: Landon McDonald)

[S] Mask De Masculine (🇺🇸: Bill Butts)

[L] PePe Waccabrada (🇺🇸: Zeno Robinson)

[P] Meninas McAllon (🇺🇸: Anne Yatco)

[R] Jerome Guizbatt (🇺🇸: Todd Haberkorn)

[Q] Berenice Gabrielli (🇺🇸: X)

[Y] Loyd Lloyd & Royd Llyod (🇺🇸: Robbie Daymond)

[?] Shaz Domino (🇺🇸: X)

[Z] Giselle Gewelle (🇺🇸: Casey Mongillo)

[X] Lille Barro (🇺🇸: Evan Michael Lee)

[M] Gerard Valkyrie (🇺🇸: Dave B. Mitchell)

[C] Pernida Parnkgjas (🇺🇸: X)

[T] Candice Catnipp (🇺🇸: Shara Kirby)

[L] Liltotto Lamperd (🇺🇸: Cherami Leigh)

[?] James (🇺🇸: Christopher Swindle)

[V] Gremmy Thoumeaux (🇺🇸: AJ Beckles)

(🇯🇵: X // 🇺🇸: X) (🇯🇵: X // 🇲🇽: X) X (🇺🇸: X)