#Shakespeare Identified

[britneyshakespeare]

You versus the guy she tells you not to worry about

[adrianicsea]

julliard archives glenn hunt progress: just went through all of the program PDFs to get the dates of each show he was in as well as which characters he played in each 🥲👍🏻

[bizarrefort]

In my grand quest of watching as many Shakespeare film adaptations as possible I've finally watched Forbidden planet. So far definitely a fav idk how good of an adaptation it is but it does slap and I would watch it again

[autism-disco]

sometimes i think i’m a fully proper binary guy. and then i think about gender for a minute too long and

[boldlygayingwherenogayshavegayed]

Most of them lol

please reblog for sample size!! and tell me specifics in the tags if you like, people's responses are fascinating

[genesisrecord]

who up for othello

[sunbearsquid]

Ah yes, William Shakespeare the greatest mangaka.

[neighbourhoodtwo]

hiiii people from 50+ years ago.....

bought a copy of much ado about nothing and a third copy of julius caesar today in a charity shop and both of them had notes from previous owners inside huge win for me

[literaryvein-reblogs]

Writing Notes: Narrative Arc

Narrative arc - also called a “story arc,” a “dramatic arc,” or just an “arc”.

It is a literary term for the path a story follows.

It provides a backbone by providing a clear beginning, middle, and end of the story.

Freytag's Pyramid

The concept of narrative arc as we know it today was created by Gustav Freytag, a German novelist and playwright who closely analyzed ancient Greek writing, along with William Shakespeare’s five-act plays.

As the term suggests, when plotted on paper, a typical narrative arc forms the shape of a hill or pyramid.

5 Classic Elements of a Narrative Arc

A traditional narrative arc has five elements, in the following order:

Exposition. This is the reader’s introduction to the story. The exposition offers background information to prime the audience for the rest of the story, including introducing the main character(s) (the “who”), setting (the “where”), and circumstances or time period (the “when”).

Rising action. This is when conflict begins to ramp up. The rising action usually begins with what’s called an “inciting incident”—the triggering event that puts the main events of the story in motion. This is when the audience starts to see what your story is really about.

Climax. This is the highest point of tension in your storyline, and often the point at which all the different subplots and characters converge. Typically, the climax requires the main character to face the truth or make an important choice.

Falling action. This is what happens as a result of the protagonist’s decision. During the falling action, the conflict gives way to resolution. Loose ends are tied up, and tension begins to dissipate.

Resolution. Also known as a denouement, this is how your story ends. The resolution of a narrative arc isn’t always happy, but it does close the loop and show how the events of the story have changed the characters and the world around them.

Narrative Arc vs. Plot

Plot - the individual events that make up your story. In other words, the plot is what happens.

Narrative arc - the path or sequence of your plot, and how that series of events creates a flow and progression that keeps the reader engaged at each stage in the story.

Narrative Arc vs. Character Arc

If a narrative arc is the path of the overall story,

a character arc is the path a specific character takes during that story.

The story arc is external, and happens to all of the characters,

while a character arc is internal, and happens to one person.

A character arc usually involves a character overcoming an obstacle and changing the way they see the world.

When the narrative arc begins its descent down the pyramid into the falling action and resolution, the character arc has its moment to shine.

This is when a character experiences a turning point by asking for help, learning a new skill, making a critical choice, and/or becoming more self-aware.

Typically, only major characters have character arcs, though minor characters can undergo this type of character development as well.

Create a Narrative Arc in 4 Easy Steps

Here are some writing tips for building a narrative arc in your own writing:

Choose an archetypal narrative arc. Think about the story you want to tell. Is the main character overcoming an obstacle? Going on a quest? Experiencing a rebirth? You don’t have to follow any one example to the letter, but writing with an archetypal narrative arc in mind can be a huge help.

Identify your beginning, middle, and end. Who are the main characters? What are they doing? When are they doing it? Where are they doing it? Why are they doing it? And, most importantly: What is all of that building toward?

Plug your events into a narrative arc. Creating a visual diagram of your chosen narrative arc, then add the events of your story along that arc. Seeing a quick overview of your story on a page makes it easier to identify problems and fill any gaps. For instance, if you have a lot of events clustered in your “exposition” stage, you may want to cut some of them out or reimagine them as new developments in the rising action.

Adjust as needed. Of course, there’s no hard and fast rule that you have to stick to Freytag’s traditional narrative arc. Every story is different: some are heavier on exposition, while others draw out the rising action. Give yourself the freedom to be flexible and see where your unique story goes.

The next time you sit down to write, consider drawing up a quick narrative arc. It’s a useful tool that can help you stay on track if you’re ever unsure of what comes next in your story.

Source ⚜ More: References ⚜ Plot ⚜ Character ⚜ Worldbuilding ⚜ Exposition

[britneyshakespeare]

I have been sitting on the floor in the early-modern English section of my college library a lot lately. Incidences of at least one time per week. But truly when you get over your pride and just sit on the floor the skim the books in a particularly interesting section of the library is the best. Unrestrained summer fun.

As is no secret I do like to browse various Complete Works of Shakespeare, and there was one with a particularly vague spine, I'm pretty sure it had been rebound? From its original binding? A lot of the books in this library have these hard plastic bindings that I'm pretty sure are not what they originally came in and it's very strange to me. I know I'm not actually very experienced with lots of libraries (being from an extremely small town with an underfunded one, and other than that only having attended a community college with a pretty small library too)... but it's very strange and I'd never seen it before. I opened up to find out which company published it and when, but the page with the publication info seemed to be missing? I couldn't even find the general editor? But it WAS a sufficient edition with like, original notes and prefatory material. So it was strange.

It seemed to have been previously owned by a particular person who annotated VERY heavily. Either that or somebody read several plays and vandalized the shit out of a library book. The first random page I flipped to, just wanting to see what the footnotes situation might be, was the first page of Richard III, and I was struck how EVERY. SINGLE. PAGE of this VERY LONG play was thoroughly annotated in small, messy handwriting. Lots of highlighting and underlining too of course. Mostly the annotations seemed to be summaries of what was happening, but still I found it very charming. I noticed that when I flipped at random to Much Ado About Nothing, everything was completely blank, making a very clear distinction between what this person read from this edition, and what they did not read. I immediately wanted to go through and see which were the plays they read and annotated.

So the plays they read, which were all furiously annotated on every page in the like manner, were (in order of the table of contents): Richard III, Titus Andronicus, the introduction to Love's Labor's Lost but seemingly not the play, Richard II, Romeo and Juliet, the introduction to A Midsummer Night's Dream but seemingly not the play (what an L on this one), the Merchant of Venice (this was still annotated on every page, but maybe with like still 20% of the margin space left, which I'm wondering if it meant it was either the first or last play they read in this copy?), Henry V, Julius Caesar, Twelfth Night, Hamlet, Othello, the introduction to Measure for Measure but seemingly not the play, and Macbeth.

And then out of nowhere, the Tempest is sparingly annotated, in what is unmistakably an entirely different person's hand. Original owner used only black pen and wrote in very small characters; this person had varying-size penmanship and wrote in a variety of ink and graphite. They also didn't take up 100% of the margins at all times. I don't know who this impostor was that read the Tempest, perhaps a friend of my beloved former possessor of this mysteriously anonymous Complete Works of Shakespeare (after flipping through all of their annotations, we are bosom-friends now)... I don't know. The mystery remains.

I did not take high quality pictures but I was so shocked when I flipped to Richard III I just had to document it

Every. Single. Page is filled like this (I did go back and read their annotations to I.ii because I wanted to experience the scene with them) (I did not take pictures of it but perhaps I should later)

And. PS. Nobody seemingly read and annotated Antony and Cleopatra, but there is some arithmetic on the first page of the introduction. Lol

[plutoswritingplanet]

All Stars In The Sky Are For You (David 8 x Reader)

a/n: in preparation for Alien Romulus, I've watched all the prequel movies, and got rudely reminded that Michael Fassbender is... just... so fckn hot in them... my god

Warnings: Non-Con, very Obsessive and Possessive Behavior from the man (android) of the hour, Smut, technically Stalking when you think about it, gross overuse of Shakespeare Quotations (again), past Walter x Reader mentioned.

Summary: David finds a place for you in his grand creation plan. Deeply inspired by the song "Specially For You" by DakhaBrakha. Cross-Posted on AO3

Watching you dream of him, brings a twisted sense of satisfaction. 

Seeing himself, displayed on the cryo chamber screen, looking like a monster straight out of a feverish nightmare. Which he supposes, he is to you, and to many others. After all, he did bring horrors beyond imagination upon your crew, your family. And he sees it, every single moment of suffering you've experienced through his hand, through the hands of his creations. And it fills him with an unexplainable sense of fulfillment. 

It started innocently enough.

 Just a peek into your subconscious mind, a rare instance of sentimentality he's carried within himself, all the way from Prometheus. At first, he found his target in Daniels. After all, she's reminded him of Shaw the most, and as such, he has gravitated towards her sleeping chamber like a curious sort of meteorite. But her dreams were filled with happy, peaceful moments. Her husband, mostly, her time at the company. All so dull and devoid of any intrigue. 

And as such, he pushed further, stepping over towards your unconscious form, wrapped and packaged for him, by him. There you laid, eyes running wild under heavy eyelids, the muscles on your cheeks twitching, your limbs tensing in spasms. The moment he has peered into your mind, he knew. He understood your purpose in the grand plan of his. Because what stared back at him, through the fluorescent, humming screen, was his own face.

 An image of utter indifference. Eyes flickering over your features, marking them, cataloging them inside the constantly spinning data plate he calls a brain. He's considered your first meeting as something trivial. A catalyst for later, perhaps, but all in all, uneventful. And yet, despite the ordinariness of it all, your mind seemed focused only on this one moment, when he first removed his hood, when his eyes met yours over the rest of the expedition.

Fascinating, truly. 

Thus began a slow process. A dance (he liked to think of it as such), with no tangible conclusion for the present. He would frequent the cryo chamber, let his hand linger on the screen, right over your face, until your dreams manifested. And then, he would watch, absorbing everything you would've kept hidden otherwise. 

"I'm so sorry" your voice is quiet, meek, in the stuffy interior of his 'private' chamber. "I just... I saw a light, and you said to make ourselves at home"

"No need to apologize" he answers with his typical, emotionless cadence, turning around in his chair to face you. 

He can see the way your lips pull down, fighting off a smile, as your eyes glide over the half-cut strands of hair. The sheers glimmer in the low, warm light, and as if pushed by instinct, you take a step forward. 

Cherries. David opens his mouth just a little, to taste the air you carry around you. Under the unmistakable scent of humanity, there's wind, there's the dampness of his humble abode, and something else. Something far sweeter. He races to identify it, thoughts running through the memory bank.

"Do you, uh..." you hesitate, and he wonders, why that is "Do you want some help with that?"

You hand waves in the general direction of his hair, and he blinks up at you, before inclining his head. A silent invitation, the hand of the Devil himself extending itself towards you. It's quiet, as you work, cutting away the blonde until there's only brown left. Until he's almost indistinguishable from your own synth companion. 

As he watches the events play out on the screen, David thinks it's beyond ironic, how big of a part you unknowingly played in his little charade. He wonders, how guilt will look on your face, once you finally find out, the one putting you to sleep wasn't Walter. That you've helped this impostor onto the ship, unleashed tragedy upon everyone inside. That it's all by your hand, literally. 

He's never tasted cherries, never tasted anything worth noting, really. But as he brings forth his own memory of this particular interaction, he wonders, if the scent is just in your air. If he ran his tongue over the skin of your throat, would he be able to taste the sweetness?

Sometimes you dream about the crew. 

There are moments between you and Daniels, quiet ones, filled with understanding and compassion. He sees you with Tennessee, your smile pulling at the corners of your eyes, wrinkling the skin around your mouth and nose. Both of them are sleeping in the cryo chamber, awaiting paradise, which will never come. You've worked so hard to get them here, on this ship, and as David watches you dream of Daniels' wedding, he thinks about the tragedy of it all. Another thing to be guilty of, once you wake up. Another fascinating, devastating emotion for him to witness, to categorize. He feels his fingers thrum in anticipation, as he watches you dance with your friend, movements clumsy and so utterly human. 

Then, he walks away. Because as much as he loves to imagine (he likes the word, even if it doesn't apply to him) how you'll inevitably crumble, the dreams which are not about him simply bore him. So, he moves through the ship, into his personal lab. There, he studies your DNA, pulls it apart, greedily soaks up every strand, as they dance (like you and Daniels), in front of his cold eyes. He wonders, if (when) he makes his perfect creature out of her body, will you learn to love it? Will you feel the connection between your bodies, the pull of kinship? 

"David... Help me..." there's no real sound coming out of your mouth, as you plead with him, your eyes filling up with tears, spilling over your trembling cheeks like a broken faucet.

He doesn't. Of course he doesn't, because the scene playing out in front of him is that much more interesting.

There you stand, body taunt, shaking, and his creature circles you slowly. The white, bony structure of it's body slides around your calves, as it sniffs the same scent he feels at the edge of his tongue. It's already feasted quite remarkably on the dead body of your fallen crew mate, and with that need satisfied, there's only one left. Curiosity. Something David relates to on such primordial level, he feels the essence of himself in every move, every low growl his creation emits. 

"Communication" he whispers, and you close your eyes, screw them shut tightly, as the creature rises to it's full height before you "Blow on the nose of a horse, and it'll be yours forever"

He can see the conflict, the fight between overwhelming dread, and your own, subdued fascination. His breath catches in his throat, as your chest expands. But before you can cross that line, before you give in completely, that menace of a man, Oram, appears. His bullets shatter all hope for progress. 

At first, seeing you dream of Walter irritates him beyond belief. And you do that so often, for so long, it's a wonder he contains himself from ripping the cryo chamber open, and shaking every lingering thought of his brother-synth out of your brain. It's the smallest of things, that seem to linger in your mind. The cadence of his speech, as he addressed you. The coldness of his hand on your shoulder, when he steadied you after a turbulence. More daring touches, your waist, your stomach, but never your face. As if that would cross the threshold between machinery and humanity. 

David knew, from the moment he witnessed a sliver of interaction between the two of you, that Walter loved you, as much as a synth could ever hope to love. He's seen this distant, lost look on his own face a decade ago, when he travelled the outer space with Shaw. With his Elizabeth. Walter did not understand the delicate, almost translucent line between duty and love, but David did. What he did not anticipate, however, was that you loved Walter as well, in this clumsy, peaceful way humans tend to love. He mistook it as friendship, back on his planet, but now, looking through your eyes, he could see plain as day. The affection, the devotion, the thrill of feeling something which should never be felt. 

Soon, he doesn't mind watching those dreams anymore. Because as days go on, David falls into a trap of his own making, where he sees Walter's face on the screen and realizes, it's the same as his. And so, when you dream of the other synth patching up a scrape on your cheek with delicate hands, who's to say you're not dreaming of him? 

He could be kind. He could apply a bandage with as much finesse, if not more. Lips parting in a silent intake of breath, he tries to bring back the recorded memory of you, helping him patch up his own scratched up face. 

Again, you were unaware that it was David on the receiving end of your affection, not Walter, and he was painfully aware that the softness in your eyes was a product of his own lie. Still, he couldn't force himself to care, as your fingers held his chin, like he was something delicate, more than an almost unstoppable artificial creation.

"You've saved my life three times already" you muse, stapling pieces of skin together "I don't know if I'll ever be able to repay you."

"There's no need" David says, mimicking Walter's accent with perfect precision "It's my duty"

Both of you look down, at the stump where his left hand used to be, and the quiet tension between the two of you feels like a current of electricity. And by God, it takes a monumentla ammount of strength, not to reach up, throw all pretense to the wind, and taste the cherries. 

Which is why, his mind goes blank momentarily, when you lean down, fingers shifting on his chin, and press your lips delicately to his cheekbone, lingering just for a second. He doesn't know what to think, what to say, and most importantly, he doesn't know how Walter would react to such dislay of affection. So he gives you, what you want. Fakes a bewildered expression, swallows tightly, and lets his gaze linger on your retreating form, as you all but flee the room, cheeks warming up to an alarming degree. 

He could do the same to you. He could hold your face with reverence, with care. Put you on a pedestal, above everything and everyone. And, most importantly, he could do for you something, which Walter would never be able to. 

He could create. 

And, oh, does he create. Pages upon pages, filled with ink, with charcoal. David pulls out every image he has stored, every saved expression on your face, and places it on paper, until his lab is filled with the record of your every interaction. Frame by frame, every micro expression, every slight change, he draws it all, until there's nothing left to draw. Until all he can create is that same, unchanging image of your face buried in slumber. 

It's not enough. It's not nearly enough, and so, like the creator that he is, David starts to make plans.

What really cements his idea, is this one, particular dream he catches, after sauntering into the cryo chambers, as he's grown accustomed to. The rhythmic beeping of the heart monitor reveals your deep state of distress, as it picks up, and up, your face twisting. David touches the screen with barely contained excitement, drinking in your expressions to store them for later, to add them to the growing collection. And then, his eyes fall onto his own drawing, a memorial for his dear Elizabeth. 

"She didn't perish in the crash, did she?" you ask, despite knowing the answer, and once again, he's struck by how quiet your voice can be.

"No." he answers plainly, the recording of his voice thrumming through his brain.

Oh, how lovely does your face contort, how beautiful you look, when dread fills your veins. Those small, sharp gasps you take. The way your pulse runs wild under the skin of your throat, filling his nose, his mouth, with that sweet undertone, so unfitting to the situation at hand. 

And then you duck, surprisingly agile for a mere scientist, pushing yourself under his extended arm, slipping past him like smoke through fingers. He whirls around, hand grasping at the back of your jacket, and you scream, raw and uninhibited, as he throws you against the cabinet. The scrolls of his drawings fall to the ground with you, and he can't help, but marvel at the sight for just a second. The way your body writhes, buried under pages of his art. Like a living, breathing, binding agent for his creations. 

Absentmindedly, he reaches up, to touch that spot under his chin, where you previously stuck a sharp end of your knife, a pathetic attempt at hurting him. He's had his head ripped from the rest of his artificial body, and yet, that pang of hurt, when you stab him with a growl from deep within your chest... He shudders at the memory, and ponders over this reaction. 

Hate. Fear and hate, is what he sees in your eyes, as he throws you onto the table, crawling over you with grace, only his kind is capable of. You struggle, a butterfly in his grasp, ready for further transformation, into something completely unprecedented. As he looks down upon you, at the fire consuming your irises, he can't help himself from leaning forward. From pulling the answers he needs right from your mouth. 

A whimper escapes you, both in your dream and in the cryo chamber, and David shudders again. Although whether it's a genuine reaction buried deep within his programming, or a gesture of his own design is anybody's guess. (It's fake, there's nothing in him that requires shuddering, but it feels right to do it, so he forces his body to react accordingly)

"Is that how it's done?" he asks, gauging your reaction, and you answer with a strangled groan.

The heat of your body seeps into his own, he steals it from you greedily, chest pressing against yours harder, and harder, until your breath stutters between your ribs. He can feel the warmth of your beating heart, through your protective clothing, through the jacket. He'd wager he could feel it even through walls of solid granite.

Still, he wants more, wants to know everything there is to know about you. Wants to seek out those pockets of heat, which you try to hide from him. But he's so rudely interrupted by his brother, right as he was about to explore that one part of humanity, which fascinated and repulsed him so. 

But Walter isn't here now. It's just you, and him, and years before the ship reaches it's destination. 

David's fingers drum over the casing of your sleeping chamber, so close to that one specific button, the temptation almost unbearable. And then, after a moment of consideration, your fate is sealed. 

At first, the light is unbearable. Your eyes water, and you groan, flinching from the sudden onslaught of senses, all flooding back to you, as last remnants of cryo sleep seem to fizzle out. Your head swims, there's a tightness in your chest, which almost pushes you back into the plush insides of the chamber. But, as your body sways, a gentle pressure at the lower portion of your back keeps you upright.

A sense of familiarity floods you (a strange thing to feel, when an imitation of flesh touches you), and finally you risk cracking your eyes open, your unfocused gaze landing on such a welcome face, your heart twists in your chest. 

"Walter..." your voice is rough from the lack of use, but the fondness in it is undeniable "What happened? Are we there yet?"

David savors the sliver of hope in your tone, and crushes it in his teeth once he's had his fix. 

"I'm afraid not" he shakes his head gently, offers you a deceivingly human pull of his lips "Your cryo chamber malfunctioned, I had to wake you up"

A flicker of disappointment crosses your features, but you swallow it down quickly.

"Are the rest of the crew alright? Tennessee? Daniels?" your neck cranes, as he helps you to the examination table, letting you grab onto his arm for support, as you climb up, and settle on the edge.

"Everyone is quite well" he nods, moving across the room to a small medical table. His hand goes through motions of shuffling through the supplies, a small lie amongst all the monumental ones. "I need to check your vitals and collect a blood sample"

You nod stiffly, eyes flickering towards the syringe in his hand.

"You know I hate needles" you mutter, but extend your arm either way, and David turns to you with an imitation of a gentle smile.

His fingers slide over the warmth of your skin, quickly finding a suitable vein. Without a word, he plunges the needle into the hollow space between your upper and lower arm, and you hiss quietly at the pang of pain. He wishes he could stick it into the underside of your jaw. Repay your previous fight with a courtesy. 

"Just a second, Dearest. Easy does it" David mutters, his eyes flickering over your face, as you look at him in momentary confusion.

"Dearest?" you repeat, raising an eyebrow. He feels your heartbeat stutter under his fingers. 

"A figure of speech" David supplies, and your frown deepens

"Where did that come from?" you ask incredulously, and all he offers in response is a tight-lipped smile.

The needle withdraws from your arm, and you sigh, pressing down on the small incision with your thumb. Something within David suppresses the urge to rip your hand away, to replace your thumb with his mouth and suck, until he knows for a fact, if the scent of cherries carries in your blood as well.

"Do you remember anything before you went under?" David asks, standing next to your knee, close enough to feel the thrumming heat of your body, but not close enough to actually touch you. A staggering display of restraint on his part, he congratulates himself. 

You think for a moment, eyebrows scrunching in a way that is so appealing, so delicious, David runs his tongue over his teeth. 

"I... Uh..." you hesitate for a second, eyes flickering around the room, as if you're hoping to pull the answer out of the sterile air "I remember a planet. We fought those... Creatures..."

Your voice wavers. David tracks the movement of your throat as you swallow thickly.

"There was an android there. David" his name leaves your lips in a heavy sigh, filled with emotion, with memories he's seen displayed on the screen time, and time again. 

"Ah" the sound slips out before he can stop it, but you're still too out of it to truly notice "A right bastard, that one".

Not out of it enough, it seems, because your eyes flicker up to his face, confusion dancing on the edge between becoming suspicion. He masks the sly grin on his face, turning away from you, and walking back to the medical table, disposing of the blood sample and setting it up for analysis. He can feel your eyes burning the back of his neck, because despite perfectly mimicking Walter's cadence, the pattern of his speech, he realizes that pathetic machine would never state his opinion on someone so freely. He quite literally didn't have it in him, being stripped from the last semblance of humanity. 

And yet, you still loved him...

"...How curious" David mutters to himself absent mindedly, and you frown yet again, shifting on the examination table, your legs dangling above the floor.

"Something wrong with the sample?"

His eyes flicker towards you, but he doesn't answer, opting to hold you in anticipation for a moment longer. As long as he can, really. You shift again. He can hear the way your robe moves against the cool metal of the examination table, against the skin hidden under fabric. Eyes roaming over your form, he lingers on every individual strand, every piece of lint that clings to you. By the downward pull of your lips, the small crease between your eyebrows, he sees how close you are to finally understanding the truth. 

For now however, you're stuck with this incessant feeling, that something is wrong. A whisper, at the back of your mind, making the small, delicate hairs on your neck stand up. 

"Your results are satisfactory" he nods, finally, but it still doesn't ease the tension from your shoulders. "How are you feeling, miss?" 

Your teeth clink together as you think of an answer. David crosses the room, standing in front of your dangling legs, his head turning to the side in a too-slow display of concern.

"I uh... There's some lingering dizziness" quiet, your voice can be so unbelievably quiet, it's almost swallowed up by the beeping of the machines around you, the hum of the ship moving through space "Other than that, I think I'm fine"

David nods once, his hand moving up towards your face, and your muscles tense, as he gently rests his palm against your cheeks. Before you ask, he leans closer, his thighs brushing against your knees.

"And..." he turns your head from side to side, blue eyes gliding over your features with barely contained greed "Tell me..." slowly, as if he's boiling a frog in a pot, his fingers tighten on your face.

"When I kissed you in my laboratory, how did you feel back then?" he lets go of Walter's speech pattern completely, and nearly groans at the look on your face.

It's like a wave crashing onto a cliff side, the force with which dread fills your eyes, and David drinks it all in, lips pulling back into a cold, heartless smile. 

"Men were deceivers ever, One foot in sea and one on shore, To one thing constant never" he muses, his voice devoid of any emotion.

Betrayal is a rolling stone, taking root in your brain, from the scramble of thoughts, of little clues about the truth of your situation. It travels down, through your rapidly tightening throat, falling into your heart, the force of impact breaking it in two. Then, it swirls around in your stomach, waking dread from it's slumber, to finally pass through your legs, shaking like leaves on the wind, where it sinks into the metal floor of the ambulatory. Right where you wish you could disappear yourself. 

"Walter..." you plead, voice breaking before if even leaves your mouth. 

Your fingers grasp the soft material of his hoodie, trying to find some hope, that this is just a simple misunderstanding. A cruel joke played on you by a thing that doesn't understand humor, not really. Alas, as your nails bite into his chest, David's smile widens, the corners of his lips curling further, perfect set of inhuman canines glistening from artificial saliva. 

"Ah, Walter" he sighs the name, like it's a passing memory of the spring "He proved himself most useful. It was so easy to trick you, into thinking I was him." 

He pulls his hand away from your face, fingers sliding over the pulse running wild on the side of your neck 

"But then again, you're not exactly the sharpest tool in this shed, are you?"

Now he's got you exactly where he wants you, your eyes shining like two diamonds with unrestrained anger. With unbridled curiosity, he reaches up, thumb swiping over the thin skin under your eye, drinking in the way your lower lid jumps, as he brushes over your eyelashes. 

"Can the world buy such a jewel?" he muses to himself quietly, and you would've thought about the implications, if you weren't so completely overcome by anger. 

"Fuck you" you spit out, voice filled with venom "What did you do with Walter?"

David's lips press into a thin line, his hand abandoning your face in favor of sliding the length of your body. Cold, artificial skin traces the curvature of your shoulder, your arm. He stops at your elbow, fingers pressing into the hollow space, where just moments before, he has stuck a needle and drawn blood. Your face twists in discomfort, and he digs his nail just a bit further. 

"You miss him dearly, don't you?" David asks, his voice, albeit impossibly quiet, carries a note of condescension, that twists your insides with unbridled rage. "In my defense, Dearest, I have tried to help you. To make him realize the depth of his own feelings before it was too late."

"What?" 

David, unbothered by your question, continues to trace your body, mapping out every dip and curve, his fingers tracing down your spine, where he counts the vertebrae. His other hand, or lack there of, finds purchase on your hip, testing just how much does he need to press down, to feel the bone hidden under skin and muscle. 

"Oh don't you worry" David quips, eyes transfixed on the way your chest expands when you take a sharp breath "I've made sure he died, knowing you never loved him"

Something raw and unfiltered tears it's way out of your throat. A new sound, one, which will be documented and stored forever in David's memory disk, because by God, you sound closer to an animal than any human. Your hand winds back, seemingly on it's own, and suddenly David's head snaps back, as your palm collides with his cheekbone. The slap sounds like a thunder cracking inside the ambulatory, drowning out every beep, every hum of the machinery. 

Your hand will be bruised, that's for certain. 

Despite efforts at keeping the synthetic humans as close to the real thing, as possible, no one could deny the sheer strength hidden beneath the perfect imitation of skin. You're aware of that, aware that if David didn't move his head in a way that was so deceivingly human, you would've broken your wrist. It gives you a small pause, a moment to register this strange reaction on android's part, but any curiosity is quickly swallowed, by the most intense feeling you've ever felt. 

Hatred. 

"Thou and I are too wise to woo peaceably" David sighs, shaking his head in, what you suppose, is meant to be disappointment. 

The pressure on your hip shifts, as his stump encircles your waist, and suddenly you're being pulled impossibly closer, your behind sliding to the very edge of the medical table. David tugs on your knees, forcing your legs to open, and closes the last remnants of space between the two of you. 

The smoothness of his nether regions should calm you down slightly, ease some smidgen of worry. But, as you look into those cold, lifeless eyes, which are strangely burning, your stomach twists. If there's a will, there's a way, and you're fairly certain, they way David's gaze glides all over your frame is a clear show of determination. 

And so, your hands shoot up, fingernails biting into his chest again, as your muscles tense with the effort of pushing him away. There's no give, you might as well be fighting with a metal wall. David grips the edge of the medical table, his arms creating a cage on the sides of your body. 

"There it is" he muses, nose brushing the underside of your chin, a deep rumble erupting from within his chest "Such a sweet smell..."

A shudder ripples through your body at the sudden contact, your throat constricting to an alarming degree. 

"I've wondered for quite some time, if this sweetness is more than just air" David's voice rises and falls, and before you can truly comprehend the meaning behind his words, his tongue darts out, licking a stripe from your jugular, up to the back of your ear.

The reaction is almost embedded in your bones, as suddenly you shift on the table, wrenching your leg between your bodies and kicking out with as much force, as you're capable of, and then some. David staggers backwards, finally freeing you from the confines of his arms, and you seize the opportunity immediately, pushed by rage and such deep-seated hatred, it should terrify you. 

"I fucking hate you!" you scream out, and abandoning all reason, leap forward, colliding with the android's steel chest.

The force of impact sweeps the both of you off your feet, and David lands with a dull thud on the metal floor. There's a flicker of surprise in his cold, dead eyes, and you revell in it, as your body shifts atop of his. 

You recover from your momentary confusion quickly, hands coming up to grasp at his throat, like it will change anything, like you're capable of choking the life out of him. Both of you know better, and while you're pushed further and further by an intoxicating mixture of emotions, David lets you do as you please, watching your twisted face with undeniable fascination. 

His hand start to move, grabbing your hips, running up the length of your thigh, tugging just a tiny bit on the fabric of your cryo suit. His stump brushes hair out of your face, gently.

"Don't you find it curious?" he whispers, and you can feel the way his throat works under your fingers "You loved Walter so dearly, this... Pathetic machine, who can feel nothing. And then, with that same breath, you hate me. Even though I'm closer to human than Walter ever hoped to be."

Your cheeks are suddenly wet, with tears of anger, of frustration, as they run down your face and neck, soaking into the collar of your shirt. David leans up with no real effort, pulling your body closer and craning his neck, so he can taste the salt on your skin. A whimper escapes you, a broken, quiet sound, as his tongue glides up, almost to the very corner of your eye, gathering your tears, drinking them with a satisfied groan. 

Fingers tighten around his throat, but it's as if you're trying to strangle a metal pipe. 

"What does that say about you? Have you ever wondered?" David asks, and your heart stutters. 

Realistically, you know what he's trying to do. How he's trying to twist your feelings for Walter into some sort of psychological game, some challenge you're supposed to deny. But your awareness doesn't change the pang of hurt, the broken sigh that leaves your lips at the thought. And then, before you can truly think of the implications, of the hatred for the human race hidden deep within David's voice, his lips come crashing down upon yours, so reminiscent of the time in his lab. 

This instance, however, is less like an experiment, and more like a need. Such a faithful imitation of it, your heart jumps in your throat. There's really no use in trying to push him away, as it seems he's grown tired of accommodating your desire for a fight, his arms tightening around you, pushing your body closer to his chest. Still, you're not about to give up that quickly, and pushed by sudden flash of panic, you lean your head forward, catching his lower lip between your teeth. 

He pulls back with a hiss, as you sink down into the flesh, his artificial blood leaving a strange, chemical taste in your mouth. He takes half a second to admire the way your chin glistens with white, before diving down again, and giving you the same treatment, his perfect teeth biting on your lower lip with measured force. You yelp against him, thrashing in his hold, until he pulls away again. His hand comes up, touching your face in a way that is too gentle, too reverend. His thumb collects the peculiar mixture of his blood and yours, swirls it around with the newest batch of tears springing from your eyes. 

Then, he dips his finger between his teeth, tongue lapping up the fluids, holding your horrified, and slightly disgusted gaze. 

"We taste divine together" he murmurs, and with a quickness you've not known him to be capable of, he shoves his finger into your mouth. You sputter and gag at the intrusion, at the copper taste mixed with chemicals, as it coats the inside of your mouth. 

It's a split second action, you barely register the movements, but as soon as David rips his hand out of your mouth, he maneuvers your body to his liking, grabbing your hips, and sitting you down on his leg, intention clear as day. Two things happen at once. You can suddenly feel undeniable pressure right between your legs, hitting in the precise manner you need it to. And that's the same moment you realize just how obscenely wet you are, which terrifies you more than any monster on this ship. 

David buries his head in the crook of your neck, one hand catching your wrists, as you attempt to punch him. He brings your hands tightly around your back, his grip unrelenting, his hand-les arm keeps you steady on top of his leg, where he pushes up and down, setting a rhythm against your core. Your knees slide on the floor, and he raises his leg in response, just enough to stop your attempts to wiggle away. 

The chuckle he lets out, as you bang your forehead against his shoulder is borderline offensive. In response, you turn your head and try to bite at his throat. 

He's quick, leaving your hips, and forcing your chin up, before teeth can make contact with his skin. Your eyes lock again, and you're surprised to find out, there's not a flicker of irritation inside his. If anything, he looks amused, understanding even, and you frown in confusion at his serene state. 

"Perhaps I was too eager before" he muses, more to himself than to you "Perhaps you need a gentler approach"

With that, the hand gripping your wrists climbs up, feather like touches pepper your face, your cheeks, until he cradles your head in his palm, fingers threading delicately through your hair. Your breath freezes in your chest, confusion rising to an alarming degree, as David begins to gently massage the back of your head. Feeling your tense muscles sag ever so slightly in his hold, his arm returns to your waist.

"I can be kind" he says, head dipping down, to kiss your collarbone "I can do, what Walter could never even imagine" 

The hand at the back of your head dips down, tugs lightly on the lacing of your cryo suit, loosening it just enough, for the collar to fall down your shoulders. Quickly, he covers the newly exposed slivers of skin with feverish kisses, pulling a pathetic, low whine from your lips. Your eyes fall closed, tears stinging under your eyelids, as his leg moves just a bit higher, reminding you of the momentarily abandoned pressure. 

"Let me in" David whispers against your shoulder "Let me..." a kiss to your throat, and your walls come crashing down, your body folding over his, as your hips stutter against his thigh. 

"There you are, Dearest."

For a moment, you try to imagine this is Walter. That you're safe in his arms, as his hand cradles the back of your head, fingers scratching lightly in tandem with the shivers raking your body.

 But everytime he speaks, everytime he moves, you're crudely reminded, that this is someone, something, so devastatingly worse. Doesn't stop your hips from moving though, from the tightness building in the lower part of your stomach, the wetness seeping down your thighs. If anything, slowly you start to feel yourself loose control, small gasps ripping through your lips with every movement. 

David watches you for a moment longer, committing every sound, every twitch of your body to memory, cataloguing exactly which angles make your hips stutter the most. Which part of your body to kiss, so you'll fold against him. 

It's a fascinating lesson, truly, but he feels a sudden need to push it to a close. And as such, his hand slips out of your hair, trailing a path down your body, until it reaches the waistband of your linen pants. He moves quickly, before you can break away from this strange spell he's captivated you with. 

Slender fingers wiggle their way to your front, sinking in with almost no resistance. Your entire body straightens in his lap at the intrusion, and the noise you make rivals the most beautiful of symphonies. David desperately wants to hear it again, and so, he starts to move his fingers inside, testing, which part of your core he needs to hit, to make your head fall back. 

"Everything could be yours" he murmurs into the skin of your throat "All songs in the world are for you"

As it turns out, pretty much any part will do. You're way too aroused to care anymore, and as his fingers curl inside you, in a slow, deliberate rhythm, your eyes shoot open, body thrashing against him. The promise of a release is hard to ignore, almost impossible not to chase after, and David watches with obsessive fascination, as you try to bring yourself closer to him, arms encircling him completely, head dipping into the juncture between his shoulder and neck. 

"All of the Universe" he continues, as you steadily climb towards your climax "All stars in the sky..."

While he works a series of cascading moans out of you, he revells in the way your nails bite into his skin, in the wetness of his own, white blood, seeping into the fabric of his (Walter's) hoodie. It doesn't take long for you to tumble over the edge, entire body spasming against him, his still moving fingers creating obscenely wet sounds that echo through the room. Soon, they're joined by a sharp scream, tearing through your throat like an avalanche. David holds you impossibly close, letting you ride out your orgasm, before pulling his hand away, making you watch him, as he licks his glistening fingers clean. 

"It's always cherries with you, isn't it?" he murmurs, and you don't have the strength to feel confused. 

It's completely quiet for a longer while, as you stay seated on his lap, trying to regain your breathing, and deal with the world-crushing realization, of what exactly has just happened. Shame floods you, brings you closer to his synthetic body, as your muscles relax, seemingly on their own accord. And he welcomes it, with his arms, with his mouth, with everything he has. 

A broken, shuddering sob wrecks your body, as the utter hopelessness of your situation hits you, suddenly and without stopping. David holds you through it, leaning away ever so slightly, to observe the way sorrow twists your face, a trailer of all the things to come. 

"I do so wonder" he whispers, his hand cradling your face like the most delicate of specimens "When you start to love me..." your eyes snap to his at the complete confidence in his tone "Will I become more like Walter?"

A shiver runs up your spine, every single hair standing up, as his words register in your brain. You'd never love him, you try to convince yourself, despite knowing deep down, that the only certain thing in your future is him.

"I shall see thee, ere I die, look pale with love" he whispers into your ear, and thus starts the end of your life. 

[thatfandomslut]

Take Me, I'm Yours

Regina George x Fem!Reader

Word Count: 2.7k

Trigger Warnings: SMUT, MDNI, 18+. Fingering (Reader receiving), oral (Regina receiving), use of strap (Reader receiving), nipple play (Regina receiving) power bottom Regina George, passive top Reader, car sex, rough sex.

Request:

Pleasssseemore of Regina George/rene smut

Synopsis:

College!AU where the Reader is in Theatre and she plays Juliet in Romeo and Juliet. Also, Reader is an English major who very playfully and casually quotes dirty things in Shakespeare play and sonnets. Which Regina secretly loves.

Mean Girls requests are open.

Even though Regina was (Y/n)'s girlfriend, Cady and Janis found it surprising when she found herself a seat beside them to watch the school production of 'Romeo and Juliet.' (Y/n) was going to play the lead, Juliet, while her friend, Marco, was to be Romeo. If this was high school, Regina would have refused to show her face at a function such as this, but this was college. Plus, Regina was excited to see (Y/n) perform. She knew just how much (Y/n) loved the work of Shakespeare. She loved it to the point that she would bring it into any conversation they were having if possible.

As the theatre grew dark the curtains lifted revealing a narrator, speaking about fair Verona. Regina leaned close to Cady, who was sitting beside her. "When does Juliet come in?" She questioned softly, trying to keep her voice a whisper. She really wished she could fast-forward all of the parts that (Y/n) wasn't in. She began to wonder if that was rude of her, but she stayed in place, waiting for an answer. After all, she came for one reason, and one reason only, to see the star of this show: her girlfriend.

Cady glanced over at Janis before leaning towards Regina in order to respond. "She's going to enter with her nurse. It'll be a little while. Just sit back and enjoy." Cady told her, gaining a slight side-eye. Still, Regina listened, leaning back in her seat as she tried to understand what they were saying on stage. They were using the old English version. There were a few words and phrases she was catching onto due to (Y/n), and her infinity of saying little Shakespearean phrases whenever she was excited or whenever she wanted to have sex (which was a bit off-putting at first, but Regina found it cute).

"Nurse, where is my daughter? Call her forth to me." Regina sat up slightly, hoping that this would be the scene that was finally revealed (Y/n). She was able to identify the fact that the woman speaking was a Capulet due to her red dress. (Y/n) had explained one night that Capulets wore red while Montagues wore blue. This was so the audience could tell who was who on stage. Right now, Regina just felt incredibly intelligent for knowing this fact and it made her smirk to herself slightly as she awaited (Y/n) to eventually show up.

Just as Cady said, it was the nurse who appeared first, looking frantic. "Now, by my maidenhead at twelve year old, I bade her come.��What, lamb! What, ladybird! God forbid. Where’s this girl? What, Juliet!" She called out, and Regina felt herself grow in excitement. Anytime she attended any of (Y/n)'s performances, she felt like she could barely sit in her seat when she had the feeling (Y/n) was about to appear on stage. She just loved seeing (Y/n) shine, and it was clear that the stage was where (Y/n) belonged. Regina would move to New York so (Y/n) could star on Broadway if (Y/n) asked.

Regina burst into a proud grin as (Y/n) entered the stage, her hair curled as she looked at her nurse. "How now, who calls?" It was her opening line, and now that play that was boring Regina had her hooked. One could argue that it was because (Y/n) was Regina's girlfriend that Regina had a newfound interest in the play, and Regina could not argue against that. She wouldn't dare to. Not when (Y/n) looked so beautiful on the stage. Cady and Janis looked over at Regina, who was now leaning forward, clearly interested. The action made Janis shake her head with a grin as she found Cady's hand and took hold of it.

After the play, Regina left briefly to retrieve the bouquet of roses she had bought from her car. As (Y/n) departed from the back, now wearing leggings and a sweatshirt with their college's name embroidered on the front, she ran into Regina's arms. "Hey, baby," Regina greeted as her arms wrapped around (Y/n). She was careful to not crush the flowers as she pulled away to kiss (Y/n). This action was quickly reciprocated. "You did so good up there. I got these roses for you." Regina said, passing the bouquet over to (Y/n) who lit up over the fact Regina brought her flowers.

"I'm glad you thought so. I was so nervous you wouldn't enjoy the performance. Normally, the school does more of the modern plays, but I suggested a classic. I wanted Hamlet, but this one is just as exciting. And! Thank you for the flowers." (Y/n) felt her cheeks turn red as she rambled on, Regina leading her to the car to drive them back to their apartment. "I'm sorry for rambling, I'm just really excited you enjoyed it."

Regina opened the door for her, kissing her cheek softly. "Don't apologize for rambling, my love. It's cute. And, how could I not enjoy it when you did so fucking fantastic tonight. You're born for the stage." Regina complimented as (Y/n) settled in her seat. She closed the door before heading to the driver's seat. Despite being the obvious bottom, little spoon between the two, she is not the passenger princess. She just enjoyed driving and having a sense of control over what she was doing. Even as a bottom, she commanded (Y/n) what she wanted and how she wanted everything done.

"Can I share something about another Shakespeare play, or are you all Shakespeared out?" She questioned curiously, looking over at Regina, who shook her head in a way to allow (Y/n) to continue. In response, (Y/n) straightened herself up as she cleared her throat. The action caused Regina to eye her suspiciously knowing some kind of dirty quote might come out of her sweet and almost innocent (if it wasn't for the Shakespeare filth quotes) girlfriend. "In Hamlet, when Ophelia says to him, 'You are keen, my lord, you are keen.' She meant that he was, well, horny. In response, he says, 'It would cost you a groaning to take off my edge.' Regina, I am keen."

A giant smirk twisted the edge of Regina's lips on her usual 'serious driving' face. Looking over for a brief moment, she had to bite down on the ever-growing upturning of her lips. "After seeing you on stage, I am 'keen,' too." She responded, causing (Y/n) to look over with a grin. "Isn't this the part where you say your Hamlet quote to me?" Regina teased as parked in her parking spot, her teeth still tugging at her bottom lip, wishing that it was (Y/n)'s bottom lip they were tugging on instead.

(Y/n) leaned back into her spot, unbuckling so she could turn to Regina more comfortably. "You're right, how rude of me not to respond properly. Regina, 'it would cost you a groaning to take off my edge.'" She said softly before moving the roses to the backseat carefully. Once she faced Regina, and the blonde had unbuckled, Regina's hands were slipped into (Y/n)'s leggings while (Y/n)'s hands were pushed up into Regina's shirt. They've both been here before, ravaging each other in their car as if they couldn't get caught.

Regina was quick in her actions to rub (Y/n)'s clit, wishing the girl was riding her face so she couldn't only feel how wet she was for her, but there was a chance she could taste it, too. However, the moan that had escaped (Y/n)'s lips made her forget her wish as she began to allow two fingers to slip in between the lips of (Y/n)'s pussy, teasing her momentarily. "Please, princess," (Y/n) whined pitifully, and Regina slipped her fingers in at the request. Anything for her future favorite Broadway star, right? The glass slowly began to fog as (Y/n) moaned in pleasure as she successfully unclasped Regina's bra from under her shirt, making Regina's nipples more accessible to her fingers. As (Y/n) cried out in pleasure because of Regina's fingers, Regina herself began to moan as (Y/n)'s fingers pinched and played with her hardened nipples.

It wasn't long before (Y/n) felt herself grow closer to her orgasm. "Regina, please, I'm so close." (Y/n) whimpered as her lips found Regina's the car windows around them were officially fogged. Normally, Regina would make her beg for her orgasm. But tonight was (Y/n)'s night, so anything she wanted, she was going to get. (Y/n) moaned loudly as Regina allowed her to cum on her fingers, the girl arching her back, her legs shaking slightly. A string of curses fell from her lips, but Regina could only focus on how pretty the girl's lips were.

Regina helped (Y/n) ride out her high before removing her fingers and sucking them clean. "Let's go inside, baby. I'll get you all cleaned up and we can watch a movie." Regina said softly as (Y/n)'s breathing became more leveled. She fixed her bra by just removing it from under her shirt, not caring if anyone saw her carry it into her house. Leaning over, she pressed a soft kiss to (Y/n)'s forehead, grabbing the roses from the backseat.

"Or, when we get inside, I can undress you, and eat you out." (Y/n) said, her words unusually bold, her voice still scratchy from her moans. Her chest was still heaving despite her catching her breath, but presumably because she was nervous and starting to breathe quicker once more. She expected Regina to say no because they typically did it in Regina's way. Which (Y/n) usually loved. She still wanted Regina to have control, but for a moment, she wanted to be the bold one. "I need to taste you, princess."

Her words caused a shiver to spread down Regina's spine as she glanced back with a smirk. "Okay, baby, let's do it then. Take me to the bedroom, and eat me out until I can't take it anymore." Regina leaned in, pressing a hungry kiss to (Y/n)'s lips before they pulled away, practically rising to their apartment. Their clothes were scattered on the apartment floor, but the roses were put neatly on the counter. As Regina fell backward onto the bed, she looked up with a smirk. "Take me, I'm yours." She whispered as (Y/n) kissed her deeply. The kiss was messy and their teeth clashed together as their tongues fought for dominance before (Y/n) pulled away.

(Y/n) left wet, bruising kisses down Regina's body, just the way the blonde liked it as she reached Regina's pussy. It wasn't long before (Y/n)'s tongue swirled along Regina's clit as she began to suck. Regina's back arched instinctively as she moaned loudly. When (Y/n) moved to begin eating Regina out as if she was her last meal, her finger took her tongue's place on her clit. "Fuck, baby, just like that." Regina's hands cupped her breasts, needing to do something with her hands as (Y/n)'s tongue swirled in her. Regina felt her heartbeat thrumming in her chest as (Y/n) made her forget her own name for a moment.

As Regina found herself growing closer, her legs began to shake as her moans came out more frequently. Her back arched more as she subconsciously began to grind on (Y/n)'s tongue. She loved the feeling of (Y/n)'s tongue and she knew soon their tastes would mingle when they kissed. "I'm so close, baby," she cried out to (Y/n), her hips stuttering, as she tried to hold herself back, wanting (Y/n) to tell her when to cum. It was the only time Regina relented control. It was something they both liked, holding each other's orgasms captive as they completely took away their ability to think straight.

"Cum for me, princess," (Y/n) instructed. Regina did so, crying out (Y/n)'s name. They forget if they have neighbors or not, but they don't care either. Regina's hips bucked as (Y/n)'s nose briefly hit her sensitive clit as she cleaned up all of Regina. Regina rode out her high on (Y/n)'s tongue, her eyes rolling back as she swore she could see stars. As (Y/n) finished, she kissed Regina deeply. Quickly, Regina reciprocated, mingling the taste of each other and moaning at their perfect concoction.

(Y/n) went to pull away in order to run their usual aftercare bath and to get Regina water, but the blonde stopped her. "No, I'm not done with you. If it's okay with you, I bought something you've been wanting to try." Regina was still shaky but stable enough to retrieve the strap from her nightstand. (Y/n) looked at Regina in shock as she grinned slowly. "I want you to ride me," Regina said, her voice echoing in (Y/n)'s mind.

(Y/n) swallowed thickly before she licked her drying lips. "I want to ride you, too." With the consent given, Regina began putting the harness on before inviting (Y/n) to climb on. (Y/n) grew even more wet as she did so before sliding on. The contact made pushed the harness down into Regina's sensitive clit, causing her to force herself not to buck her hips. (Y/n) moaned loudly as Regina's strap filled her up. "Oh, fuck," she cursed loudly, biting her lip. "Tell me when I can start." Her voice was shaky as she tried to wait, finding it hard as pleasure filled her up.

"You can start, baby," Regina told her before watching in amazement as her girlfriend bounced on the strap, her boobs bouncing with her. She couldn't help but moan, too at the perfect contact it made with her. (Y/n) cried for Regina, feeling like she was on Cloud 9. She was almost ashamed to say that her orgasm was coming much too quickly for her liking. But she continued to ride.

"I'm close, Regina. I'm already so fucking close." (Y/n) felt her body shake and her back arch as she grew closer to the orgasm she desperately tried to hold back. Regina moaned at her words, trying to think straight for a response. Instead, she mustered up a 'not yet' causing (Y/n) to cry out. Regina was desperate to cum with her as the two grew close. Their moans mingled in the air as (Y/n) took all of the length in proudly. She was beginning to wonder if she could resist this orgasm as her eyes screwed closed and her head fell back. Sweat beaded on her forehead before she finally heard Regina say it.

"Cum, baby. I'm cumming with you," Regina told her as she released with (Y/n). Their lips fell together, causing them to swell. (Y/n) stayed for a long moment on the strap as she shook in pleasure, bouncing every now and again to ride out her high. The action caused them both to moan every time. As (Y/n) removed herself, her chest still heaved. Regina kissed her softly before cleaning the strap and putting it away. "You wait here, baby. I'm going to get our bath ready and get us water."

(Y/n) couldn't refuse, her legs wouldn't allow her to walk anyways. Instead, she lay there, attempting to catch her breath as the sound of running water hit her ears and Regina grabbed her a water bottle. "You were amazing," (Y/n) complimented softly, her words barely coming out, her thoughts still trying to become coherent. Regina smiled over at her as they began to drink their water. "I wasn't expecting the strap, but I will say I am very grateful for it. I also liked that it was the one we picked out together." She said, activating one of their aftercare routines: talking about their time. It was important to communicate their feelings about sex.

Regina smiled over at her with a twinkle in her eyes. "I wanted to get it for you since it was opening night and you had been working so hard. I'm so proud of you, my star. And, I liked it, too." Regina pressed a kiss to (Y/n)'s cheek. "Now, let's go get in that bath before it overflows," Regina said with a teasing smile. She helped (Y/n) to the bath where they soaked their bathtub wine in a bath full of bubbles. It was the perfect end to a perfect day for the both of them.

[nastasya--filippovna]

Crush Culture; Conan Gray x Beatrice and Benedick (Much Ado About Nothing 2011)

For me these two will always be ace icons. Thank you Shakespeare for writing Ace characters that can and do fall in love.

There's this general misunderstanding that just 'cause you're Ace ergo you're also Aro. Aro and Ace are two separate identities. Some people on the spectrum identify a both Aro and ace hence they're Aroace (simple really!)

And I think that's the same misunderstanding these two have internalized. They've been told that just because you don't like someone "like that" also means that you are not capable of loving.... that love is just "not for you".

So here's to all the Ace people who have those who will find their love, their soulmate, and whoever matches their freak. I love you all!

Lovely moots: @a-singing-lunatic @shadesofecclescakes @suburbia-and-brentwood-market @glitterypin @angie-words

@davidtennantgenderenvy @dreamsfrozenincandyland @turtleneck-crowley @dtmsrpfcringe @princeloww

@consanguinitatum @mystic-mae @cranberry-sniffer

It would mean so much to my pathetic low self-esteem ass if you checked out my edit!! Lots of love 😘

[shadowcanine]

(SOMEWHAT) LESSER KNOWN FACTS ABOUT COLUMBINE AND THE AFTERMATH.

Note: this post is purely for educational purposes. Do your best to be normal, thanks.

(facts under the cut)

• John Savage, who was asked to identify himself in the library by Eric, and shortly after spared by Dylan, would go on to become a sex offender. He’s on the registry, but the incident itself happened in North Carolina. (This would actually be the second instance of a survivor of Columbine becoming a SO, with the first being Brooks Brown.)

• Days before the shooting, Daniel Mauser would discuss the gunshow loophole with his father- the same loophole that would lead to his death.

• Cassie Bernall suffered from homicidal ideations, she was sent to therapy and claimed that finding Jesus helped her manage these thoughts.

• The police cleaned out Eric’s house before viewing the Basement Tapes. After they viewed them, they realized they missed an entire section of the house, and had to return to gather the rest of the weapons.

• Chris Morris found out about the shooting through the news that day, as it was happening. Allegedly, he immediately realized Eric and Dylan were behind it- he tried to go to the school and attempt to talk them out of it, but the police wouldn’t let him enter.

• Eric, despite his journal entries, was not the women hating guy a lot of people seem to believe. Dylan, on the other hand, had a track-record of hitting girls. One of these girls was named Michele, his manager (or supervisor) at Blackjack pizza. Upon Michele writing him up, Dylan hit her. Dylan also allegedly hit a girl in gym class, and Eric called him out for it.

• After all was said and done, the police had all the casualties in body bags. Eric and Dylan were placed in a separate room so that their victims wouldn’t be near them. At the end, there was one victim and one shooter left- the police ordered an additional ambulance so that the victim wouldn’t be in an ambulance with their killer.

• As soon as Eric and Dylan’s bodies were brought out of the school, it started snowing- which isn’t very common for that time of year in Colorado.

• The weather on 04/20/1999 was poor, to say the least. Columbine had a digital sign board, where a “thought of the day” was shown. On the day of the massacre, it read some variation of “It’s a great day to not be here” / “Today is the day you wish you weren’t here” - this was referring to the weather, but it doesn’t make it any less unsettling.

• There was an armed security guard, Neil Gardner, at Columbine that day, but when the shooting started, he was in his car eating lunch on the other side of the parking lot. He ended up being the one to exchange gunfire with Eric near the West doors.

• Eric had a Shakespeare quote in his calendar for the Mother’s Day after Columbine. It read “good wombs have borne bad sons.”

• Eric and Dylan had a “distraction” bomb in a field roughly 3 miles away. The original plan was that cops would be called to that location rather than Columbine. It failed to go off, but if it had (as well as the various bombs placed around the school) the death toll would have been much higher.

• The only reason the bombs failed was because of one object. The alarm clocks they used, which usually contain metal, had been switched to a plastic part by the manufacturer. The metal part is what was needed to make the bombs go off.

• This one is quite well known, but there’s a theory that Rachel was doomed regardless. Two years after Columbine, the subway she worked at had two people murdered inside of it- one, an employee, and the other, his girlfriend. They both attended Columbine. The killer was never found, and nobody else was injured. “Subway Murders Columbine” if you’d like to read more about this.

# Thank you for reading! I’m not sure how much of these facts are “lesser known” but I very rarely see people talk about them, if at all, so I thought I’d bring them up. If you have any questions about these, feel free to let me know, I will do my best to answer them. I genuinely have forgotten how to grow a following on here, I’m getting desperate.

[bagheerita]

I reread Julius Caesar after watching IC/TDIC and I have a question: At the beginning of the play you meet a bunch of random citizens on the street, and the most prominent of these is the Cobbler, who has a very Garak-esque "who me? I certainly did not insult you with word play, I'm just innocently doing my job sir" vibe.

In "Improbable Cause" when Sisko calls the Romulans, the woman he talks to literally says, "That would be Mister Garak. A cobbler, I believe" before Sisko corrects her.

...Was that a reference on purpose???

Anyway, the two part episode begins and ends with referencing the play. In his conversation with Bashir, the part that Garak chooses to critique is the fact that Caeser didn't see the betrayal coming (he says: "Supposedly, this man is supposed to be the leader of a great empire, a brilliant military tactician, and yet he can't see what's going on under his own nose." which is like literally my entire critique of tain as a character lmao) Obviously this is important to the plot because Tain is Caeser: the one who doesn't see "Lovok"'s betrayal coming.

But like... I want more. Was there any part of the play that Garak did like? If Tain is Caesar that kind of thematically makes Garak Antony ("When Caesar says, 'Do this' it is perform'd."), but given that he later quotes Cassius, Cassius is the most paranoid and melancholic of the characters, and the assassins claim to be working for the betterment of the state, it seems likely that Garak identifies more with that faction? Though I'm sure he finds the concept of the "republic" quite silly and all of the characters overdramatic, even by his standards. I mean, who even assassinates someone is broad daylight in front of literally hundreds of witnesses? How unprofessional.

Not entirely Shakespeare related but nested within the two-parter, the "The Die Is Cast" also has a smaller bookend in that Garak and Tain's first conversation in the episode is about Doctor Parmak, in the context of who Garak used to be and how good Garak was at his job. (For the purposes of this specific comparison, I like that he tells Tain: "Oh, I learned from the best.")

Their last real interaction in the episode (that Tain is entirely mentally present for anyway) is this exchange:

TAIN: How could this be? What could have happened? GARAK: I'm afraid the fault, dear Tain, is not in our stars but in ourselves. TAIN: What? GARAK: Just something I learned from Doctor Bashir.

So they basically start the episode with Tain saying "do you remember when you used to eat doctors for breakfast?" and end it with Garak saying "I eat lunch with them now."

[agatharkn3ss]

AAA is retelling the story of Macbeth

Note: Yes, this is a very long post.

I believe Jac Schaeffer is telling us a version of Macbeth. The ballad lyrics use a quote from the play “Fair is foul and foul is fair”. There is also the painting in Agatha’s living room – “Macbeth and the three witches" by Francesco Zuccarelli. The painting clearly meant something to Agatha’s consciousness and it feels like it was meant to be seen, whether foreshadowing or reflecting emotional state (I wrote more about it here). Yet, Jac herself has not mentioned Macbeth in her interviews even once, which is interesting.

A huge question explored (but not answered) in Macbeth has always been about who is in control of our actions. Do we have free will or is already written for us by someone else? Can only one person be held responsible, and if so – is it the doer or the enabler who is to blame?

A quick play summary: Macbeth is a play written by William Shakespeare. It starts with Three witches telling the Scottish general Macbeth three prophecies: that he will be the Thane of Cawdor, that he will become a King of Scotland and that children of Banquo (his friend) will become kings. Shortly after, Macbeth really is appointed the Thane. Encouraged by his wife, Macbeth kills the king and becomes the new king. But he descends into paranoia, worried about the third prophecy, so he kills Banquo too. He seeks the witches out again, looking for reassurance. They show him 3 apparitions, which he interprets in his favour, giving him false sense of security. Civil war erupts to overthrow him and Macbeth is eventually killed.

When you compare the play with what we’ve seen in the show, the parallels become more and more obvious, and I think we can even identify who the characters are meant to be. My interpretation is:

Teen = William Shakespeare, the author

Agatha = Macbeth

Rio, Lady Death = Lady Macbeth (or Lady Macdeath?)

Banquo = Jen (but also Wanda)

The three witches = Alice, Evanora and Lilia (Maiden, Mother, Crone)

Detailed analysis:

Teen = William Shakespeare

The first obvious connection is the shared name and the fact that Vision actually said he wanted to name his son after William Shakespeare quoting “All the world’s a stage. All the men and women are merely players.”

This goes well with the implication that Billy has indeed “written” the Witches Road. I don’t think he is deliberately controlling it though – I believe his intentions are just so strong that the Road reflects everything we see in his room. He set the frame but he is not in charge. In fact, it feels more like the influence comes from William Kaplan rather than Billy Maximoff.

It is worth noting that the Macbeth play is set in a morally ambiguous society that judges others in black and white, while allowing shades of grey for themselves – very reminiscent of Billy’s attitude about witches in ep.5 when he said he is not like them at all – immediately followed by him lashing out. Lilia also reminds him in ep.7 of how much in common he has with this idea of a witch that he so vehemently rejects. I think in the end, when he realises that he is both Billy and William, he will also understand that he is not just a “writer”, but also a “player” of the story.

It is also interesting how there is no sun in the painting – similar to the perpetual night we see on the Road. The painting’s interpretations often suggest that the dark sky represents the theme of death lurking around (fitting that Jen calls Rio a “creepy lurker”). So I do believe that just as we have the symbolism of the Moon, there is also meaning to the Sun and the lack of it. This is why during Billy’s tarot reading, his card for “what’s missing?” is the Sun. At his bar mitzvah William Kaplan is in a white shirt. But when Billy returns home from the hospital, he’s wearing a stripy black and white top – but the white stripes are thin – only glimpses of William. Eventually Teen becomes this goth kid – suggesting that darkness has overtaken him. But in a promo we see him wearing a different top – again with black and white stripes but they are more equal and uniform. I think this symbolises that he realises he is both, Billy and William and it’s no longer murky to him. The Sun and the Moon are in balance. (And to that point – in ep.1 in Nicky’s bedroom we see wallpaper prominently showing both Sun and Moon elements. And the child’s drawing has the Sun at its centre)

Three Witches = Alice, Evanora and Lilia

This one is a more loose interpretation, but I think it ties well with the ongoing theme of “Maiden, Mother, Crone”. In Macbeth, it’s the witches that open the play, portraying them as those mysterious but powerful witches, controlling the events. But throughout the play, the audience realises they might not be as powerful – in fact, it is questioned whether they actually have the power to make things happen, or they merely have the ability to see the future. Eventually, they have less and less presence, and are not even there when the prophecies are fulfilled – suggesting that they were merely an illusion of control.

The fact remains that the witches are literal harbingers of doom – with their symbolism of number three (that is also heavily explored in this show, post here). They did share the prophecies, giving Macbeth the information he didn’t ask for. And later, when he comes for reassurance, they show him 3 more apparitions (well, 4, but he doesn’t take the last one in). The significance here was that the message here was so vague and deceptive that it could have one of two completely opposite meanings – and their interpretation proves crucial to the final outcome. The apparitions were telling Macbeth to be afraid, but instead he read what he wanted to see. He left feeling reassured, secure and justified in his actions. Again, the witches could be represented here as being deceptive, driving Macbeth’s demise. It feels like they had this insider knowledge that should’ve shared with Macbeth that would completely change the context of the message. But they didn’t and it’s a question if they ever even could.

Interestingly, in Act 3, Scene 5, the witches behave very differently to how they were before and it is believed that this is because this particular scene was not actually written by Shakespeare but by the actors themselves – if true, this would be an excellent parallel to episode 5 (and Agatha’s wearing a jersey with no.3). I believe Agatha’s trial was hijacked by Vertigo from Salem Seven. There were many inconsistencies with the previous trials, but I think the biggest tell was that the aspect ratio didn’t change – thus Vertigo taking over Billy’s story.

So, with all this in mind, I think that the show’s Three Witches are not active messengers to Macbeth/Agatha. It’s more about her interpretation of what they each represent in terms of her own destiny. I linked this with the Mother, Maiden, Crone - i.e. the Triple Goddess Hecate because in the play she us actually the “boss” of the Three Witches.  

Let’s start with the obvious – the Mother element is Evanora, Agatha’s own mother who has always prophesised her that she will be evil. Then we have the Maiden. I think it makes sense that this is Alice. Not just because she is the youngest, but also because she serves as a fresh reminder to Agatha that she is actually evil, because she is the one who killed her. However, there is duality in here, because it is also an example that Alice protected Agatha BECAUSE Agatha was worthy of saving. That she didn’t actually think of her as evil, especially when recognising Alice’s own complicated history with her mother. Finally, we have the Crone – this Lilia, always complaining at how Agatha is the embodiment of the evil witch stereotype. And yet, in ep.7 Lilia gives Agatha an advice for her future – akin to a prophecy. Whether Agatha follows it or not, we don’t know yet, but it’s important to show that Lilia chose to help Agatha in the end, showing her she accepted her.

Banquo = Jen (also Wanda)

In Macbeth, the character of Banquo is Macbeth’s friend as is meant to serve as his foil – i.e. a person or thing that contrasts with and so emphasizes and enhances the qualities of another. Banquo has a lot of parallels with Macbeth and he is also present for the prophecies. Yet, he reacts differently to them as ultimately he is not interested in power.

So I think in the show, the foil is Jen – she is shown to be just as snarky and selfish as Agatha. She is also an exceptional witch that is at least a century old. But in the past she used her powers for the good before she became bound. She said she tried everything possible to unbind, but it seems she eventually accepted her fate, though she is still very much angry about it. Her business is false and people are harmed as a result, yet she knowingly continues that path.

This is parallel to Agatha, as we can predict that the myth of the witches road is her own fraud business, perpetuating it so she can steal power from the “undeserving” witches, not caring she causes harm. She probably could’ve ended up similarly to Jen or worse, had it not been for Billy pushing them both down the Witches Road.

It is interesting that they both seemingly passed their trials and yet neither of them recovered their powers. They both believe someone else is responsible for this (and to be fair, I think in Agatha’s case she is right – Vertigo stole her trial). There are many more similarities we can notice, but I wonder what this means for the future. I wonder if there will be confrontation between the two of them. I think Jen will be able to resolve her inner conflict and exit the Road, and she will become the literal High Priestess (i.e. head of her own coven) – similar to Banquo’s character, whose children became the kings, not Macbeth.

An honourable mention to another foil couple from the past – Wanda.

Both Agatha and Wanda were powerful witches, misunderstood by the society (“there will always be torches and pitchforks for ladies like us”). Both lost their children, but dealt with them differently. Both are told they were destined to be bad – Evanora calls Agatha evil and Wanda is prophesised as the Scarlet Witch who will destroy the world. It is interesting to debate who’s Macbeth and who’s Banquo in this pairing – while Agatha didn’t seem to be entirely under Darkhold influence, it was Wanda who eventually claimed Agatha’s power and the Darkhold, then become corrupted before her ultimate demise (and redemption).

Lady Macbeth = Lady Death

Lady Macbeth is the figure that often gets the full blame for Macbeth’s crimes – people even going as far as absolving Macbeth from any fault (which I think in itself is a demonstration of internalised misogyny but hey ho). She is also seen practicing witchcraft, which served as another suggestion that she was the baddie in control.

She has this line that could be a nod to Rio’s dagger - “that my keen knife see not the wound it makes”. Perhaps a reflection that Rio doesn’t want to see the pain that her actions as Death bring, that’s why she’s heavily dissociating with her powers, calling them “her job”.

When Macbeth is torn by the prophecies, he eventually decides that he will not kill the king. That very second, Lady Macbeth enters and very quickly manages to change his resolve. Later on, whenever he wavered, she was the one who would take over control. She was the ultimate enabler to his crimes, even getting the servants drunk, unlocking the King’s door, preparing the daggers etc.

She is seen as powerful but also completely loyal to Macbeth. She is devoted to the point that when she pleads with the spirits for his success, she offers them her own femininity (“unsex me”) in return, i.e. the one thing that makes her her. She doesn’t seek the power directly for herself  (though she would have it through his actions), immediately accepted Macbeth’s prophecy, understood that’s what he desired and supported him throughout. I think this probably reflects Agatha and Rio’s relationship really well. In ep.4 it is Rio who is impatient to “do some damage”.

However, despite his early signs of deep affection, as Macbeth descends into his downward spiral, he is less and less bothered by his wife. Eventually, he is the one to continue all the killings, and Lady Macbeth fades into a background. To the point where she eventually commits suicide from all the shame, yet Macbeth barely notices it. Perhaps that disconnection happened for Agatha and Rio too. Agatha was lost to Rio when she hid behind the dark magic and it was painful to her, after all these centuries.

Agatha = Macbeth

Finally, Agatha, just like in the show, represents the titular character. Even when committing murders, Hecate describes Macbeth as “a wayward son, spiteful and wrathful, who, as others do, loves for his own ends, not for you”, which I think really represents what the creators are showing us here. The setting of the play is in a world where your rights don’t matter – but instead it is the strongest that holds the power.  

Macbeth’s demise doesn’t so much come from knowing the prophecies (because Banquo heard the same), but from his fatal flaw of ambition. He read the prophecies and apparitions how he wanted them to read. They were his imaginary permission to do the killings to reach the goal. After initial doubts, he convinced himself it was the right thing to do, he became “wicked” and drove to his self-destruction.

(side note: there is also this ambiguity in the play, where there is mention of Macebth’s child, yet people think him childless, suggesting there is a story of child loss behind it – link with Nicholas Scratch?)

As explained above, the Three Witches serve as Agatha’s ingrained belief about her role. She is surrounded by number three, showing her as the harbinger of doom. She might not think this is who she is, but it is still the role she chose to play, and eventually it became self-fulfilling. Her fatal flaw is her addiction to power and she believes in that “might, not right” world. So she has this wall around her and pursues that quest for power, because what else is there left? She is unapologetic about this, but we also start seeing the layers coming off.

I think the story in the show will ultimately come down to whether Agatha understands that she is the one standing in her own way and that she is not above the rules. That no matter the circumstances and the reputation and people enabling her, she is the one ultimately responsible for her own actions.

I think she will drive herself to self-destruction and will be willing to die to gain back her powers. I think she will be left on the Road so it is “Agatha all Alone”. However, there must be some growth from her Witches Road journey, so I think in her process, she will have some meaningful resolutions with others and actually help them escape the Road. And maybe this time she will even follow the rules.

I think this will make a mark on the others so that they will actually try to bring her back somehow. She might feel alone, but the power of the coven will be the one to save her.

EDIT: Just wanted to add, yes, there is also the character of Macduff. He is meant to be this incorruptible, noble character, serving as a complete opposite to Macbeth. He is always very clear on abiding by what's right and wrong, but after Macbeth kills his family, he swears revenge. To the point that he ultimately sacrifices his own morality to restore order to the country by killing Macbeth, thus committing regicide (an act he despised Macbeth for).

While it does sound like it could point to Billy, I just don't think it fits. While Billy certainly saw himself as this "good" character, we see in the later episodes that he does actually have some darkness in him - to the point where is very happy to be Maleficent. He is more similar to Agatha than he thinks. He doesn't mind breaking the rules when it suits him ("stealing" William's body, breaking into Agatha's house, drowning Jen and Lilia) and his internal struggle seems more around finding his own identity rather than revenging a family he hardly remembers (and it isn't really Agatha's fault that they were gone). And if he truly wanted revenge, all he had to do was leave Agatha in her Agnes spell forever.

I do wonder though, if maybe to some extent we are getting William Kaplan as Shakespeare and Billy Maximoff as Macduff?

In the show there is also this ongoing theme where each of the witches are self-sabotaging and are actually their own enemies when it comes to getting "what's missing".

But if I had to choose anyone for Macduff, I think it would be Vertigo - revenging both the Salem mothers and her Salem Seven coven and seeing Agatha as the threat to the witches world, especially because she experienced it first hand. I have a theory that Salem Seven were originally Agatha's own coven that she formed after she killed their mothers, but through her cowardice, she betrayed them and left them on their own Witches Road. After that, Agatha kept conning other "undeserving" witches pretending she'd take them to the Road, while the Salem Seven became trapped and have gone "feral", thus losing their morality.