#Thomas W. Fuller

[jbaileyfansite]

Jonathan Bailey and Matt Bomer's Interview for WMagazine (2023)

Warning: Spoilers for Fellow Travelers ahead.

Matt Bomer and Jonathan Bailey had a feeling their characters’ sexual escapades in Fellow Travelers would ignite a social media firestorm. But apart from some in-person encounters with fans who watched the Showtime limited series, both actors claim they’ve avoided going down a rabbit hole of reactions to their performances.

“The first week of just seeing a GIF of a toe was kind of alarming,” Bailey says in a joint interview with Bomer. “But when you’re doing a scene like that, you know what function it serves—not just in the story, but in the selling of a TV series. I call it the Trojan toe: You slip it in, get people watching, and by the time they get to [that moment], they’ll understand exactly what the show’s setting out to explore.”

Adapted from Thomas Mallon’s 2007 novel, Fellow Travelers chronicles the clandestine romance between Hawkins Fuller (Bomer), a debonair State Department employee, and Tim Laughlin (Bailey), a wide-eyed college graduate, who fall in love at the height of McCarthyism and the Lavender Scare in 1950s Washington D.C. As they weave in and out of each other’s lives across multiple decades, Hawk and Tim’s enduring relationship hurtles toward a devastating conclusion in the 1980s. Following Tim’s terminal AIDS diagnosis, Hawk visits his lover—whom he has nicknamed “Skippy”—one last time in San Francisco, where they both come to terms with the significance of their volatile romance.

“A lot of people feel seen—not just by the sex scenes, but by aspects of queer identity on the show,” Bomer says. “That’s the hope, right? That whatever you’re pouring your heart and soul into resonates with somebody or makes them feel seen.”

On a recent visit to New York City, Bailey and Bomer were affable and laid-back—a far cry from the brooding, tortured characters that have defined their respective careers. Bouncing ideas off each other, the charming costars spoke with W about their approach to telling their characters’ epic love story, the surreal experience of shooting their final scene together, and what to expect from Maestro and the next season of Bridgerton.

Why does Hawk and Tim’s connection make them question everything they thought they knew about themselves?

Jonathan Bailey: You will never really know what Hawk and Tim would’ve been like [as a full-fledged couple]. You can’t judge them on anything, because there’s a survival element at play, which reflects the brutality of the world they were born into. As [the show] expands and this liberation blooms, we see more of [Hawk’s wife] Lucy [played by Allison Williams] and the impact of Hawk’s decisions on the characters around him.

To me, it’s a love story for the ages because you can follow any thread and it comes back to the political backdrop. But ultimately, there’s a real meeting of souls between the two. They complete each other in a way that’s so painful. But in a world where joy, connection and absolution are so hard to find, especially in the ’50s for gay men, it becomes addictive, and there are toxic cycles that come from it.

Matt Bomer: There are aspects of their own personal trauma that are complementary of each other.

JB: And they feed the other’s insecurities.

MB: The sad thing is, when Hawk is finally at a place where he can be his most authentic self and be available and empathetic enough to be a real partner in a relationship, it’s too late.

Hawk has a very specific moral code as a gay man living a double life in the 20th century: He is clearly able to show genuine affection for Tim, but he needs control in his relationships and is able to code-switch in public. Tim doesn’t understand Hawk’s ability to compartmentalize his life, but he still finds Hawk irresistible. How did you want to embody the many contradictions of your characters?

MB: For me, it all went back to Hawk’s childhood and that horrific incident that happened with his father [and his first love, Kenny]. He refuses to be a victim, so he’s going to find a way to survive and thrive in whatever way he can. It all ties into the fact that he will never be the victim of a homophobic society or family again.

JB: What Tim’s really drawn to in Hawk is his center. Hawk is the epicenter of all these people’s worlds because he doesn’t afford them space to veer him off in any direction. Tim’s always there for Hawk when he needs him, but Hawk’s never really there for Tim, and that is something Tim is drawn to. Tim’s quest in life is his desperate need for a groundedness, and the choice I made early on was to physicalize Tim so that his inner and outer world were matched.

Tim finds it really hard to lie; he can’t not be completely transparent. The decoding of Hawk is something that fills all sorts of needs in Tim. But as he gets older and [society’s] way of thinking aligns with his need to disassemble the cards he’s been given, Tim finds a stillness and a calm, which is reflected in the way he can then handle Hawk.

MB: Hawk does have his allegiances and his own sense of empathy, but if it comes down to anything that’s going to threaten his survival, he can go full Scorpio and cut it off. [He’s] a little Mother Teresa, a little Tony Soprano. [Laughs.]

JB: And in the performing of [those scenes], Tim felt so much more love than I thought he would. In episode two, I think it became more confusing to play Tim in the best possible way, because when he says, “I don’t understand you” [to Hawk], it’s because he can see the palpable empathy, love, and compassion. That is just as real as everything else, and that is a bind for Tim and really hard to step away from. When they look at each other, there’s no one else that’s ever existed. And if you’re lucky enough to have that with someone, it’s really hard to let that go.

There are little details that anchor each of Hawk and Tim’s sex scenes—the eye contact, the importance of consent, the shifting power dynamics, the negotiation of how much of yourself you’re willing to give to another person. How did you want to subvert traditional depictions of queer intimacy?

MB: We were so fortunate that those scenes were just an extension of the story, that the relationship was never the same after one of those scenes as it was before. It was always an externalization of what was going on with the characters internally.

JB: I think it’s a rule that [creator] Ron [Nyswaner] learned on Homeland where every single scene has to further the story—and that’s true of the sex scenes. Because there haven’t necessarily been elevated, eight-hourlong gay dramas like this; there was space to breathe, and that constant negotiation between the two of them is so vital. I remember speaking to [executive producer/director] Dan Minahan in Toronto. We had a good few hours, and we ended up talking about intimacy and how you can capture it on film. The thing that I understand [from] enjoying love stories or intimacy on film is the moments where they surprise each other.

MB: Yeah! It’s not like Hawk’s pushing the envelope the whole time; Tim upends Hawk as much as Hawk upends Tim’s expectations.

JB: We basically started with the chicken soup [scene in episode one], when Hawk seduces Tim for the first time. By the time we were in episode four, we were really emboldened as a team. As Jonny and Matt, we were always whispering, “This is absolutely fine, if you want to do this.” For so many people, it’s bizarre to think of that as a job. But when the material is as rich as this, no stone will go unturned into [depicting] how intricate, sensitive, celebratory, and joyful those moments are.

MB: I believe everybody should get to play every role, but I think the fact that we’re both openly gay men lent an ease and an understanding of a lot of the aspects of the relationship.

JB: You can have conversations between yourselves of why your instincts are cropping up in those moments. It was a bit like when, just before they dive, synchronized divers do that thing where they jump up and clap.

MB: [Laughs.] That was us! And there’s no [going] halfway in scenes like those that are written in this [show]. You know you have to go all the way.

Knowing that the entire emotional weight of their relationship rests on the penultimate line, “Promise you won’t write,” what did you want to convey in Hawk and Tim’s final scene together outside the governor’s ball? What do you remember from shooting their goodbye scene?

MB: I remember everything about that day.

JB: Yeah, I do too. Everything was in hyper-focus. It was overwhelming.

MB: It’s one of those scenes that you’re really glad you didn’t have to shoot on day two, because we had five and a half months of history [with] these characters. It was one of the last things we filmed together.

JB: I left [Toronto] early as well [to shoot Bridgerton], so we didn’t finish [shooting] together. We finished the love story in that scene.

MB: Yes, that’s right. It was one of those days at work where you have to try to get out of your own way and trust that all you’ve invested in these roles and these relationships will be inside of you. You don’t have to try to force or push anything; you have to just try to keep it alive and spontaneous when the cameras are rolling.

JB: I think we filmed it in the first take, didn’t we?

MB: Yeah.

JB: There are moments in that scene when it was like the world melted away. It’s amazing to see Tim establish his boundaries and be really kind with it. In that moment, he’s fully centered and aligned, and Hawk helps give him that final push to go, “I know what I’m doing, and what I’m saying is the right thing.” He’s never really known that with Hawk.

MB: Yeah, Hawk is finally emotionally vulnerable. I had every intention of coming into that scene and not letting any emotional vulnerability creep through, but it’s just one of those things where the scene takes over and you don’t want to block it.

Have either of you given much thought to what a second season of Fellow Travelers could look like?

JB: What I hope this [season] will be is a trampette into telling other queer stories, because two white gay men are the way in [to start a larger conversation], and it would be so interesting to have a world explored of [Jelani Alladin’s] Marcus and [Noah J. Ricketts’] Frankie. They were such a massive reason why I was like, “Okay, this is going to be good.”

MB: They weren’t in the book, and it was so important from the creatives that we included that narrative.

JB: I would totally come back and support Frankie’s story.

MB: Yeah, I would come in and do two days—whatever they need me for.

JB: Frankie and Marcus up front, and I’ll be there.

Surely, we all deserve to have the two of you star in a rom-com together (with a happier ending than this one).

JB: If someone comes up with it... Who would be the dream?

MB: To direct?

JB: Yeah. Luca Guadagnino?

MB: Yes, Luca or Andrew Haigh.

JB: We’ll do it!

MB: We’re there. And Russell T. Davies, if it’s a miniseries.

Have you discussed collaborating again in the future?

MB: Listen, sign me up to work with Jonathan Bailey any time. [They shake hands.] I will bring a tray to his character at the dinner table in a scene.

JB: Stop it. As long as it’s [like] Upstairs, Downstairs…

MB: [Laughs.] Yes, exactly. I would love that. Next time, I have to be British though. And I’ll come to London.

JB: I’ll be a Texan cowboy. [They laugh.]

In addition to Fellow Travelers, you both have new projects that will be debuting in the coming months. Matt, what were some of your takeaways from working with Bradley Cooper on Maestro?

MB: Bradley is such a generous and beyond talented scene partner—and his style of directing is so electric and present. He wants everything happening on the camera for the first time. I feel like I was really the beneficiary of his process before I started work on Fellow Travelers because I got to watch him and Carey [Mulligan] travel through all these phases of their multidecade romance. And then, [I was] getting to work with Johnny—who’s so similar in many regards, so generous, always keeping you on your toes and bringing things to the material that make the scene richer.

JB: Has Bradley watched Fellow Travelers?

MB: I keep telling him to! And Carey says she wants to. She keeps asking me where it’s on in England.

The third season of Bridgerton will premiere in two parts on May 16 and June 13, 2024. Jonathan, what new layers of Kate (Simone Ashley) and Anthony’s relationship will we see in the new season?

JB: I’m a massive fan of “Kanthony.” There’s so much to enjoy for both of them now, and we explore that in season three. They’ve overcome a lot. [We’re] talking about the need for communication in a romance, and that study of how they communicate and how little they did communicate until the very end [of season two]. So now, we can see them completely celebrate each other for who they are. There are really lovely conversations about heritage and familial roles, and once you meet someone who understands you fully, having sacrificed so much for the families as they both have, how exciting [it is] to make decisions that might change the course for them [as a couple].

Source

[breathingxspace]

This may be the series end, but it’s also the /season/ end...

This may be the series end, but it’s also the /season/ end, and while I don’t have words big or expressive enough to talk about the whole show, I /do/ have words for the writers/editors who made this season happen.

So. A thread about the people behind S4

S4 was weird both b/c we came in with so much existing world/lore/etc & also b/c we knew it was the last, so wanted to get EVERYTHING on screen, b/c it was the last chance.

That put a /lot/ on the writers, in a bunch of ways. But damn did they deliver.

Ep1 was mine, but I'm going to yell about Erik at the end, so for the time being, I just want to say thanks to Thomas for letting me play with some of his toys. Putting the two couples together for a heist was a joy.

Jordan took on one of the most ambitious challenges of S4. His pitch was excellent, but too big to fit in 1 ep. I came to him late in the game & asked how he felt about writing A Miniseries, & for some unknown reason he was willing to do it for us, & I'm so glad.

The Spaces In Between isn't a story for me, which is why I'm so glad it's part of this season. B/c it IS a story for a lot of other people, & more than a few have told me how much it meant to them. Jordan did /so much/ work, & made something beautiful. Thank you.

Mel-- adf;l/;adfsladfs;l My adoration of Cee & Molly knows no bounds, & this storyyyyyyy. This was one that had to carry a lot- get all the necessary info from backstory across while still being stand alone, & it NAILED that. & is funny, & sweet, &....

if I remember correctly, I came to Mel & @interiority w/ a suggestion they do a little collaborative creation b/c one of Interiority's pitches had strong overlap with Mels, & seemed like they'd work well together. They humored me, & made a work of art.

SJ & Kasha Mika need to get yelled about in concert. THESE two eps were /logistically/ complicated on top of narratively. They independently pitched a jail break out & break in & once again humored me in attempting to connect them. & obviously succeeded.

I love that the stories on their own are so distinct. It's NOT just telling 2 povs of the same narrative. Gospel & This Thing are their own stories, they just run parallel & overlap. But each story is richer & fuller for the other existing.

Last season, SJ made my month by wanting to play in the Terminal Station sandbox. This time, Jack did by wanting to write about Diatoma, which is one of my pet setting elements.

Something I love about these eps is how firmly in-genre they both are.

This Thing is a mob story, done to perfection. Gospel is a Western, & knows it.

Watching the two of them puzzle out where & how the stories met, & split, what you would hear in one vs the other, what could be left out or implied... it was excellent /technical/ work.

Scott 's Fable of the Family was similarly ambitions structurally, on top of narratively. It would have been easy for the series to get confusing, w/ the shifting time periods, but between writing & editing it's instead this gorgeous, sweeping saga.

The Peregrination stories are also ones that are not generally for me, but I got very invested in more than a few of the FoF ones. & again, the /mechanics/ of telling 3 stories in 3 times concurrently are fascinating, & excellently done.

Kale wrote what might be the most powerful ep in S4 to me. The characters & their struggles are intensely, almost brutally real & the sheer /weight/ of what it means to exist... The episode tackles really rough shit that's often overlooked (deliberately or not)

and it does that while still having a sense of humor. Almost all of our eps give me Emotions, but this one especially hit hard. I think it covers a slice of human experience we hadn't yet, & I'm very glad they wrote it, & it's part of the show.

Hang on for Chasing a Ghost yelling, going to do that at the end too.

Interiority has what might be my favorite brand of humor of all the BSFF writers, & There's a Design is no exception. He pitched a few eps (& I think I might have encouraged them all to get written in one way or another? Can't remember) but this one was, to me, the funniest

Except, see, he's not content making something that's /just/ funny. At its heart, this ep is... sad? sweet? deeply resonant with human nature? I don't know. I do know that Interiority can blend dry humor, over-the-top humor, empathy, & hope all into the same scene. It rules.

Again skipping my ep, but I do want to thank Daisy for her portrayal of Clarity. You Can Hear the Whistle Blow is. A very personal story. For me. So much so I had serious second thoughts about making it & I struggle to re-listen. Thank you for being gentle with her.

I could yell about Amy pretty much all day. She is one of the kindest, most enthusiastic, most /observantly/ encouraging people I've had the joy of working with. But this is about eps, so, we'll do that instead.

Blue Noon is the PERFECT final ep for BSFF.

Reading it, I knew it would need to be either the 1st or the last ep, & will not lie, I felt really bad making it the last. It was /so good/ I didn't want to make the audience (or the cast!) wait to release it. But I'm glad I did, b/c it's the ideal end note.

Going out with a Western, pistols-at-dawn narrative that's ALSO a heist and ALSO a gay panic love story? Yes. Yes, please. I am /really/ looking forward to more Amy content in this setting, and others. : )

CHASING A GHOST. James just. Keymash forever. This and Delta Vee Dining remain my favorite content of the show. CaG is /exactly/ what it should be. It's the best of public radio, delightful characters, excellent writing, and THE MUSIC.

I am in awe of composers, lyricists, & arrangers, & there's so much beautiful work in the miniseries. I just...

Honestly, this is one I've yelled about so much I am kind of out of new and excited things to say. So I'll leave it at thank you /so much/

To the editors (Aaron, Kale, Scott, Amy, Erik, Jordan, Maddie, & Sam) are our not-nearly-shouted-about-enough heroes, but I especially want to thank Sam for handling MANY eps AND finale stuff on top of his busy life. You're wonderful.

And again, we come back to Erik I love you so much, & everything I get to make with you is a delight and a joy. Your raw /skill/ as a sound designer & editor is just astounding, but lately I've gotten to see your experimental creativity, & it /rules./

Quite frequently lately you've messaged me with basically "I'm trying a thing, what do you think?" & it's inevitably something interesting, technologically complex, & cool as hell. I love watching you grow into the /art/ element of sound design as an artist. Thank you. Always.

Alright. I have now spent over an hour drafting this (on Oct 17, so I don't have to try to do it day of release when I am In My Emotions) and while there's absolutely more to be said, this thread is very long.

Thank you, S4 people-- actors, editors, writers, fans.

🚀💖🧈

-ash

[todaysdocument]

Memorial of the African-American People of Georgia in Favor of the Sumner Civil Rights Bill

Record Group 233: Records of the U.S. House of RepresentativesSeries: Petitions and Memorials Referred to the Committee on the JudiciaryFile Unit: Petitions and Memorials, Resolutions of State Legislatures, and Related Documents Which Were Referred to the Committee on the Judiciary during the 43rd Congress

Atlanta, Ga., Jan. 26th, 1874. Whereas, Hon. A. H. Stephens in his speech before Congress, January 5th, 1874, said that colored people of the State of Georgia did not desire the passage of the Civil Rights Bill; and whereas, the Georgia Legislature has also adopted resolutions, informing the Congress of the United States that the colored people of Georgia do not desire the passage of said Civil Rights Bill; and whereas, the allegations of Mr. Stephens and the Georgia Legislature are without foundation in fact: therefore, Resolved, That we, a portion of the colored citizens of Georgia, do most solemnly deny, both the speech of A. H. Stephens, and said Resolutions of the Georgia Legislature, so far as they relate to the colored citizens of this State being adverse to the passage of said Civil Rights Bill. Therefore, Resolved, That some arrangement be made by this meeting to deny the fact of the said assertions of Mr. Stephens, and the Georgia Legislature. 2. Resolved, That we, the citizens of the city of Atlanta, Ga., immediately inform the Congress of the United States, that we desire a speedy passage of the said Civil Rights Bill; and that we claim it as a right they owe us, as members of the Republican Party, and more particularly as citizens of the United States. 3. Resolved, That we most heartedly congratulate and thank Mr. Elliott, for his able and pointed speech, January 6th, 1874, in the House of Representatives of the United States, in behalf of the passage of the Civil Rights Bill, and in vindicating the ability and patriotism of the colored citizens of this country. Respectfully, J. O. WIMBISH W. D. MOORE, SECRETARY, J. B. FULLER, CHAIRMAN. Therefore, We, a committee appointed at a mass meeting of the colored citizens of the city of Atlanta, Ga., held on the 26th day of January, 1874, with power to forward on the above expression of eleven thousand of colored citizens of this City, do make this PETITION: To the Honorable Senate and House of Representatives: We, the undersigned committee, do hereby respectfully petition your honorable bodies to speedily pass the Civil Rights Bill, now under consideration in Congress, as the earnest request of the above stated citizens; wit hthe further request that your honorable bodies will, in view of the unjust manner in which we are now treated by the Legislature and the judicial tribunals in this State, enact such laws as, in your wisdom, are necessary to secure each citizen in the United States, without regard to race, color, or previous condition of servitude, equal civil and political rights, privileges and immunities before the law. And we your petitioners will ever pray. Dr. H. E. BAULDIN REV. ROMULUS MOORE C. WIMBISH C. H. MORGAN JAS. A. TATE. [Added by type beside list of names] Committee. We, the undersigned, members of the Georgia Legislature, fully endorse the above Resolutions and Petitions: T. G. CAMPBELL, SR. Ex. Senator 2d District. T. G. CAMPBELL, JR., Representative of McIntosh Co. I. H. ANDERSON, Senator 23d District. JASPER BATTLE, Representative of Thomas Co. A. J. NICHOLSON, Representative of Decatur Co. J. HEARD, Representative of Greene Co. JAMES B DEVEAUX, Senator 21st District. JAMES BLUE, Representative of Glynn Co. A. J. ATKINSON, Representative of Thomas Co. W. A. GOLDEN, Representative of Liberty Co.

[ulkaralakbarova]

The adventures of two amiably aimless metal-head friends, Wayne and Garth. From Wayne’s basement, the pair broadcast a talk-show called “Wayne’s World” on local public access television. The show comes to the attention of a sleazy network executive who wants to produce a big-budget version of “Wayne’s World”—and he also wants Wayne’s girlfriend, a rock singer named Cassandra. Wayne and Garth have to battle the executive not only to save their show, but also Cassandra. Credits: TheMovieDb. Film Cast: Wayne Campbell: Mike Myers Garth Algar: Dana Carvey Benjamin Kane: Rob Lowe Cassandra: Tia Carrere Stacy: Lara Flynn Boyle Dreamwoman: Donna Dixon Security Guard: Chris Farley Noah Vanderhoff: Brian Doyle-Murray Alan: Michael DeLuise Tiny: Meat Loaf Bad Cop / T-1000: Robert Patrick Alice Cooper: Alice Cooper Glen: Ed O’Neill Mrs. Vanderhoff: Colleen Camp Terry: Lee Tergesen Russell Finley: Kurt Fuller Davy: Mike Hagerty Ron Paxton: Charles Noland Elyse: Ione Skye Frankie Sharp: Frank DiLeo Waitress: Robin Ruzan Officer Koharski: Frederick Coffin Old Man Withers: Carmen Filpi Film Crew: Original Music Composer: J. Peter Robinson Screenplay: Mike Myers Executive Producer: Hawk Koch Director of Photography: Theo van de Sande Director: Penelope Spheeris Producer: Lorne Michaels Editor: Malcolm Campbell Stunts: Hannah Kozak Stunts: Alisa Christensen Associate Producer: Dinah Minot Associate Producer: Barnaby Thompson Screenplay: Bonnie Turner Screenplay: Terry Turner Casting: Glenn Daniels Production Design: Gregg Fonseca Second Unit Director: Allan Graf First Assistant Director: John Hockridge Second Assistant Director: Joseph J. Kontra Set Decoration: Jay Hart Camera Operator: Martin Schaer “B” Camera Operator: David Hennings First Assistant Camera: Henry Tirl First Assistant “B” Camera: Peter Mercurio Steadicam Operator: Elizabeth Ziegler Script Supervisor: Adell Aldrich Sound Mixer: Tom Nelson Boom Operator: Jerome R. Vitucci Additional Editor: Earl Ghaffari Assistant Editor: Ralph O. Sepulveda Jr. Assistant Editor: Ann Trulove Assistant Editor: Brion McIntosh Supervising Sound Editor: John Benson Sound Effects Editor: Beth Sterner Sound Effects Editor: Joseph A. Ippolito Sound Effects Editor: Frank Howard Dialogue Editor: Michael Magill Dialogue Editor: Simon Coke Dialogue Editor: Bob Newlan Supervising ADR Editor: Allen Hartz Foley Supervisor: Pamela Bentkowski Assistant Sound Editor: Carolina Beroza Assistant Sound Editor: Thomas W. Small Foley Artist: Ken Dufva Foley Artist: David Lee Fein Foley Mixer: Greg Curda ADR Mixer: Bob Baron ADR Voice Casting: Barbara Harris Sound Re-Recording Mixer: Andy Nelson Sound Re-Recording Mixer: Steve Pederson Sound Re-Recording Mixer: Tom Perry Music Supervisor: Maureen Crowe Supervising Music Editor: Steve Mccroskey Set Designer: Lisette Thomas Set Designer: Gae S. Buckley Special Effects Makeup Artist: Thomas R. Burman Special Effects Makeup Artist: Bari Dreiband-Burman Makeup Artist: Courtney Carell Makeup Artist: Mel Berns Jr. Hairstylist: Kathrine Gordon Hairstylist: Barbara Lorenz Hairstylist: Carol Meikle Costume Supervisor: Pat Tonnema Costumer: Janet Sobel Costumer: Kimberly Guenther Durkin Location Manager: Ned R. Shapiro Assistant Location Manager: Serena Baker Second Second Assistant Director: John G. Scotti Property Master: Kirk Corwin Assistant Property Master: Peter A. Tullo Assistant Property Master: Jim Stubblefield Leadman: Robert Lucas Special Effects Coordinator: Tony Vandenecker Chief Lighting Technician: Jono Kouzouyan Production Office Coordinator: Lynne White Unit Publicist: Tony Angelotti Still Photographer: Suzanne Tenner Craft Service: Vartan Chakarian Transportation Coordinator: James Thornsberry Color Timer: David Bryden Negative Cutter: Theresa Repola Mohammed Title Designer: Dan Curry Second Unit Director of Photography: Robert M. Stevens Stunts: Tony Brubaker Stunt Double: Steve Kelso Movie Reviews: tmdb15435519: I wish I could dress the exact same every day and still be cool.

[sixcostumerefs]

Performance Stats: 2022 (mainland edition)

Alright, it’s (no longer) that time of year again! Summary of all 2022 calendar year performances stats!! - This was a CRAZY year full of cross-production covers + emergency cover chaos so very fun to write up. It also made it a bit of a challenge with organization. If an actor was primarily with one production but served as an emergency cover for another, I listed them with their primary or initial production. - Yearly disclaimer that some errors and/or disparities could exist. - And as always, if you repost/use these stats anywhere, please credit me @sixcostumerefs (or six.costume.refs on Insta) And as always....a shoutout to Dionne Ward-Anderson, who featured in the largest number of performances this year, at a whopping 353 shows! Runner up is Andrea Macasaet at 327 shows, with Brittney Mack a very close third with 322! Most performing Aragon was Phoenix Jackson Mendoza (270), Seymour was Claudia Kariuki (293), Howard was Samantha Pauly (314.5), and Parr was Meesha Turner (267.5, but Alana Robinson was at 267). 2021-22 West End Amy di Bartolomeo: 242 performances Amanda Lindgren 255 performances Tsemaye Bob-Egbe: 233 performances Meesha Turner: 267.5 performances Paisley Billings: 114.5 performances (55 A, 44.5 C, 14 P) 2022-23 West End Rhianne-Louise McCaulsky: 81 performances Baylie Carson: 78 performances Koko Basigara: 65 performances Monique Ashe-Palmer: 14 performances (7 A, 1 B, 6 C) Leah Vassell: 40 performances (20 S, 1 C, 19 P) 2021-22 UK Tour Lauren Drew: 71 performances Maddison Bulleyment: 62 performances Caitlin Tipping: 68 performances Shekinah McFarlane: 60 performances Vicki Manser: 63 performances Elena Gyasi: 66 performances (61 regular prior to cast change + 5 emergency cover post-CC) Cassy Lee: 22 performances (8 A, 14 C) Cherelle Jay: 7 performances (1 B, 1 S, 2 C, 3 P) 2022-23 UK Tour Chloe Hart: 269 performances Casey Al-Shaqsy: 252 performances total (249 on UKT + 3 as E/C for WE) Aiesha Pease: 7 performances Jessica Niles: 237-245 performances total (19-27 performances with Breakaway 2.0, 218 performances with UKT) Jaina Brock-Patel: 110 performances Rebecca Wickes: 72 performances Alana M Robinson: 267 performances Harriet Caplan-Dean: 72 performances (10 A, 9 B, 13 S, 7 C, 18 H, 15 P) Grace Melville: 153 performances total w/ 151 performances on UKT (55 A, 4 B, 91 C with 60 of those performances as T/R, 1 P) + 2 as E/C for WE (2 C) Leesa Tulley: 186 performances (1 A, 35 B, 11 S, 137 H with 57 of those performances as T/R, 2 P) 2021-22 Broadway (+ Aug replacements) Adrianna Hicks: 202 performances Bre Jackson: 123 performances (two of these were half shows) Andrea Macasaet: 327 performances Abby Mueller: 117 performances Keri Rene Fuller: 183 performances (59 as T/R, 1 as early debut, the rest as principal) Brittney Mack: 322 performances Samantha Pauly: 314.5 performances Anna Uzele: 97 performances Joy Woods: 146 performances Brennyn Lark: 85 performances Mallory Maedke: 67.5 performances (16.5 A, 47 S, 4 H) Nicole Kyoung-Mi Lambert: 95 performances (39 A, 26 B, 30 C; two A were half-shows) Courtney Mack: 99.5 performances (25 B, 57.5 H, 17 P) Keirsten Hodgens: 107 performances total. 104 on Bway + 3 as emergency cover for Aragon Tour (Bway was 33 S, 25 C, 46 P; Tour was 3 C). Ayla Ciccone-Burton: 20 performances total. 12 pre-CC + 8 post-CC (pre-CC was 2 B, 3 C, 7 P; post-CC was 2 B, 3 C, 3 P) Holli’ Conway: 18 performances total. 9 pre-CC + 9 post-CC (pre-CC 3 C, 6 H; post-CC 5 A, 4 H) Hana Stewart: 2 performances (1 A, 1 P) 2022-23 Broadway Hailee Kaleem Wright: 27 performances Leandra Ellis-Gaston: 30 performances Bella Coppola: 30 performances Nasia Thomas: 29 performances Zoe Jensen: 19 performances Taylor Iman Jones: 29 performances Kristina Leopold: 2 performances (all as S) Aubrey Matalon: 9 performances (all as H) Aragon Tour Khaila Wilcoxon: 258 performances Storm Lever: 267 performances Jasmine Forsberg: 267 performances Olivia Donalson: 263 performances Didi Romero: 261 performances Gabriela Francesca Carrillo: 257 performances Cassie Silva: 41 performances total. 4 with Broadway + 37 with Aragon Tour (Broadway 3 B, 1 H; Aragon Tour 10 B, 13 C, 14 H) Kelly Denice Taylor: 29 performances total. 3 with Boy + 26 with Aragon Tour (Bway 3 S; Aragon Tour was 12 A, 7 S, 7 C) Kelsey Kimmel: 43 performances (16 A, 12 S, 15 P) Erin Ramirez: 34 performances (9 B, 11 H, 14 P) Boleyn Tour Gerianne Perez: 95 performances Zan Berube: 96 performances Amina Faye: 89 performances Terica Marie: 93 performances Aline Mayagoitia: 91 performances Sydney Parra: 96 performances Cecilia Snow: 18 performances (4 A, 11 S, 3 C) Tay Pearlstein: 13 performances (5 B, 7 H, 1 P) Jana Larell Glover: 20 performances (5 A, 8 C, 7 P) Aryn Bohannon: 13 performances (3 B, 4 S, 6 H) Australia Tour Phoenix Jackson Mendoza: 270 performances Kala Gare: 283 performances Loren Hunter: 291 performances Kiana Daniele: 269 performances Chelsea Dawson: 267 performances Video Makan: 254.5 performances Karis Oka: 137 performances (13 A, 28 B, 1 S, 26 C, 38 H, 31 P) Shannen Alyce Quan: 86 performances (9 A, 14 B, 30 S, 2 C, 6 H, 25 P) Chiara Assetta: 93 performances (29.5 A, 3 B, 3 S, 32 C, 18 H, 6.5 P) Cristina D’Agostino: 7 performances (all as P) Madeline Fansler: performances (with Breakaway 3.0: . 16 with Aus Tour: 7 A, 4 S, 5 P) Actors who primarily continued with their initial productions: Claudia Kariuki: 293 performances - 231 pre-CC - 62 post-CC Dionne Ward-Anderson: 353 performances - 269 pre-CC - 84 post-CC Roxanne Couch: 178 performances - Totalling 1 A, 5 B, 61 S, 13 H, 98 P - 122 pre-CC (1 A, 5 B, 61 S, 13 H, 42 P; two of the P were half performances) - 56 post-CC as principal Parr Rachel Rawlinson: 166 performances - Totalling 44 A, 13 B, 51 S, 29 C, 16 H, 13 P - 142 pre-CC (40 A, 12 B, 37 S, 29 C, 13 H, 11 P; 1 C + 1 S were mid-show swing-ons) - 24 post-CC (4 A, 1 B, 14 S, 3 H, 2 P) Esme Rothero: 153 performances - Totalling 19 A, 32 B, 19 S, 16 C, 27 H, 40 P - 129 pre-CC (17 A, 31 B, 19 S, 16 C, 19 H, 27 P) - 24 post-CC (2 A, 1 B, 8 H, 13 P) Danielle Rose: 192 performances - 152 pre-CC (6 A, 51 B, 4 S, 3 C, 87 H, 1 P) - 40 post-CC (15 B, 21 H, 4 P) Jennifer Caldwell: 289 performances total - Totalling 296 as B, 11 H, 3 P - 21 pre-CC as alt (7 B, 11 H, 3 P) - 287 post-CC as principal Boleyn - 2 as E/C Boleyn for West End Natalie Pilkington: 142 performances total - Totalling 8 A, 3 B, 65 S, 12 C, 2 H, 52 P - 130 performances with 22-23 UKT (2 A, 3 B, 64 S, 12 C, 1 H, 48 P) - 3 performances w 21-22 UKT (1 A, 1 H, 1 P) - 9 performances as E/C for WE (5 A, 1 S, 3 P) Standby swings: Harriet Watson: 78 performances total - Totalling 2 A, 19 B, 21 S, 14 C, 6 H, 14 P - 42 performances as alt for the 21-22 UKT (10 B, 11 S, 4 C, 5 H, 12 P) - 3 performances as E/C on the UKT (3 C) - 17 performances as E/C for the WE (6 B, 6 S, 2 C, 1 P) - 6 performances as standby swing for 21-22 WE (2 B, 3 S, 1 H) - 10 performances as standby swing for 22-23 WE (2 A, 1 B, 1 S, 5 C, 1 P) Marilyn Caserta: 5-7 performances total - all as Aragon - 2-4 Bliss 3.0 (all as A) - 3 Bway (all E/C as A) Emergency Covers Courtney Bowman: 1 performance (WE)

[disaster-vampire]

omg i had no idea he was a real killer and tbh it’s kind of on thomas harris or bryan fuller for randomly deciding that his character was a real serial killer

thomas harris never said that hannibal was the mostro. he mentioned the case in the books in regards to pazzi, tying him to the investigation & grounding the books in real events, but kept hannibal out of it. and i do believe that a lot of the "lore" in the books is tied to the mostro case but more in regards to what surrounded the case than the crimes themselves, even small things like hannibal's mother being part of the sforza family probably has to do with caterina sforza, who died in florence and who was a pretty big deal during the renaissance (not gonna go over her story here because this would get too long). same with dante being quoted, he was from florence and is considered one of the fathers of modern italian as a language, or even something as simple as hannibal being a count & a cannibal, very likely inspired by count ugolino della gherardesca, who appears in dante's divine comedy and who was rumored to have eaten his children in prison after they starved to death (it's unclear whether the rumor started from the way dante worded the verse or not. there's no actual historical proof that he did eat his children but he's known as the cannibal count anyway). there's also a whole bunch of connections to sardinia, both in the real mostro case (the first victims were sardinian and so the police started looking into the sardinians living in florence because they believed it was a crime of passion, before more victims popped up) and even with count ugolino, who used to have a castle in sardinia (i drive by it semi-regularly and my family always told me he'd eat me if i misbehaved as a kid. i still haven't visited the damn castle also). the case was also i think the first italian case to ever have to consult the bau in quantico, and i believe one of the first they've ever worked on because at the time chriminal psychology was kind of considered an unreliable science still. i've ranted about this multiple times so i really think i should write something properly laid out about it at some point but let's move on.

the choice to being the real life serial killer into it (and completely mischaracterise the murders too because i assure you there was nothing artistic about the real ones) was entirely in the team behind the nbc adaptation. i don't know if it can be blamed entirely on fuller but i mean. we're talking about the guy who decided it was appropriate to use the w*ndigo in the show and decided that margot shouldn't be butch like she was in the books because. idk.

anyway i also think folks should learn to google. immediately after watching hannibal i looked up if hannibal lecter & the chesapeake ripper were ever real people or real serial killers. didn't have to google the monster of florence because i'm from italy & my mom told me immediately when she heard the name in the show then i went and watched a whole ass documentary on the trials. sorry for ranting again this is becoming ridiculous of me.

[lboogie1906]

The Tuskegee Airmen were a group of African-American and Caribbean-born military pilots who fought in WWII. They formed the 332nd Fighter Group and the 477th Bombardment Group of the Army Air Forces. The name applies to the navigators, bombardiers, mechanics, instructors, crew chiefs, nurses, cooks, and other support personnel.

All African American military pilots who trained in the US trained at Moton Field, the Tuskegee Army Air Field, and were educated at Tuskegee University. The group included five Haitians from the Haitian Air Force and one pilot from Trinidad. It included a Hispanic or Latino airman born in the Dominican Republic.

March 22, 1942 - The first five cadets graduate from the Tuskegee Flying School: Captain Benjamin O. Davis, Jr. and Second Lieutenants Mac Ross,

Charles DeBow, L.R. Curtis, and George S. Roberts. They will become part of my the famous 99th Pursuit Squadron. List of Tuskegge Airmen.

Paul Adams (pilot)

Rutherford H. Adkins

Halbert Alexander

William Armstrong

Lee Archer

Robert Ashby

William Bartley

Howard Baugh

Henry Cabot Lodge Bohler

George L. Brown

Harold Brown

Roscoe Brown

Victor W. Butler

William Burden

William A. Campbell

Herbert Carter

Raymond Cassagnol

Eugene Calvin Cheatham Jr.

Herbert V. Clark

Granville C. Coggs

Thomas T.J. Collins

Milton Crenchaw

Woodrow Crockett

Lemuel R. Custis

Floyd J. Crawthon Jr

Doodie Head

Clarence Dart

Alfonza W. Davis

Benjamin O. Davis Jr. (C/O)

Charles DeBow

Wilfred DeFour

Gene Derricotte

Lawrence Dickson

Charles W. Dryden

John Ellis Edwards

Leslie Edwards Jr.

Thomas Ellis

Joseph Elsberry

Leavie Farro Jr

James Clayton Flowers

Julius Freeman

Robert Friend (pilot)

William J. Faulkner Jr.

Joseph Gomer

Alfred Gorham

Oliver Goodall

Garry Fuller

James H. Harvey

Donald A. Hawkins

Kenneth R. Hawkins

Raymond V. Haysbert

Percy Heath

Maycie Herrington

Mitchell Higginbotham

William Lee Hill

Esteban Hotesse

George Hudson Jr.

Lincoln Hudson

George J. Iles

Eugene B. Jackson

Daniel "Chappie" James Jr.

Alexander Jefferson

Buford A. Johnson

Herman A. Johnson

Theodore Johnson

Celestus King III

James Johnson Kelly

James B. Knighten

Erwin B. Lawrence Jr.

Clarence D. Lester

Theodore Lumpkin Jr

John Lyle

Hiram Mann

Walter Manning

Robert L. Martin

Armour G. McDaniel

Charles McGee

Faythe A. McGinnis

John "Mule" Miles

John Mosley

Fitzroy Newsum

Norman L Northcross

Noel F. Parrish

Alix Pasquet

Wendell O. Pruitt

Louis R. Purnell Sr.

Wallace P. Reed

William E. Rice

Eugene J. Richardson, Jr.

George S. Roberts

Lawrence E. Roberts

Isaiah Edward Robinson Jr.

Willie Rogers

Mac Ross

Robert Searcy

David Showell

Wilmeth Sidat-Singh

Eugene Smith

Calvin J. Spann

Vernon Sport

Lowell Steward

Harry Stewart, Jr.

Charles "Chuck" Stone Jr.

Percy Sutton

Alva Temple

Roger Terry

Lucius Theus

Edward L. Toppins

Robert B. Tresville

Andrew D. Turner

Herbert Thorpe

Richard Thorpe

Thomas Franklin Vaughns

Virgil Richardson

William Harold Walker

Spann Watson

Luke J. Weathers, Jr.

Sherman W. White

Malvin "Mal" Whitfield

James T. Wiley

Oscar Lawton Wilkerson

Henry Wise Jr.

Kenneth Wofford

Coleman Young

Perry H. Young Jr.

#africanhistory365 #africanexcellence

[if-you-fan-a-fire]

"BREWERIES SUFFER LABOR SHORTAGE," Windsor Star. July 8, 1943. Page 11. ---- Find It Hard To Keep Up Beer Quotas ---- Gibson Indicates Men Won't Be Diverted From Essential War Work ---- From Ottawa Bureau of The Windsor Star OTTAWA, July 8 - Brewers at having trouble maintaining their present quota of production and it is not considered wire to shift men from war Industries to make more beer, Hon Colin W. Gibson, minister of national revenue, told the Commons yesterday afternoon.

QUESTIONED BY LIBERAL M. Turner, Liberal, Springfield, asked: "As the result of an article in the Montreal Gazette of June 21, which states that the Co-operative Commonwealth Federation at their convention passed a resolution for less restrictions and better distribution times of beer supplies, does the government intend to take any action along this line?"

Mr. Gibson: "I have not received a copy of the resolution to which the honorable member for Springfield has referred, but I understand from what he said that is referred to the production and distribution of beer.

"I would like to say at this time that the brewers are having great difficulty in maintaining with the staff that they have available the quota which has been given to them, but I do not think any suggestion has ever been made that men should be diverted from essential war industries in order to produce more beer…

"With regard to the better distribution of beer, that is entirely a matter within the control and jurisdiction of provincial authorities

B.C. MEMBER PROTESTS Thomas Reid, Liberal, New Westminster: "Will the minister explain why British Columbia has been discriminated against in this matter?"

Mr. Gibson: "Every province treated on exactly the same basis, receiving a cut of ten percent of the quota of the previous year."

Mr. Reid: "A fuller statement is required for the information of this House."

[mightystargazer]

Another year, another readinglist complete. Been slowing down lately, trying to give my ears a little rest and catching up on some movies and TV-series as well!

D. J. Molles Extinction

Terry Pratchett A Life With Footnotes

Kirsten Bakis Lives of the Monster Dogs

Justin Woolley Shakedowners

Rick Gualtieri Strange Days

Rick Gualtieri Everyday Horrors

Rick Gualtieri Carnage À Trois

Rick Gualtieri The Liching Hour

Charles Stross The Atrocity Archives + The Concrete Jungle

Charles Stross The Jennifer Morgue + Pimpf

Charles Stross Down on the Farm

Charles Stross The Fuller Memorandum

Charles Stross Overtime

Charles Stross The Apocalypse Codex

Charles Stross The Rhesus Chart

Charles Stross The Annihilation Score

Charles Stross The Nightmare Stacks

Charles Stross The Delirium Brief

Charles Stross The Labyrinth Index

Charles Stross Dead Lies Dreaming

Charles Stross Quantum of Nightmares

J.N. Chaney Legacy of Stars

J.N. Chaney Blue Shift

J.N. Chaney Distant Horizon

J.N. Chaney Kingdom Come

W. Bruce Cameron Puppy Tales - Max's Story

Chuck Wendig Wayward

Mark Wayne McGinnis Rise of the Gia Rebellion

Chris Philbrook Dark Recollections

Chris Philbrook Alone No More

Chris Philbrook Midnight

Chris Philbrook The Failed Coward

Chris Philbrook Wrath

Chris Philbrook In the Arms of Family

Chris Philbrook The Trinity

Chris Philbrook Cassie

David M. McGoings Catharsis꞉ 2066

Eric Carter Dead Things

Eric Carter Broken Souls

Eric Carter Hungry Ghosts

Eric Carter Fire Season

Eric Carter Ghost Money

Eric Carter Bottle Demon

Greg Beck lemuria

Greg Beck Beyond Odin's Gate

Julia Huni The Vacuum of Space

Julia Huni The Dust of Kaku

Julia Huni The Trouble with Tinsel

Julia Huni Glitter in the Stars

Julia Huni Sweeping S'Ride

Julia Huni Orbital Operations

Larry Correia, John Brown Gun Runner

Dean Koontz The House at the End of the World

Ballingrud, Nathan The Strange

J.N. Chaney Blackest Ocean

John O'Brien Chaos

John O'Brien Return

John O'Brien Sanctuary

John O'Brien Taken

John O'Brien Awakening

John O'Brien A New World

John O'Brien Takedown

John O'Brien Conspiracy

John O'Brien Reckoning

John O'Brien Storm

Iain Rob Wright Witch - The Cursed Manuscripts

Jasper T. Scott Under Darkness

Charles Stross Escape from Yokai Land

Chuck Wendig Under The Empyrean Sky

Chuck Wendig Blightborn

Chuck Wendig The Harvest

Jeremy Robinson Torment

Nate Johnson The End of Everything

Paul Tassi The Last Exodus

Paul Tassi The Exiled Earthborn

Paul Tassi The Sons of Sora

M. R. Forbes Starship for Sale

M. R. Forbes head-case

M. R. Forbes Keep Away

M. R. Forbes Candy Bomb

M. R. Forbes Blue Burn

Brad Magnarella Shadow Deep

Brad Magnarella Godly Wars

Terry Pratchett Nightwatch

Jamie McFarlane Junkyard Ghost Ship

Richard Laymon Flesh

J.N. Chaney Fields of Fire

Creepypasta Accounts from a lonely broadcast station v1

Creepypasta Accounts from a lonely broadcast station v2

Creepypasta Accounts from a lonely broadcast station v3

Brad Magnarella Blue Curse

Brad Magnarella Blue Shadow

Brad Magnarella Blue Howl

Brad Magnarella Blue Venom

Brad Magnarella Blue Blood

Brad Magnarella Blue Storm

Daniel Church The Hollows

Douglas Adams Dirk Gently's Holistic Detective Agency

Douglas Adams The Long Dark Tea-Time of the Soul

Sean Thomas Fisher A Little More Dead

Sean Thomas Fisher Gunfire & Sunshine

Craig Alanson Failure Mode

J.N. Chaney Orion Colony

J.N. Chaney Orion Uncharted

J.N. Chaney Orion Awakened

J.N. Chaney Orion Protected

Craig Martelle Battleship Leviathan

Craig Martelle Leviathan's War

Craig Martelle Leviathan’s Last Battle

Craig Martelle Leviathan's Trial

Craig Martelle Leviathan Rises

Craig Martelle Leviathan's Fear

Hugh Howey Wool

Hugh Howey Shift

Hugh Howey Dust

J.N. Chaney, Terry Maggert Severed Ties

John Saul Black Lightning

Mark Tufo Shores of Despair

Richard Yancey The 5th Wave

Richard Yancey The Infinite Sea

Richard Yancey The Last Star

Mark Tufo Resurgence

Diana Rowland My Life as a White Trash Zombie

Diana Rowland Even White Trash Zombies Get the Blues

Diana Rowland White Trash Zombie Apocalypse

Diana Rowland How the White Trash Zombie Got Her Groove Back

Diana Rowland Zombie Gone Wild

Diana Rowland White Trash Zombie Unchained

Willow Mason Selective Spells

Willow Mason Vexatious Voodoo

Willow Mason Muddled Mutt

Ash Bishop Intergalactic Exterminators Inc

J.N. Chaney Renegade Star 1-4

Jaime Hernandez Urban Gridlock

Jaime Hernandez Suburban Jungle

Dean Koontz After Death

Chris Philbrook The Lost & the Found

D. M. Guay 24-7 Demon Mart

D. M. Guay Angel Trouble

D. M. Guay (Re)Possessed

D. M. Guay Revenge of the Furballs

Rick Gualtieri Bigfoot Hunters

Rick Gualtieri Devil Hunters

Rick Gualtieri Kraken Hunters

Chuck Wendig Zeroes

Wendy Northcutt The Darwin Awards, vol. 1

Stephen King Holly

Charles Stross Season of Skulls

Damien Hanson, Joseph Phelps BuyMort Grand Opening

Damien Hanson, Joseph Phelps How I Became the Accidental Warlord of Arizona

Damien Hanson, Joseph Phelps Rise of the Window Puncher

Jimmy Juliano Dead Eleven

N. C. Reed Odd Billy Todd

Rick Yancey The Extraordinary Adventures of Alfred Kropp

Robert Charles Wilson Spin

John Scalzi Starter Villain

Dean Koontz Strange Highways and Other Stories

Mark Tufo Devils Desk

Chuck Wendig Black River Orchard

Greig Beck The Fossil

M.D. Massey Invasion

M.D. Massey Incursion

M.D. Massey Counteraction

M.D. Massey Gabby's Run

M.D. Massey Extinction

Terry Pratchett A Stroke of the Pen

Michael Mammay Generation Ship

Joe Hill The Pram

Robert Jordan New Spring

Robert Jordan The Eye of the World

Robert Jordan The Great Hunt

Robert Jordan The Dragon Reborn

Robert Jordan The Shadow Rising

[hiddenwashington]

anonymous said : What characters would Pedro Pascal fit for horror movies, TVD universe, Teen Wolf, Marvel, DC Universe, Hunger Games, Stranger Things

you could use him for an original character in any of the specific fandoms you named , as they should still all be within the 3:1 ratio , but for canon characters , maybe : gabriel van helsing ( van helsing ) , freddy krueger ( elm street ) , the auditor ( hellraiser ) , roy burns ( friday the 13th ) , leigh brackett ( halloween ) , ken fuller ( black christmas ) , detective miller ( the black phone ) , john mulchaey ( carrie ) , steven wilkins ( trick r treat ) , ruben morris , august muller , thomas fell ( tvd universe ) , conrad fenris , adrian harris ( teen wolf ) , frank castle , bruce banner , alejandro montoya , peter w ( marvel ) , max lord , harrison wells , ares , roman sionis ( dc comics ) , haymitch abernathy ( hunger games ) , or jim hopper & murray bauman ( stranger things ) !

[dualnaturedscientist]

Tristan seemed to be surprised by this. He knew that Carl had a stepbrother named Thomas. He also knew all about Thomas and the way he reacted when he became Dr.Two-Brains. That man was honestly so on very thin ice for making his spouse feel like he did. "You're his older brother? We had no idea he had any other siblings." Bailey began to fidget with his hands. "I... am aware of that. Yes. I hadn't realized that I had a younger brother until recently myself. Carl was standing a few feet away from the door, listening in. He was just as confused by this. If he was going to be completely honest. He was only told of his one sibling Thomas. And that was his stepbrother. "I see. Do you want to speak with him? Perhaps another time..." Carl felt like they shouldn't turn him away. "I will be able to talk with him. You and Gene can plan out what you need to do. It's alright. I'll speak with him outside while giving you two privacy." Gene was also feeling protective over his father. Yet from where he stood, Bailey didn't pose much of a threat. If anything, it seemed Carl would easily be able to handle himself against him. "Very well. Please call us if you have any trouble." Tristan moved out of the way, allowing Carl to walk through the door. Leaving the former mad scientist and Tristan to their conversation. "You say that you're my older brother. How do I know that you're telling the truth." Bailey frowned. It wasn't disappointment from Carl not believing him but courage leaving him. "I know it sounds strange, I truly do. But I know you are my younger brother. We share very similar facial features. When I saw you, I just knew that we were family. I had come looking for you in hopes of us meeting. You see, I never got to truly meet my birth family. I was given hope of meeting one of them when I saw you on the news." Carl might have not been a lie detector, but he knew that this man wasn't lying to him at all. It seemed he didn't dare to try. "Very well. We can speak. I can see what you are referring to. We do have very similar facial features. Genetic features." At the library, Matthew's thoughts were racing. He wanted to chase after that blasted woman, but if Matthew were to do that, Miss Dewey wouldn't be very happy with that. She would have to report his sudden leaving to Margaret Fuller, and he didn't want to deal with her during such a time. He had to let Evangeline free. Unaware that he wasn't the only one wondering about her whereabouts. "Who was that?" Frank seemed concerned. "It's... very complicated. I can't go after her because of my probation, unfortunately. I had known her for a long time." This answer seemed to have appeased him. "Oh, I hope she will be fine. Hey, on the bright side. I happened to pick you up some snacks as well. Since you seemed occupied. And since we're going to be working buddies." Matthew gave him an appreciative smile. "Oh, thank you.” Though at the back of his mind. He couldn't shake the expression of confusion on Evangeline's face. Why was she so disoriented? Why was she young, alive? After work, Matthew was going to tell Carl about this. Perhaps not Gene though. He wasn't going to pile his problems into his son's own. He already did so unfortunately. Back at the house. “My love. I can't sit back anymore. Please. I have another solution, to ease your mind. Why don't I wear a tracking device of your own creation? This will ease your mind. Knowing where I am if I were to disappear. Don't you have anything of the sort already set to be used?” Gene's eyes widened at that. Why didn't he think of it? “Tristan, you're brilliant!” Finally they were on the same page. “If I'm taken, you'll be able to find me and send help. If I'm not taken by this being, we'll be able to track down my brother and our spouse. Either way we'll be able to get them back. I promise, my love.” Gene was quiet for a moment before embracing the other. “If things go wrong, I hope you know you'll be sleeping on the couch. Fine then. I want them back just as much as you do.” Tristan gave him a reassuring squeeze. “As you wish.”

@ninjastormhawkkat

"Hold on a minute, some weird guy is staring at me. Probably some bum trying to get change off of me." Comments like that had ensured he would absolutely be relieved of guilt for what was to happen next. A smile spreads across the figure's facial features, revealing inhumanly sharp teeth glinting in the street lights. A hand quickly shot out, taking a hold of the rather obnoxious man. "What the hell are you doing-" A scream soon pierced the quietness of the night. It quickly became a horrendous gurgling noise. The cellphone in the man's hand had fallen in the process. Leaving the person on the other end to become worried and confused about what was happening to the man. It didn't take very long for the man to become completely still. The figure allows him to finally fall to the cement below, licking at his blood stained lips in satisfaction. "The night, it is still so young. I don't think I shall waste another minute on you." Like a ghost in the night, he had vanished. As if he were never there. Leaving only the grotesque mess he had made for others to find. Unknown to him, there was a witness to this who had seen the whole thing. Watching in complete and utter fear. The figure grinned, it was as if he were seeing the world through different eyes. The opportunities that awaited him. It sent a shiver of excitement up his spine. His thirst might have satiated but he wasn't satisfied with only that. Oh no. There was so much more he had in mind for this city. Just wait till morning until they discover his little surprise for all to see. It wasn't until hours later did he finally return to the house. Feeling pleased with himself. Carl shot up in bed, heart racing so fast within his chest. Calming down once realizing he was in bed with Matthew. It took the retired scientist to recognize his surroundings. "That's right.. we're at Gene's place." The dream he had woken up from was already fading from his memory. It was rather absurd, recalling what he could. He could've sworn the dream was incredibly vivid and felt so real. But the little bits of the dream that he did remember became fuzzy and distant in his mind. Carl wasn't as quiet as he thought. Matthew had woken up. "Love, are you okay?" His voice had brought Carl from his thoughts. "Matthew, dearest. I hadn't meant to wake you up." He frowned, feeling guilty as he wanted his husband to get as much rest as needed. "It's alright, I needed to get up early anyway. Don't feel bad, my darling. I'm worried about you, though.” He gave Matthew a smile. “It was just a dream. I was just startled from a dream. I don't even remember what happened in it anymore. I'll be fine.” Matthew pulled the other into his arms, holding him in such a comforting manner. Placing a loving kiss to Carl's forehead. “Even so, I've still got you.” The former scientist blushed. Matthew still had such an effect on him even after all this time. “Thank you, my love.” They had stayed like that for a good while. It wasn't until Carl noticed the time that he forced Matthew to get out of bed and to get ready for his community service. Though there was something that had been bothering Carl since waking up. He had not remembered going back to bed after his conversation with Gene last night. No matter how much he tried to, it just kept coming up blank to him. Carl sighed, he must've been that tired that he didn't remember. He was getting up there in age. “I could stay back. Margaret won't be very happy about it but I don't want to leave you if you're not okay.” Carl smiled once more. “I'm not going to be responsible for what she'd do if you tried. You're also expecting a new face there, aren't you?” Matthew looked surprised at that. He had completely forgotten about that. And Carl did make a point. Wincing at the thought of what Margaret might do if he actually did skip out on it. Though for Carl, it would've been absolutely worth it. Whatever punishment she'd dole out, he'd endure for his dearest husband. “Go get dressed now.” Matthew chuckled at that before doing as he said. Leaving Carl to this thoughts.

Carl still felt unsettled by the dream, it was like he was walking through a mist. Yet at the same time it was like someone or something was controlling his body and actions. The dream was scary, but also ludicrous. At one point Carl thought he saw someone who looked like his old narcissus ex boyfriend who he never thought about again until now. Carl just let out a sigh and shook his head. 'It was just a nightmare.' Carl reassured himself. He remembered how reading how the mind and senses can trick the body into thinking something is real when it isn't. His strange dream was just one of those cases. Carl decided to get out of bed and go downstairs. He was going to try and help his son and other son-in-law deal with this strange and frightening case of kidnapping. Carl pushed away the issue of the nightmare and headed downstairs, ignoring the feeling of dread in the back of his mind. Carl also did not pay attention to that fact that his mouth was no longer dry and that there was no glass cup on the nightstand when he got up that morning. Atomic Steele surveyed the area with caution and an intense gaze. He was going over the area looking for something out of the ordinary. Something that had bothered his friend and teammate Electric Blur. Something in this seemingly abandoned area affected Blur's powers. "I wasn't sure what just happened. It felt like I was suddenly communicating emotionally with a strange energy wave that was being transmitted from there. I felt uneasy and scared...but also sad for some reason." That is what Blur told Atomic when she came back to their hideout looking shaken and worried. She told him she never felt anything like that before, not even from the fallen B.E.A.W labs. Atomic Steele offered to check it out for her as the young heroine wasn't keen on returning to the spot. While Electric Blur was being comforted by her other teammates, Atomic followed the directions the heroine had given him to the location where she felt the strange and unsettling energy. What Atomic Steele found when he got there was a large but abandoned warehouse surrounded by an empty field. The area was surrounded by a rusted, wired fence. The place looked like it hadn't been used for years. Still, the normally brave yet brash young hero couldn't help but feel a child go up his spine. His gut and instincts telling him there is something dangerous here, something evil. Atomic Steele walked up to the doors of the warehouse. He grabbed at a rusted handle and tried opening it. To the hero's surprise and growing caution, the door easily unlocked. Atomic Steele took a deep breath and steadied his nerves. He then proceeded inside the warehouse in a slow pace, ready to discover what laid inside. "Oh hello there Matthew. Cutting it a bit close are we." Miss Dewey lightly teased the former villain as he just came into the library to start his community service. "Sorry about that Miss Dewey. I had some problems this morning but I'm here now." Matthew replied, feeling a bit embarrassed about cutting things close. He really didn't want to leave Carl and Gene alone during the family crisis that was happening but at the same time he really didn't want to test the limits of his second chance at freedom from prison. Miss Dewey gave the man a look of sympathy and concern. "You know, if there is a serious problem going on at home, I wouldn't mind helping you fill out some forms to request a temporary leave from your community service." The librarian offered. Matthew smiled in appreciation at her kind gesture. "Thank you Miss Dewey but I'll be alright." Matthew responded. "So has the new service worker arrived yet?", the former villain asked. Miss Dewey smiled and nodded. "Yes he is here. Matthew, allow me to introduce you to Frank Leigh." Matthew glanced over to the man Miss Dewey introduced. He looked to be a few years older than Victor but still younger than Matthew and Carl. He had dark hair and light, blueish gray eyes. The man gave a friendly wave to Matthew. "Hi nice to meet you." Frank spoke in a kind tone. @dualnaturedscientist

[rabbitcruiser]

Clouds (No. 197)

Justice Building, Ottawa

Supreme Court of Canada, Ottawa (four pics)

Peace Tower,  Ottawa (five pics)

[ad--misericordiam]

The feminine urge to become the stereotypical Latina housewife and let Thomas Hewitt shove his big fat cock into me from behind while trying to make dinner or get chores done and fill me to the brim with white cum oozing down between my thighs while the family is gone 🥺☺️🥰

Lord have mercy... So, anyways—

w: female-coded language.

The moment you're all alone he can't get his hands off you. He tries, he swears! But you just look so good in that sundress, you only had it for a couple of months and it's a little tight around your curves now, but that makes it even better for him. The bigger and fuller you get, the harder his cock gets for you. So he's groping you over the flimsy fabric of your dress, his huge palms encasing your hips and guiding you to grind against him while you scrub the countertop clean. He knows he has his own tasks to tend to, but he doesn't care, at least not now. Not when your hair is falling out of your updo, and your hands are so soft from washing the clothes, and your breast are almost taunting him with a peek every time you bend down. So he takes the rim of your dress' neckline and pulls it down, watching your tits fall out and bounce before he silences your protests with a kiss and starts rolling your nipples between his fingers, and he grunts in satisfaction when you become pliant against his body, throwing your head back on his chest and whining so sweetly when he squeezes your chest and gives a rough thrust against your ass so you can feel how hard he is for you, how devoted, how desperate. So you do what any good wife would do— you take your panties off, push the skirt up, and spread your cheeks while bending over so he can split you open with his fat cock. But you're never prepared for the burn, the ache that comes from your walls trying to accommodate your husband's cock. But he's so sweet, he stops the moments he bottoms out, kissing your hair, the back of your neck, until you're panting and grinding your hips back into him, and he grinds his hips back, until you grip his shirt and beg him. Beg for his cock, for his cum, for him, “Wan' your babies, Tommy, please, please, please” he hears you cry, and he hears the lewd squelch of your pussy trying to suck his cock, deeper, deeper, deeper, “Wan' em so bad, please, give it to me—”. It always surprises you, the raw euphoria you feel when you know you're about to get fucked by Thomas, how light-headed you feel when the fat tip of his cock reaches so far inside you, you can feel your body struggling to accommodate him. You know you'll feel him for days the moment he rolls his hips against you so he can test how ready you are, so he can hear the lewd squelch of your cunt, pulsing helplessly around the base of his cock. And Thomas may not know many things, but pleasing his wife? Second nature. So he picks you up, back to his chest, your legs hanging and he starts rutting, barely thrusting his hips against you, just the nonstop rubbing of his fat cock against that spot inside your cunt that makes you want to scream and cry and beg for mercy. And he does not stop. He keeps going even when your moans turned into sobs, and even when those sobs became screams, because he knows, he just knows, that he is making you cum on his cock like the good little wife you are for him, he knows your wet little cunny will take all of his cum and give him children, and he knows then you'll be utterly his. His wife, the mother of his kids, keeper of heart and owner of his cock. And he knows you'll look so beautiful, split on his cock, belly rounded with his baby, and holding onto him while you bounce like he could get you anymore pregnant. That's the future he thought he would never have, right before his eyes when you dig your nails into his arms around your waist, your pussy sucking him in so diligently he has no other choice but to release that fucking gallon of cum he has directly inside your awaiting womb. Then he puts you down gently, puts your panties back on for you as if that would help keeping cum inside you, kisses you like he doesn't need air to live and off he goes. You'd be proud to have such a hard-working husband... If it wasn't for the fact that now you have to clean this fucking counter again.

[mutuallyassured]

some muses im thinkin of adding, lol

ramona vega (jlo's character from hustlers lmao)

christopher moltisanti

tony soprano

annie january / starlight

talia al ghul (basically headcanon-inspired bc canon is tragique)

lara croft (once im finished w the survivor trilogy!)

jack marston

charles smith

claire redfield

levi & dina from tlou2

stu macher

amber freeman (seems i have a thing for gay murderers)

amy elliot-dunne or nick dunne (this is my not-so-silent plea for someone to write either of them bc i dont think i'd want to interact w most other charas outside of each other - give me that Hand In Unlovable hand content PLEASE)

allyson strode-nelson (another not-so-silent plea for someone to write michael or for someone to write allyson w my michael lmao rip)

margot verger (my slightly book-inspired former drag king trans masc margot... why r bryan fuller n thomas harris such messes lmfao)

(femboy) charles lee ray (u already kno im trying to write chiffany so what's up)

what do we think... any1 have any suggestions or recs? even when it comes to movies/books... always looking for new content!

[winterscaptain]

pretty/drunk

Aaron Hotchner x Fem!Reader a joyful future fic

a/n: this doesn’t have any gendered pronouns, but some of the content was fairly fem-coded and i didn’t want anyone to experience anything triggering/unpleasant, so i tagged it fem. all my gals, gays, hes, and theys can be pretty and wear fancy underwear!! (i can always adapt a super super gender neutral version if anyone wants it! or hell, even male-coded. we’re inclusive in this house!) also my smut taglist is...not updated. yikes.

words: 2.5k warnings: alcohol use, drunk!aaron, smut (oral w/reader receiving, penetrative sex, creampie)

summary: “compliments cost nothing, yet many pay dear for them.” - thomas fuller

masterlist | a joyful future masterlist | ajf faq | requests closed!

“You’re so pretty,” Aaron says, his words only slurring a little. He’s followed you into the bathroom at Will and JJ’s like a lost puppy and can’t keep his hands to himself. 

You laugh, pulling his arms further around you. “Aaron, honey, you’re really drunk.”

His brow crinkles. You can see it in the mirror. “Do I… not tell you you’re pretty when I’m not drunk? Because I should do that.”

“No,” you assure him with a pat to the back of his hand. “You do, but you have less of an agenda when you’re sober.”

He laughs in that delightful little way he does when he’s drunk and he knows he’s been caught. “That’s not true. I always have an agenda.”

As if to make his point, his mouth drops to your neck, finding that spot that makes you sigh. You can feel your heartbeat in your bits at this point, but you won’t give him the satisfaction. 

You turn, holding his face in your hands. His eyes are only a little glassy - he’s playing it up because he knows it makes you laugh. “You’re not very subtle, sweetheart.”

“But you’re so pretty,” he grumbles, tucking his face into your neck again. 

“Okay, love. Let’s go. C’mon.”

You eventually get him back down the hallway and into the living room. 

Emily smirks at you, but you only roll your eyes and shake your head. 

Don’t be ridiculous. 

She shrugs. Not the first time it woulda happened. 

Fair point, your eyebrows say. She laughs. 

Jack’s running soccer drills with Henry in the backyard - still full of energy despite the ridiculously late hour - and JJ’s offered to have the boys over at her place tonight. 

“You’re sure?” 

“Pfft, absolutely. What’s one more? Jack’s easy.” 

You laugh lightly. “Can’t argue with that.” 

“And,” she adds, “I figure you guys could use the night. You know, sober up and stuff.” 

Squinting at her, you say, “I’m not drinking tonight.” 

“Just sayin’.”

With a roll of your eyes, you take Aaron by the elbow and lead him out the door and into the car. He’s terribly floppy when he’s just passed buzzed, but you know he’d never get drunk enough to actually make you babysit him. 

He’d explained it to you once. 

“Sweetheart, I’m not in my twenties anymore so wicked hangovers are an inevitability. And it’s inconsiderate.” 

+++

He’s particularly handsy as you walk up to the apartment, impeding your forward momentum as he drags you back against him, grinding playfully against you at every opportunity. 

“Aaron, quit!” You whisper-shout at him, mindful of your neighbors. It’s much later than your usual arrival time and you’re actually aware of the sleepy nature of the suburban apartment complex on a Saturday night. 

You finally let yourself into the apartment and lock the door behind you, setting the alarm as soon as you take your shoes off. 

Aaron’s leisure is apparent - he’s taking his time with his winter trappings (though you’re pretty sure he’d trip if he went at his normal pace). You watch him methodically place his shoes into the rack and hang his coat, brushing imagined debris off the sleeve. 

When he’s done, he turns back to you with a look he might think is smooth. Really, he just looks rather undone. 

Delightfully undone. 

You sigh and cross the room, pulling his lips to yours and winding your fingers in his hair. He moans into your mouth and you’re violently reminded of the other perk of an inebriated Aaron: while already vocal, his lowered inhibitions increase his volume in… almost every situation. 

“Come to bed, baby,” you whisper against him. 

You can feel his smile. “Okay.” 

Taking him by the hand, you drag him to your bedroom and close the door behind you out of habit. 

He presses you against the wall, his hands wandering down your ribs, your hips, your ass, up your shirt as his searing kisses poke holes in your desire to sleep. 

You pull back, your head against the wall. “I have something for you. Wanna see?” 

His eyes are firmly stuck on your mouth, but he nods. 

“Wait for me. I’ll be right back.” 

With a wolfish grin, he steps back (carefully) and starts to undo his belt buckle. As nice a visual as that is, you know you have a limited window before he crashes. 

Drunk Aaron often means Sleepy Aaron. If your estimation is right - you have about ten minutes. 

Slipping into the bathroom, you dig around in your side of the cabinet until you find the little bag you’ve been hiding. It’s lingerie you bought last year on his birthday, but hadn’t had the occasion to show him - between cases and Jack, there was never an opportune time. 

You change somewhat leisurely, giving yourself the time to get really worked up, thinking about the way Aaron’s hands and mouth feel on every square inch of your skin. When you’re well and truly warm, you open the door -

And find Aaron completely zonked, naked, halfway-under the turned-down covers. 

Looks like it was more like five minutes. 

You can’t help but smile at the sight. He’s adorable with his face all squished into the pillow, curled toward your side of the bed. 

You strip, leaving the treats back under the cabinet, and slip under the covers wearing nothing at all. 

+++

You’re sure you’re having the best sex dream of your life. Getting all worked up before bed often had its own consequences, but you find yourself waking before you can really grab onto the feeling. 

A bit frustrated, you rouse yourself and realize Aaron grinding against you isn’t part of your dream. You reach back, tangling your fingers in his hair - not enough to pull, but enough to let him know you’re awake. 

“Aaron?” 

“Hmm?” 

You let out a shaky breath and arch your back, sending your ass right into him. He groans and you feel his hand wander from your abdomen to your center, aching and soaked all the way to your thighs. 

His talented fingers wander over your heated skin, circling your clit and dipping into you but not enough. You wiggle against him impatiently, but he shushes you, laving your neck and shoulder with languid, wet kisses that leave you squirming. 

Your eyes flutter shut as he ducks under the covers, his kisses traveling down the curve of your spine, to your waist. You squeak when his teeth sink into the soft skin above your hip, immediately soothed with his tongue. Letting him lead, you wait until his fingers wrap around your knee before you swing your leg over his head. 

His pleased hum is audible and it sends a shiver down your spine. 

Your heel slides up his shoulder in your attempt to get him where you want him, but you can feel the muscles of his back ripple as he resists you, pillowing his head on your thigh. 

Aaron presses kisses to the crease of your thigh until you’re well and truly squirming. 

He lets out a drawn-out moan as his tongue makes contact with your slit and you swear he drinks from you before sloppily licking and mouthing his way to your clit, rolling the little nub on his tongue. 

“Perfect,” he whispers against you, wrapping his lips around you and sucking for a moment before taking one long pass from stem to stern with the flat of his tongue. 

You whimper, pressing the back of one hand to your mouth while the other tangles in his hair, holding him in place. 

He lifts, even against the pressure of your hand, and looks up at you, his nose, mouth, and chin glistening in the low light. “Nobody’s home, baby.” He drops a kiss to your clit. “Let me hear you.” 

You keep your eyes on his as he positively devours you. After what seems like forever, he drops his gaze, giving you a breathtaking view of his long eyelashes resting against his cheekbone. 

His arms slide over your lower back, wrapping around you to hold you steady as he rocks his face into you. It’s sloppy, loud, and immaculate. 

Closing your eyes and relaxing everything you can, you focus entirely on the sensation of his tongue against your clit, the way the whole lower half of his face burrows as far into you as he can get, ever seeking something more, somewhere closer. 

Your walls flutter on their own, pushed to the brink by his ministrations. Your hips buck a little and you let out the breath you didn’t know you were holding in a huff. 

“Fuck, Aaron. You’re so good.” 

“Mhmm.” His hum doesn’t leave your skin, but he still sounds way too full of himself. When you yank on his hair in light admonishment for his own self-awareness, he lets out another groan from deep in his chest. 

It rumbles through you, all the way to your bones. You can’t help but shudder again and his arms tighten around you.  

You can feel his muscles pull and flex under your calf as he chases friction, grinding into the sheets. His expression belies none of it - there’s not a grain of tension in his forehead, his eyebrows sit relaxed when they’re not pulled together in surprise or pleasure. 

One of his arms slides out from under you, running his fingers over your thigh before lifting his mouth from you. He wets his fingers, pulling them slowly from his lips and dropping them to tease your entrance. 

He raises his eyebrows expectantly, meeting your eyes. 

You give in. 

“Please.” 

With a smirk, he runs his fingers from your bundle of nerves to your slit, slipping them inside you with unbearable lack of haste. You wiggle against him and he relents, diving back into you with more than enthusiasm. 

Your voice is somewhere between a gasp and a whine. “Aaron, you’re gonna make me come.” You twist, but his arms hold you fast as you curl into your pillow. 

He doesn’t falter for a second, going down on you like it’s his favorite thing to do (it is, actually) until you’re overcome, shaking and overwrought with pleasure. His gentle guidance through your peak only prolongs it, sweetening the pleasure until it hums through your body. 

Finding his way back to you, he takes the same route he took on his way down, kissing his way to your knee, taking your leg back over his head, and wandering up your back with his lips and tongue. 

He settles behind you again and wraps you in his arms, pressing kisses to your neck. 

You turn your head and he meets your lips with his own. It’s an awkward angle, sure, but sex by definition is awkward - what’s one more element? 

You kiss the taste of yourself off of him, his little pleased noises only egging you on. Impatiently, you reach behind you and wrap your hand around his cock, stroking just the way he likes it (with a twist of your wrist at the tip) until he stops you with a hand over yours. 

“Either I come inside you or not at all.” 

With a little laugh, you release him. “By all means, darling. Be my guest.” 

Aaron’s got a stupid little smile on his face you can only see half of, but you make it clear you have no intention of moving, arching your back again to give him more access. 

Positioning himself between your thighs, he runs his cock over your heated flesh, between your lips, still sensitive from your orgasm. You relax into him with a shaky exhale, rocking back and seeking friction. 

His breath is hot at your ear as he eases into you, the angle from this position new and tight. You move with him, meeting him inch for inch as he slowly gives you more and more with each thrust. 

He brings his hand to your waist and you can feel him trembling. You bring your knees closer to your chest and he shifts so the top of his thighs are flush with the back of yours. 

You whimper as he finds that place inside you, and hits it over and over and over with alarming consistency. He’s bottoming out with every thrust and you’re seeing stars. 

The arm underneath him snakes under your pillow and around your shoulders, his fingers splayed over your chest. The arm at your waist sneaks down to your clit and you do him a favor - lifting your knee as close to your shoulder as you can get it. 

He loops his arm around your thigh, holding you open for him, while he drowns his fingers in his handiwork from before. It’s been almost two years and he's mastered that angle on your clit - the one that has you nearly in tears within seconds, gasping little sobs leaving you as you’re once again pushed to the breaking point. 

“Harder,” you tell him. “More.” 

His lips glued to the slope between your neck and shoulder, he pounds into you faster, harder, the sound of his hips snapping to yours filling the bedroom. 

Your orgasm crests over you all at once and you can’t even thrash as your vision whites out and your legs violently shake - his hold on you is tight and all-consuming. He well-and-truly fucks you, chasing his pleasure while riding you through yours. 

He gasps and you know he’s close. You bring your hand behind you to his hair again and hold him to you, the softness of his ungelled hair grounding you as the rest of your body continues to alight with sensation. 

“Fuck, I’m -” His brief warning is rough, breathless, and relentlessly hot. You look in front of you, seemingly for the first time, and realize your mirrored closet doors are right there. 

Your mouth drops open as you watch Aaron drive into you, deep, and unlatch from your neck, his eyes squeezing shut and mouth open, a groan leaving him. You can feel him inside you, warm and full, as he releases, his hips barely leaving yours as he shallowly ruts into you. 

You can’t tear your eyes from his reflection. He’s beautiful - perfectly undone and entirely blissed out. You clench and flex, milking everything you can from him until his body seems to melt into yours, the tension drawing out of his fingers, arms, then finally his brow. 

He hooks his chin over your shoulder, laying his cheek against yours. A low hum leaves him and a content smile curls at his lips. 

Yours matches, and you lace your fingers through his, pulling his arms tighter around you. “Did you tick off all your agenda items?” 

His eyes remain close as he answers with a little nod. “Mhmm.” 

“Are you still a little drunk?” 

“Hmm…” He actually thinks about his answer for a second. “Only a little. Mostly wanted to make you laugh.” 

You’ll have to go clean up eventually, but he snuggles impossibly closer, still inside you as he softens, and kisses your cheek, sweet and chaste. 

“You’re so pretty.”

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[lboogie1906]

Thomas Winston Cole, Jr. (January 11, 1941 - April 14, 2022) was born the second of four children to Eva and Thomas W. Cole, Sr., in Vernon, Texas. The family moved to Marshall, Texas, where his father was appointed President of Wiley College from 1958 to 1971. During his childhood, he attended public school and was an active Eagle Scout. He graduated from high school and attended Wiley College where he was active in the Kappa Chi and Alpha Kappa Mu Honor societies. Graduating summa cum laude from Wiley College, he received his BS and the Southern Regional Fellowship. He attended the University of Chicago and earned his Ph.D. in organic chemistry; it was here that he studied with P.E. Eaton and they became the first chemists to synthesize the Cubane Carbon Skeleton System. He began his professional career in 1966 as an assistant professor at the Atlanta University Center. During his tenure, he would serve as chairman of the department of chemistry between 1970 and 1979; the Fuller E. Callaway Professor of Chemistry between 1969 and 1979; Chair of the Atlanta University Center chemistry department; and Provost and Vice President for Academic Affairs between 1979 and 1982. He worked as a research scientist for Procter & Gamble and the Celanese Fiber Company. From 1982 to 1986, he was president of West Virginia State College. Following his presidency, he was appointed Chancellor of the West Virginia Board of Regents, one of four African Americans to head a state system of public higher education. He returned to Atlanta to accept a position as president of Clark College in 1988 and led the oversight and planning for the consolidation of Clark College and Atlanta University. He served simultaneously as president of both institutions during the 1988-1989 academic years until he was appointed President of Clark Atlanta University in 1989. He continued to serve as president until 2002. #africanhistory365 #africanexcellence #alphaphialpha https://www.instagram.com/p/CnRhvOFLoej/?igshid=NGJjMDIxMWI=