#cross-border projects

[little-p-eng-engineering]

Little P.Eng.'s Comprehensive Seismic Structural Services Aligned with ASCE 7-22 and NBCC Standards

In an era where architectural ambition pushes the limits of engineering, safeguarding structural integrity against natural calamities, particularly seismic activities, becomes paramount. This detailed exposé delves into the sophisticated seismic structural engineering services provided by Little P.Eng., a firm renowned for its compliance with the latest American Society of Civil Engineers (ASCE) 7-22 standards and the Canadian National Building Code (NBCC). Their work spans across Canada and the United States, encompassing a diverse range of buildings and non-structural elements, reflecting the pinnacle of safety, reliability, and innovation in modern construction.

1. Introduction

The unpredictable nature of seismic activities has long posed a significant challenge to the realms of construction and civil engineering. Within this volatile environment, Little P.Eng. has emerged as a beacon of reliability, offering cutting-edge seismic structural engineering services across Canada and the United States. Their adherence to the ASCE 7-22 and NBCC codes ensures not only the structural integrity of vast construction undertakings but also the safety and longevity of non-structural elements, affirming their position at the forefront of seismic resilience in contemporary infrastructure.

2. Understanding Seismic Structural Engineering

2.1. The Science of Earthquake Engineering

Before delving into Little P.Eng.'s specialized services, one must understand the core principles of seismic structural engineering. This discipline focuses on making buildings and non-structural components resistant to earthquake shocks through specialized planning, design, detailing, and, subsequently, construction. It encompasses geological science, material engineering, and structural analysis to develop structures capable of withstanding seismic disturbances.

2.2. Evolution of Seismic Codes: From ASCE 7-10 to ASCE 7-22

Seismic building codes are dynamic, evolving in response to the continuous advancements in engineering research and catastrophic lessons learned from each seismic event. The transition from ASCE 7-10 to ASCE 7-22 is a reflection of this evolution, marking significant strides in risk reduction and structural robustness, emphasizing not just human safety but also post-earthquake functionality and rapid recovery for communities.

3. Little P.Eng.’s Integration of ASCE 7-22 in Seismic Structural Engineering

3.1. Innovations in Seismic Design Philosophies

Little P.Eng. employs a forward-thinking approach to integrate the innovations outlined in ASCE 7-22. These include state-of-the-art seismic design philosophies involving base isolation, energy dissipation devices, and performance-based seismic design (PBSD), allowing for structures that are more flexible, absorb and dissipate seismic energy, and maintain structural integrity during earthquakes.

3.2. Site-Specific Hazard Analysis and Geotechnical Considerations

One of the critical aspects of ASCE 7-22 is the emphasis on site-specific hazard analyses. Little P.Eng.'s engineers led by Meena Rezkallah carry out comprehensive geotechnical evaluations, considering soil-structure interaction, liquefaction potential, and site-specific seismic hazard assessments. By understanding the geological variances across different regions in North America, they ensure that each design is intrinsically aligned with its environmental context.

4. Adherence to NBCC Standards: Expanding Safety Parameters Across Canada

4.1. Bridging Policies between Countries

While their services in the United States predominantly adhere to ASCE standards, Little P.Eng. seamlessly bridges engineering policies between the U.S. and Canada by aligning their practices with the NBCC. This code compliance not only underscores their versatility in handling cross-border projects but also reflects their commitment to upholding the highest safety and professional standards in every geographical locale.

4.2. Understanding NBCC’s Seismic Provisions

The NBCC has distinct seismic provisions, necessitating specialized knowledge and an adaptive engineering approach. Little P.Eng.'s expertise in Canadian seismic codes ensures that structural and non-structural components comply with regional regulations, catering to Canada's unique seismic challenges, especially in high-risk provinces.

5. Comprehensive Services for Buildings and Non-Structural Elements

5.1. Diverse Building Typologies

Little P.Eng.'s portfolio encompasses a variety of buildings, from residential high-rises and expansive commercial complexes to critical facilities like hospitals and emergency response centers. Each building type presents unique challenges, and the firm’s nuanced, context-oriented approach to seismic retrofitting and sustainable design practices sets industry standards.

5.2. Protecting Non-Structural Components

Beyond the buildings themselves, Little P.Eng. extends its engineering prowess to safeguard non-structural elements. These components, often overlooked, can pose significant hazards during seismic events. From architectural elements to mechanical and electrical systems, the firm implements exhaustive strategies to enhance the safety of these components, thereby protecting human life and minimizing economic loss.

6. Future Directions and Continuous Advancements

6.1. Embracing Technological Innovations

As the field of seismic structural engineering advances, Little P.Eng. remains committed to incorporating new technologies, including artificial intelligence and machine learning, for predictive analysis, design optimization, and risk management. Their continual investment in technology positions them as a leader in future-proofing structures against earthquakes.

6.2. Contribution to Global Seismic Safety Standards

Harnessing Advanced Engineering: Little P.Eng.'s Comprehensive Seismic Structural Services Aligned with ASCE 7-22 and CNBCC Standards in North America

7. Conclusion

Little P.Eng.’s comprehensive seismic structural engineering services, grounded in the latest ASCE and NBCC standards, represent a confluence of scientific mastery, innovative engineering, and a deep commitment to safeguarding human lives and investments. Their work across diverse building typologies and non-structural components in Canada and the United States cements their stance as a pivotal player in shaping resilient, sustainable, and safe urban landscapes. As seismic activity remains an unpredictable threat, the foresight and innovation of firms like Little P.Eng. are society's best bet for a safer tomorrow.

References

[1] American Society of Civil Engineers. (2022). Minimum Design Loads and Associated Criteria for Buildings and Other Structures (ASCE/SEI 7-22). ASCE.

[2] National Research Council Canada. (2020). National Building Code of Canada.

Tags:

Little P.Eng.

ASCE 7-22

design optimization

earthquake resilience

energy dissipation

building codes

seismic design

advanced materials

non-structural components

CNBCC

technological innovations

cross-border projects

geotechnical considerations

mechanical systems safety

base isolation

sustainable construction

electrical systems safety

Seismic structural engineering

critical infrastructure

artificial intelligence

urban resilience

construction techniques

seismic retrofitting

site-specific analysis

predictive analysis

professional standards

safety regulations

risk management

performance-based design

global seismic standards

Engineering Services

Structural Engineering Consultancy

Seismic Bracing Experts

Located in Calgary, Alberta; Vancouver, BC; Toronto, Ontario; Edmonton, Alberta; Houston Texas; Torrance, California; El Segundo, CA; Manhattan Beach, CA; Concord, CA; We offer our engineering consultancy services across Canada and United States. Meena Rezkallah.

[invinciblerodent]

I couldn't find one, so I made a very quick and dirty cross stitch chart of the Dragon Age: Origins font for anyone to use ❤️

[sprytist]

Finally done!! Pattern by me, all handmade (including the frame!)

Inspired by the lovely Welcome Home project headed by @partycoffin, I couldn't wait to post my finished work! Every letter is patterned after either text on the website, or Wally's handwriting.

Welcome Home has been a huge inspiration for me lately, and I cannot Wait to make and share more physical crafts!

[mannyblacque]

John Oliver dropping straight 💯 facts. Finally, someone says it.

THERE IS NO FUCKING INVASION!

[alwaysbewoke]

[champ-wiggle]

'She is so old': One-eyed wolf in Yellowstone defies odds by having 10th litter of pups in 11 years

By Patrick Pester, published June 3, 2024

Wolf 907F recently gave birth to her 10th litter of pups, which researchers say is likely a Yellowstone National Park record.

Wolf 907F walking past a trail camera in Yellowstone National Park. (Image credit: Yellowstone Wolf and Cougar Project)

The alpha female of a Yellowstone gray-wolf pack has defied the odds by having a 10th litter of pups at the age of 11.

The one-eyed wolf elder, named Wolf 907F, gave birth to her latest litter last month, the Cowboy State Daily reported. Gray wolves (Canis lupus) have an average life span of three to four years, so it's rare for them to reach 11, let alone have pups at that age.

Wolf 907F has given birth to pups every year for a decade straight since she became sexually mature, which Kira Cassidy, a research associate at the Yellowstone Wolf Project, said is likely a record for the wolves of Yellowstone National Park.

At age 11, Yellowstone’s Wolf 907F has lived more than twice a wild wolf’s average life expectancy. In this photo from April, she was pregnant with a litter of pups that she’s since given birth to. (Courtesy Yellowstone Wildlife Project)

"Every day, I expect that she might die just because she is so elderly, but I've been thinking that for the last few years, and she keeps going," Cassidy told Live Science.

Cassidy has calculated that only about 1 in 250 wolves in Yellowstone make it to their 11th birthday, with just six recorded examples since wolves were reintroduced to the park in 1995. The oldest of all of these great elders lived to 12.5 years, according to the National Park Service.

Wolf 907F lies in the snow in Yellowstone in 2015. (Image credit: Kira Cassidy/NPS)

Wolf 907F is the oldest wolf to have lived her whole life in the park's Northern Range, where there is more prey but also more competition from other wolves. Wolves rarely die of old age in the wild, and in Yellowstone National Park, the biggest threat is other wolves.

"In a protected place like Yellowstone, their number-one cause of death is when two packs fight with each other," Cassidy said. "That accounts for about half of the mortality."

One of Yellowstone's oldest wolves, Wolf 907F is pictured here with her pack last year. She's the gray collared wolf on the lower left. (Courtesy Yellowstone Wildlife Project)

Wolf 907F is the alpha female of the Junction Butte pack, which has between 10 and 35 members at any given time. Cassidy noted that this is a large pack — the average wolf pack size is about 12 individuals — and that reduces the risk of being killed in territorial fights. Wolf 907F's experience also gives her pack an edge.

"Packs that have elderly wolves are much more successful in those pack-versus-pack conflicts because of the accumulated knowledge and the experience that they bring to that really stressful situation," Cassidy said.

Wolf 907F has likely boosted her pack's survival chances outside of battle, too. Cassidy noted that the Junction Butte pack rarely leaves Yellowstone's border and that Wolf 907F is "savvy" when it comes to things like crossing roads and avoiding humans.

Wolf 907F, Yellowstone's aging matriarch at 11 years old, only has one eye. She's the fourth wolf to pass by this trail cam. (Courtesy Yellowstone Wildlife Project)

What makes Wolf 907F even more impressive is that she does all of this with only one functioning eye. Researchers aren't sure what happened, but her left eye has been small and sunken since before she turned 4. "You would never know [when] watching her," Cassidy said.

Like other elders, Wolf 907F takes a back seat in hunts now that she's older, and she spends most of her day hanging around with the pack's pups. Cassidy and her colleagues have counted three pups in her current litter, which is smaller than the average litter size of four to five but not surprising. A 2012 study of Yellowstone wolves published in the Journal of Animal Ecology found that litter size declines with age.

"The fact that 907 is still having pups is amazing, and her litter being small is expected given that she is so old," Cassidy said.

A few of Wolf 907F's offspring now lead packs of their own, but most of her pups never reach adulthood due to the perilous nature of being a wolf. However, Wolf 907F and the others in the park don't seem to live like death is on their mind.

"They are happy to be with their family going from day to day," Cassidy said. "Even if they have injuries or are missing an eye or something really stressful is going on in their life, they move through that stress and go back to seemingly really enjoying their life."

At age 11, Yellowstone's Wolf 907F - the gray wolf in the center of this photo from 2020- has lived more than double the typical lifespan of wolves in the wild. (Courtesy Yellowstone Wildlife Project)

[schoolhater]

answering a couple questions i got on this post since i realized ppl genuinely wanna know:

tl;dr:

israel lets very, very little aid get into gaza. even the UN can't get in as much as they want to. funding individual families, gazan led initiatives, and mutual aid collectives operating out of gaza ensures gazans can provide for themselves and pay for the extremely expensive aid that is available.

with all the civil infrastructure destroyed by israel, the situation on the ground has devolved into unrestricted capitalism, driving up the price of aid (that should be free!). this makes it more urgent for people to have funding for daily survival.

the post linked above has examples of how donating to individual families can help a lot. if you want to help more than one family at a time, there are many gazan-led initiatives focusing on rebuilding their infrastructure and distributing aid fairly that are worth donating to instead of large charities that already get the majority of donations.

as i mentioned in the last post: @/careforgaza on twitter is a nonprofit started by gazans, it's been endorsed by multiple palestinian journalists.

the sameer project is a collective organized by diaspora palestinians offering emergency shelter to gazans.

ele elna elak is a project aiming to bring water, food, shelter, etc. to gazans and has been promoted by bisan owda.

and the municipality of gaza itself is fundraising to rebuild water infrastructure.

all of these organizations are active inside gaza right now and are being run by gazans. if anyone knows of other gazan-led mutual aid projects, nonprofits or charities feel free to link them in the notes! hope this helped!

long answers under the cut!

if you wanna donate to a charity that's absolutely fine, but the thing is most charities (and even the UN!) are unable to make it into gaza in the first place, leaving aid rotting at the egyptian side of the border or subject to israeli settler attacks

not to mention, charities and nonprofits also maintain a paternalistic colonial relationship with the indigenous people they are trying to help, determining what aid they need for them instead of returning power to them and letting them make their own choices

i'm not here to say that one option is better than the other, just that they achieve different things and are equally legitimate. there's an attitude among people who question the legitimacy of these gofundme campaigns that somehow the people promoting them are telling them not to donate to charities. nobody is stopping you from donating to charities. we are just asking that you do not dehumanize the very real gazans in your inbox just because their method of asking for aid is more direct and risky.

unfortunately that's exactly what has happened. because israel destroyed all of gaza's more formalized infrastructure, it seems that organized crime and rampant inflation has taken its place. aid is supposed to be free, but in order to save for evacuation or the cost of living, people have started selling them at an inflated price. and aid that is truly free attracts intense, large crowds that are dangerous to navigate.

this was posted on abc a few days ago

it's pure, unrestrained capitalism. i've had multiple palestinians describe this situation to me confidence. that's why everything's so expensive now. why people have to rent out tiny plots of land for their tents to sit on, why my friend @siraj2024 still has to buy tarps to cover the broken windows of the overpriced bombed out apartment he rented, and why a bag of flour can cost a thousand bucks in the north.

even before israel closed and then bombed the rafah crossing, the egyptian hala travel agency was only allowing people to cross the border if they paid a hefty $5000 USD per adult / $2500 USD per child bribe. it denies doing this, but the hundreds of stories from palestinians say otherwise.

with regard to the economy, here in america we saw something similar happen in the wake of hurricane helene and milton. the podcaster margaret killjoy describes how she saw dual economies rise after asheville was fully cut off from the rest of the country - some people offered each other supplies for free in a sort of mutual aid honor system, and some people required payment when they lent supplies because they themselves needed to buy stuff for their families. these dual economies exist in gaza too. and this means they all still need money to survive.

[paradiseisinthemind]

Brinco

2005, Judi Werthein

Argentinian artist Werthein set up a trainer brand, Brinco (‘jump’ in Spanish) in 2005. She distributed the trainers free of charge to people attempting to cross the border illegally in Tijuana, Mexico. At the same time, just over the border in the US city of San Diego, she sold the shoes as ‘limited edition’ art objects for over $200 a pair. Werthein donated part of the money she raised to a Tijuana shelter helping migrants in need.

The trainer’s design includes eagle motifs inspired by American and Mexican national symbols, and an image of Saint Toribio Romo, the patron saint of Mexican migrants. The shoes also feature a torch, a compass and pockets to hide money and medicine. Printed on a removable insole is a map of the border area around Tijuana.

Werthein had the Brinco trainers produced cheaply in China. Many global companies manufacture products in countries where labour is cheap and often poorly regulated. The artist hopes to draw attention to how easily goods move between countries, compared with the strict regulations around the movement of people. The same governments that allow the import of cheap goods from overseas often strictly control, and actively discourage, migrants from entering the country in search of better living conditions.

"Goods can cross any border that people cannot"

[nepalenergyforum]

MCA-Nepal's Four-Year Commitment to Project Completion Announced

Electricity transmission project, contract agreement for three substations, road maintenance, significant progress claimed in access to project and construction sites, and livelihood restoration. Kathmandu — Millennium Challenge Account (MCA-Nepal) made public the one-year progress of the project on Wednesday. MCA-Nepal also clarified that the project will be completed within the stipulated…

[trader-sg112]

UAE Central Bank Introduces Easy Cross-Border Payments

The Central Bank of the UAE has achieved a major milestone with the launch of the Minimum Viable Product (MVP) platform for the m-Bridge project. This platform, a first of its kind, promises to transform cross-border payments and settlements. Ready for early adopters, it's a game-changer in the world of wholesale transactions.

Teaming up with key institutions like the Bank for International Settlements Innovation Hub Hong Kong Centre, the Hong Kong Monetary Authority, the Bank of Thailand, and the Digital Currency Institute of the People’s Bank of China, the UAE Central Bank is leading the charge in digital currency innovation.

In January 2024, Sheikh Mansour Bin Zayed Al Nahyan initiated a historic cross-border payment of 'Digital Dirham' worth Dh50 million to China via the m-Bridge platform. This marked not only the platform's real-world readiness but also the first significant CBDC payment between a Mena country and a nation beyond the region.

The launch of the m-Bridge MVP platform signifies a monumental shift in global financial operations, promising enhanced efficiency, security, and transparency. With the UAE Central Bank at the forefront, the future of cross-border payments is brighter than ever.

[falesten-iw]

What makes you react to what's happening in Gaza? and What makes you care about human lives? Is it empathy, ideology, culture, religion, knowledge, or something else that compels you to feel and act?

What would push your government to stop saying, "Israel has the right to defend itself"? What would make columnists stop focusing on self defense and what the demonstrators or students are doing "wrong" and instead use their platform to pressure their government to do what's "right" to stop this ongoing genocide? When did you start caring, and when will you start acting?

Is it when you have Palestinian friends?

When Palestinian children begged for food, safety, and water?

When over 45000 Palestinians had been killed & 98000 injured ?

When left-wing political parties around the world started criticizing Israel?

When Palestinian and Israeli human rights organizations sounded the alarm for years?

When protesters took to the streets every week? Do you still hear their voices?

When human rights organizations like Amnesty International or Human Rights Watch documented the atrocities? Was 60 years of human rights violations not enough?

When journalism associations worldwide recorded an unprecedented number of journalists killed in such a short period?

When UN agencies like the World Food Program or UNRWA reported on the humanitarian disaster and worsening famine?

When aid organizations like Doctors Without Borders or the Red Cross warned of the total collapse of healthcare?

When child rights organizations like Save the Children or UNICEF constantly reported on children’s acute physical and mental health crises?

When Jewish groups like Jewish Voice for Peace declared, "Not in my name"?

When the International Criminal Court in The Hague found strong evidence of crimes against humanity and began prosecuting high-ranking officials? Are you waiting for the court to tell you act?

When your children were upset after hearing what was happening in Gaza? Did that stir your parental instincts?

When the EU's foreign policy chief, Josep Borrell, repeatedly urged Israel to stop the killings?

When your favorite artist spoke out—did that make you reflect?

When students protested at universities around the world? Does the passion of young people give you hope?

When the Pope made a statement about the situation?

When military experts reported how many bombs Israel had dropped on Gaza?

When 2.5 million people were displaced under bombardment, with nowhere to escape in Gaza—a place already called the world’s largest open-air prison even before October 7?

When your employer gave you permission to speak out?

Are you waiting for Joe Biden to say the red line has been crossed and stop sending weapons?

Or are you waiting for Donald Trump to say the magic words: "Enough is enough"?

Or for Benjamin Netanyahu to say "Oh sorry that was a mistake"?

Or are you waiting for God Almighty to come down and say, "Enough is enough"?

Or for the most extreme elements in the Israeli government to say, "Now we can stop bombing"—but will there be any Palestinians left in Gaza by then?

Or will you stop waiting and act now, driven by empathy, knowledge, and solidarity with people who are being oppressed right in fornt or your eyes?

I’ve lost over 200 family members, friends, and neighbors in this genocide. I have 24 of my family’s members and 2 orphaned children, trapped in a makeshift tent and struggling to survive in this freezing winter in Gaza. Is that not enough to move you to act? Tell me then when ?—when will your humanity compel you to step in? Please, act now and donate!

Vetted and shared by @90-ghost: Link.

Verified and shared by @el-shab-hussein: Link

Listed as number 282 in "The Vetted Gaza Evacuation Fundraiser Spreadsheet" compiled by @el-shab-hussein and @nabulsi : Link

Listed on the Butterfly Effect Project, number 957: Link

Additionally, Al Jazeera News has documented apart of my family's case: Link

If, for some reason, you couldn't donate via GoFundMe, you can donate via PayPal instead.

@mesetacadre @forevergulag @gazafunds @northgazaupdates2 @freepalestinneee

@komsomolka @muppet-sex @nabulsi @fading-event-608 @buttercuparry

@prierepaiienne @interact-if @unified-multiversal-theory @inkstay

@socialjusticekitten-blog @socialgoodmoms @nowthisnews @socialgoofy @fightforhumanity-rpg-blog

@fightforhumanity-rp @queerandpresentdanger @90-ghost @timogsilangan @punkitt-is-here

@fox-guardian @hiveswap @valtsv @helppeople @ibtisams

@annoyingloudmicrowavecultist @vakarians-babe @plomegranate @queerstudiesnatural @tamamita

@apollos-boyfriend @akajustmerry @marnosc @flower-tea-fairies @tsaricides

@belleandsaintsebastian @ear-motif @brutaliakent @raelyn-dreams @troythecatfish

@4ft10tvlandfangirl @communistchilchuck @fairuz @sarazucker @fairuzfan

@a-nautilus-as-pixel-art @13eyond13 @stil-lindigo @baby-indie-blog

[hilite-head]

"Crossing Borders" Exhibition @ 40 West Arts

[magnusforgaza]

TMA COMMISSIONS FOR GAZA

What is TMA Commissions For Gaza?

You can get small TMA commissions (a little drawing or short fanfic) in exchange for donating to 1 of 10 Gofundme's of Palestinians in Gaza (starting May 17th)

There are about 60 artists signed up already who have volunteered to work for free for this to happen. Until May 16th, you can join too!

The project is fanmade and has no connection to Rusty Quill

Our carrd: https://magnusforgaza.carrd.co/ Everything else under the cut ↓

How can I commission?

Here's a detailed How To Commission guide.

In a nutshell: 1: Donate to one of the 10 gofundme's. (any amount) 2: Fill out the commission form and describe what art you want! 3: And now we wait. We don't know how many commissions each artist will take on so please be patient💚

Guidelines for artists:

Here's a post with guidelines for artists and authors.

Here's the post that explains the process from sign up to sending the commission to the person who requested it.

Where does the money go?

We, the organizers and artists of TMA commissions for Gaza, gain no money from this. We ask participants to donate to 1 of these 10 Gofundme's by Gazans who are trying to survive and evacuate Gaza. 5 of these Gofundmes are on the Operation Olive Branch list and the other 5 are friends and family of one of our organizers. The funds are needed for expenses such as medical care, food and first and foremost to pay for crossing the border to Egypt.

Why only 10 Gofundme's?

We hope to be more effective when focusing on just a small number of Gofundme's and not for example the whole Operation Olive Branch list. Providing a smaller number of places to donate to may also help donators to not get overwhelmed by the amount of people who need their help. If you have any questions, send us a message here on Tumblr!

CARRD: https://magnusforgaza.carrd.co/

[fatehbaz]

was thinking about this

To be in "public", you must be a consumer or a laborer.

About control of peoples' movement in space/place. Since the beginning.

"Vagrancy" of 1830s-onward Britain, people criminalized for being outside without being a laborer.

Breaking laws resulted in being sentenced to coerced debtor/convict labor. Coinciding with the 1830-ish climax of the Industrial Revolution and the land enclosure acts (factory labor, poverty, etc., increase), the Metropolitan Police Act of 1829 establishes full-time police institution(s) in London. The "Workhouse Act" aka "Poor Law Amendment Act of 1834" forced poor people to work for a minimum number of hours every day. The Irish Constabulary of 1837 sets up a national policing force and the County Police Act of 1839 allows justices of the peace across England to establish policing institutions in their counties (New York City gets a police department in 1844). The major expansion of the "Vagrancy Act" of 1838 made "joblessness" a crime and enhanced its punishment. (Coincidentally, the law's date of royal assent was 27 July 1838, just 5 days before the British government was scheduled to allow fuller emancipation of its technical legal abolition of slavery in the British Caribbean on 1 August 1838.)

---

"Vagrancy" of 1860s-onward United States, people criminalized for being outside while Black.

Widespread emancipation after slavery abolition in 1865 rapidly followed by the outlawing of loitering which de facto outlawed existing as Black in public. Inability to afford fines results in being sentenced to forced labor by working on chain gangs or prisons farms, some built atop plantations.

---

"Vagrancy" of 1870s-onward across empires, people criminalized for being outside while being "foreign" and also being poor generally.

Especially from 1880-ish to 1918-ish, this was an age of widespread mass movement of peoples due to the land dispossession, poverty, and famine induced by global colonial extraction and "market expansion" (Scramble for Africa, US "American West", nation-building, conquering "frontiers"), as agricultural "revolutions" of imperial monoculture cash crop extraction resulted in ecological degradation, and as major imperial infrastructure building projects required a lot of vulnerable "mobile" labor. This coincides with and is facilitated by new railroad networks and telegraphs, leading to imperial implementation or expansion of identity documents, strict work contracts, passports, immigration surveillance, and border checkpoints.

All of this in just a few short years: In 1877, British administrators in India develop what would become the Henry Classification System of taking and keeping fingerprints for use in binding colonial Indians to legal contracts. That same year during the 1877 Great Railroad Strike, and in response to white anxiety about Black residents coming to the city during Great Migration, Chicago's policing institutions exponentially expand surveillance and pioneer "intelligence card" registers for tracking labor union organizing and Black movement, as Chicago's experiments become adopted by US military and expanded nationwide, later used by US forces monitoring dissent in colonial Philippines and Cuba. Japan based its 1880 Penal Code anti-vagrancy statutes on French models, and introduced "koseki" register to track poor/vagrant domestic citizens as Tokyo's Governor Matsuda segregates classes, and the nation introduces "modern police forces". In 1882, the United States passes the Chinese Exclusion Act. In 1884, the Ottoman government enacts major "Passport Nizamnamesi" legislation requiring passports. In 1885, the racist expulsion of the "Tacoma riot".

Punished for being Algerian in France. Punished for being Chinese in San Francisco. Punished for being Korean in Japan. Punished for crossing Ottoman borders without correct paperwork. Arrested for whatever, then sent to do convict labor. A poor person in the Punjab, starving during a catastrophic famine, might be coerced into a work contract by British authorities. They will have to travel, shipped off to build a railroad. But now they have to work. Now they are bound. They will be punished for being Punjabi and trying to walk away from Britain's tea plantations in Assam or Britain's rubber plantations in Malaya.

Mobility and confinement, the empire manipulates each.

---

"Vagrancy" amidst all of this, people also criminalized for being outside while "unsightly" and merely even superficially appearing to be poor. San Francisco introduced the notorious "ugly law" in 1867, making it illegal for "any person, who is diseased, maimed, mutilated or deformed in any way, so as to be an unsightly or disgusting object, to expose himself or herself to public view". Today, if you walk into a building looking a little "weird" (poor, Black, ill, disabled, etc.), you are given seething spiteful glares and asked to leave. De facto criminalized for simply going for a stroll without downloading the coffee shop's exclusive menu app.

Too ill, too poor, too exhausted, too indebted to move, you are trapped. Physical barriers (borders), legal barriers (identity documents), financial barriers (debt). "Vagrancy" everywhere in the United States, a combination of all of the above. "Vagrancy" since at least early nineteenth century Europe. About the control of movement through and access to space/place. Concretizing and weaponizing caste, corralling people, anchoring them in place, extracting their wealth and labor.

You are permitted to exist only as a paying customer or an employee.

[sayruq]

US Defense Secretary Lloyd Austin said on 30 April that US troops building a floating pier along Gaza's coast would have the ability and authority to open fire into the besieged enclave “to protect themselves,” putting into question US President Joe Biden‘s earlier claims that Washington would have “no boots on the ground” in Gaza. “[There will] be about 1,000 US service members operating a pier system off of Gaza. How many of them will have guns, Mr Secretary?” Representative Matt Gaetz asked the US war chief during a House Armed Services Committee hearing on Tuesday. “Typically, all of the deployed service members carry guns, and they have the ability to protect themselves if challenged,” Austin replied. “Don’t you think that counts as boots on the ground? President Biden told the country that we were not going to have boots on the ground in Gaza,” Gaetz pressed Austin, to which he replied, “And we won’t.” “Okay, but you guys parse the distinction between ... Like when Americans think boots on the ground, they think Americans in harm’s way or engaged actively in a conflict. You guys seem to be sort of saying that boots on a pier, connected to the ground, connected to service members shooting into Gaza, doesn’t count as boots on the ground?” Gaetz continued. “It does not,” Austin replied, failing to explain the distinction. “If we’re gonna have people shooting into Gaza, we probably should have a vote on that, pursuant to our war powers,” the Republican lawmaker added.Last year, Gaetz introduced a War Powers Resolution legislation to end Washington’s illegal occupation of large swathes of Syria, arguing that US law had never authorized a military intervention in the country. The legislation was struck down a few weeks later in a 103-321 vote in the House of Representatives. US troops are building a $320 million “Joint Logistics Over The Shore” jetty system off the coast of Gaza to allegedly “ease the flow” of humanitarian aid into the strip. Biden announced the project nearly two months ago in response to Tel Aviv’s refusal to open border crossings into the enclave and blockades of aid convoys by Israeli settlers. Regional experts have warned that the floating pier could facilitate the mass deportation of Gaza’s population by sea.

[burnyouwithacigarettelighter]

PRACTICE MAKES PERFECT ─── cillian murphy ✧𖦹

ೃ⁀➷ “I am turned inside out by the ache in your voice, the taste of your tongue." — ‘Afternoon Masala: Poems’, Vandana Khanna

pairing. cillian murphy x actor!reader

summary. you and your co-star, cillian, are having a hard time performing a sex scene for your movie. they do say, however, practice makes perfect.

warnings. swearing, thigh-riding, creampie, p in v, unprotected sex, mentioned/implied age gap, probably inaccurate depictions of actor-life, mirror sex, slight breeding kink, kinda innocent reader(?), AU cillian murphy (not married/no kids), SMUT UNDER THE CUT! 

word count. 4.5k

a/n. this is not in any way meant to disrespect cillians wife😭 i js made this a not married AU to be convenient!

i.

“Cut - cut, cut!” The director repeated, his increasing irritation colouring his voice completely. “Now, I said it earlier, but—“

You scrubbed your face with a sigh, getting up off of Cillian and the desk, who was propping himself up by the elbows. “It’s not passionate enough,” you finished flatly for your director, who nodded earnestly. 

“I promise, this is as tiring for me as it is for you. Remember,” the director continued, the script half curled in his hands and making a thin flapping noise, “it’s the culmination of six months of pining. Six months of taboo, unrelenting, electric tension. Nothing more than stares in class and brief touches- you are supposed to be bordering feral for one another.”

You, and your co-star, Cillian, were currently filming the first sex scene of a movie portraying the forbidden, toxic love affair between a barely 18 teenage student and her much older teacher. Well, not exactly filming- you weren’t getting far with the scene, for the two of you just couldn’t get it right. Or, as the director liked to say, passionate enough. 

The role was already incredibly taxing, even without the added stress of the sex scene: it was 20 hour work days, living on set in a trailer far from home, having to devote at least half of those hours to filming this very sex scene, and had a perfectionist director like yours. 

The problem was that it was long, and the director wanted it done in one take. Brilliant man, he was, and had a love for this project you wished every director had for theirs, but he was adamant on it being done perfectly. He said it was intended to be the “primary and most iconic” scene of the entire film, for it was the crux of the story; the point of no return for the characters. 

“With all due respect, I’ve never imagined such a scenario, much less had experience. Just how can you expect me to portray a student-teacher romance accurately?“

“That’s your job: to imagine and perform.” The director demanded, obviously up to his ears in frustration.

Just before you retorted irately, Cillian cut in smoothly. “I think what she means,” he said, watching the veins in the director’s forehead nearly burst, “is that it’s hard to perform because it’s not common. S’easy to act in love because there’s love all around, yeah? We don’t have much to go off of, visually.”

The director’s gaze rapidly flitted between you and Cillian for a moment, before letting go of his anger and sighing wearily. “You’ve never even thought about a superior that way? Someone older than you?” he pressed, obviously joking and trying to lighten the set’s mood. 

You paused, and tried not to look at Cillian, your blatantly gorgeous forty-something co-star who was chosen for this role firstly, because of his stellar acting and secondly, because of how fucking attractive he was. 

His character was a total fucking creep, and you knew casting Cillian had been a calculated choice; all in the name of making the audience’s guard come down to be smacked in the face by his immorality later. He was meant to be charming, handsome, and terribly, totally, off-limits: the object of completely forbidden desire, the line your character was desperate to cross. 

It seemed the same in real life, too: the young inexperienced actress wanting to ignore those societal niceties and pine wholeheartedly over the middle-aged actor with decades of knowledge under his belt. 

You weren’t, like, in love or anything, but you certainly reveled in his presence: he was patient, kind, and completely understanding of your lack of experience, always guiding you through all the steps an actor takes during filming like when to take off hair and makeup, what best to say to family and friends prying for details- all the things, he said, he wished someone told him when he was first starting out. 

You were afraid you two had unknowingly fallen into a mentor-mentee dynamic, but there were always those spare moments, between hearty fits of laughter and silly conversation that you’d never expected to come from such an intimidating man as Cillian, where his rough hands would brush past your waist, gaze dragging up and down your body, sounding sensual and provocative despite nothing dirty leaving his mouth at all. 

He made your insides pulse, especially when your more intimate scenes came about, and you could only have a lusting woman’s pipedream that he felt the same. 

You still remember the first sequence you’d done with him: in the movie, your characters met after-class to make up for a missed exam, and it was the start of their corrupt attraction. Cillian had been pressed against your back, leaning over you to pressuringly peer at the test, large hand gripping your shoulder. The air felt steamy then, his body warm, low voice making you feel lightheaded as he recited his lines. 

You shivered at the remembrance of the moment, coming back to reality, and you answered the director’s question with a vehement shake of the head. 

The director let out a (strained) laugh, and smacked his palm lightly with the script, shoulders slumping. “Okay. Okay, we’ll - we’ll break for today. Take this extra time to imagine, research, anything- just practice the scene, alright? Practice makes perfect.” 

You and Cillian nodded simultaneously, giving eachother a look that just screamed “he’s ridiculous” before tearing away from each other's stare to return to your trailers. 

Later, you were getting ready to go to bed, peeling your freshly showered hair out of a small towel, when there was a knock at your trailer door. 

“One second,” you called out, pulling on your silk sleep shorts. You vaguely registered how awkward it might be to be seen in your pajamas if the director or one of your fellow actors came about, but you were way too tired to care. 

You did care, however, self-consciously crossing your arms and covering your thinly-clothed chest, when you opened the door and there on the steps stood your co-star, Cillian.

Before speaking, he looked you up and down, icy blue eyes gleaming behind an unfamiliar pair of tortoise shell frames. “You goin’ to bed?” he finally asked, tone husky. 

His gaze lingered on the bare skin of your legs for a few seconds longer and you shifted uncomfortably, crossing your ankles together in a poor attempt to hide yourself. 

“What do you need?” you asked briskly, more sharp than you meant it to be. 

“Sorry,” he corrected himself, shaking his head and finally looking you in the eye. “I meant’a come by earlier… got caught up. I know this, ah, sex scene is tripping us up, so…” he trailed off, lifting up the white script he’d been holding behind his back. “Y’up for some practice?”

You blinked rapidly at the simple, innocent request. Mere rehearsal, not some lecherous late-night escapade you’d been dreaming up in your mind. “Oh… yes, of course,” you nodded numbly, moving out of the way to let him step in. 

Only moments later, when he’d perched onto the edge of your vanity — looking uniquely casual in what you assumed was his version of pajamas: baggy gray sweatpants and a fitted, well-worn black t-shirt — did you realize the connotations of rehearsing your sex scene. 

Sure, it was all pre-determined, every word you’d say and every action you’d perform, but still. Saying- and doing, such suggestive things after-hours? That was beyond your dirtiest fantasies.

However, you shook yourself internally: Cillian had come to rehearse the scene with professional intentions. Honestly, he’d probably done so because he was tired of you messing up the scene. He could do his own part masterfully, and you knew that if it’d been a better, more experienced actress by his side, filming would’ve moved on ages ago. 

You took shaky, tentative steps near him, settling on your bed, watching him flip through the script— when he looked up and frowned. 

“What’re you doing? Come here,” he gestured for you to come closer, almost a command. “We don’t have a desk, so we can use your vanity.”

You nodded, biting your lip and nervously complying with his words. “So, we’ll start from the beginning?” you asked, your voice -- and legs -- suddenly feeling terribly weak.

His eyes were still trained on the paper as he answered. “Not necessarily. The sex part s’really the only thing we’re having trouble with, yeah?” 

You gulped, throat dry. “Yeah, I guess so.” 

With that, he chanced one last look at the script, before diving into the scene. His actions were ones you were extremely familiar with, having attempted this scene everyday for at least a week now. 

His body turned to yours, hands coming up to your jaw, and pressing your back onto the table slightly. He held you tightly, and made you look at him, while delivering his lines softly, memorable Irish accent replaced by his character’s generic American one.

Jiltedly, you did the same, poorly remembering what you needed to say and dragging through it like some amateur. “Fuck, sorry,” you cursed suddenly, tearing away from his touch and sighing. 

He gave you a small, careful smile, immediately breaking out of character and taking a step away from the vanity. “No need t’be nervous. Practice makes perfect, right?” 

You snorted at his quoting of the director. “I just… I don’t know what he means by passionate. I’m trying to be professional about this but - but I’ve seriously never been in some steamy love-affair.”

“Can’t really expect that of you, can we? You’re too young, too much’ve a good girl for that kinda ‘ting.” He said, hand coming up to your shoulder, the one where your silk tanktop’s spaghetti strap had slipped off, rubbing it soothingly. 

You practically melted into a puddle at both the pet name and how the rough pads of his fingers brushed against your sensitive skin. You were so entranced you almost whined when he stopped and pulled up your fallen strap, but instead you wordlessly snatched the script that was dropped onto the table and found one of the lines, inhaling sharply and readying yourself. 

Your hand came up to tug on the sleeve of Cillian’s shirt, as dictated by the script. “Sir, please,” you whispered out in your character’s high pitched voice, “I - I… want you to touch me.”

“This is -- wrong. I’m your teacher, and I…” Cillian responded, swiftly back in character, the back of his palm grazing your cheek. “I gotta break your heart, darling.”

You looked up at Cillian, summoning crocodile tears to fill your gaze. “Please. I need you.” Then, one of your clammy hands ran down Cillian’s chest as you spoke, like it did back on set. “I think of you, at night. I soaked through my shorts the day you scolded me.”

You heard Cillian’s breath hitch- his character, you reminded yourself. “Fucking hell… I think of you in class, sweetheart,” he growled out perfectly. 

So far, so good, you thought. It wasn’t awkward, and was already miles better than the lackluster performances you’d given previously. You continued by leaning into Cillian’s touch, making him sit on the vanity— the part of the scene you’d gotten to this morning, before the director called cut.

This time, however, Cillian’s actions differed from the ones he was supposed to perform: instead of petting the crown of your head, his fingers trailed down your hips, sending shivers down your spine.

“I’ll be good for you, sir,” you recited, face growing hot as his hand inched closer to the curve of your ass. “You can do whatever you want to me.”

Cillian’s gaze had darkened now, flitting over your features. He didn’t say his line - or, had at least missed the timing, and you removed your hands from his body worriedly. “Are you alright—“

Before you could finish your sentence, Cillian had grabbed you by the ass, switching your places and setting you down on the edge of the vanity. 

“Cillian!“ you squeaked out, the only thing you could really say as you processed what exactly just happened. Your mind was swimming with confusion — and anticipation — as he stood before you, legs pressing on either side of your knees and trapping you on the vanity. 

“Improv,” he promised quietly in his telltale Irish accent, a sly wink appearing on his sharp features. 

You bit your lip, nodded, and repeated your line. You trusted him to guide you — and the rehearsal — because, as mentioned before, he did these kinds of things often. If he thought you’d act better if you sat on the vanity, you’d sit on the vanity. 

His hand then pet your hair, the other hand coming up to your chin and making you look up at him. “Whatever I want?” he murmured, back on track with the script. 

You bat your lashes at him. “Everything. I’m yours.”

Now, this is where you thought Cillian would stop— because after your line came the kissing and the touching and the heavy petting: all things you thus far hadn’t filmed at all, because you couldn’t even get the dialogue out right. 

Instead, he leaned down and began to press hungry kisses down your neck, making you gasp.

“What are you—“

“Shh,” he demanded softly, “it's all part of the scene, remember?”

You blinked dumbly, mouth opening and closing, unable to register a coherent thought or word. He said it was part of the scene but you’d read that script, and his teeth nipping lightly at your skin was not written anywhere within it.

But, you gulped down your thoughts, and belted out several more of your lines in tandem to his own. With his other hand gripping your thigh so tight you thought it might bruise, you were starting to think that maybe this was one of those lecherous late-night escapades you were dreaming of. 

All you’d been doing was acting, like he’d asked, but still, you could see clear as day how that’d affect him— how easily it could be to succumb. After all, you were just barely restraining yourself from jumping his bones: how could you not, with his gorgeous face just inches away from yours?

Well, acting or not, you’d enjoy every minute of this.

When one of his hands began playing with the waistband of your shorts as he suckled on your pulse, that just right spot on your neck, you couldn’t help the whimper that left your mouth. 

However, the noise seemed to startle him; jumpshock him back to reality, and your suspicions became completely confirmed when he pulled away from you roughly. 

“Fuck, I’m—“ a pained grimace washed over his features, looking you up and down like he just realized what he’d been doing. “I don’t know what came over me, I— shouldn’t… I shouldn’t have come here tonight.”

You stared at him, body disappointed at the lack of touch, watching him press his pink lips into a conflicted white line. “What - what d’you mean?”

His gaze coursed over your every feature, so intently you thought he was admiring your face. “I can’t— we can’t happen. Y’too young, you’re, you’re too…”

“Then we can stop. If that’s what you want,” you murmured coyly, hand coming up to pick a piece of thread off his thin shirt. “But only if you ask. C’mon, say it: I don’t want you and I want this to stop.”

He groaned, biting his lip. “Don’t do that. I can’t do that.”

“Do what?” You tilted your head to the side. 

“Tease. Because you know I won’t tell you to stop. ‘Cause I won’t be able to fucking control m’self,” he grumbled, before pressing a desperate, deep kiss to your lips, pulling you off the vanity and continuing down your chest.

“Then don’t. Take me for everything I have,” you whined, following his every move and manhandling touch. 

He breathed heavily between kisses. “Saying those kinds’a words with that pretty voice of yours… fuck, you’re doing things to me.” 

Your hands were trailing all over his body, and then you tugged his shirt off, desperate to feel him. He had similar thoughts, fingers dipping into your silk shorts and petting your hot mound. 

“Need you,” you panted, and, at your words, he suddenly tore off your silk shorts and panties in one clean go, making you shiver.

He then sat down on your vanity chair and roughly grabbed you by the hips to place yourself onto one of his thighs. The thick fabric of his sweatpants, taking in your wetness like a sponge, made you wince.

“Go on then,” he demanded darkly, “get y’self off on my fucking thigh. Show me how bad you need me.”

You bit your lip, face burning with shame at the order. But there was an aching need in your gut, and the way he crossed his arms, watching and waiting for you to get the hell on with it, had you clenching around his thigh.

Your hands gripped onto his shoulders, and you began slowly rutting against him, the soft fabric of his pants doing poor work for pleasuring your core. You pressed your face into his shoulder, screwed up at the lack of friction. 

“Can’t do it,” you whined, “Please.” 

He rolled his eyes. “You said you needed me. You’ve got me,” he gestured to his thigh, “so get to work.” Then, he suddenly flexed, making an unwarranted mewl leave your mouth.

You wanted nothing more than his fucking cock, but here you were, pathetically pleasuring yourself on his thigh until he allowed otherwise. You nodded resignedly, and dug your fingernails into his shoulders, starting to set a steady pace of grinding down on him, slowly building up the heat within your insides. 

You were moaning now, vigorously dragging your hips against him harder, needier, feeling the pressure in your cunt grow hotter and more rampant. 

“Y’hear that?” He asked, one of his fingers tilting your chin back up to face him. “D’you even realize how fucking delicious you sound, all needy f’me?”

You nodded, but weren’t really paying attention: you were closer than ever, just moments away from falling off the edge— when Cillian stopped you. 

“Stop,” he spoke, voice filled with sheer lust, and you whimpered at the abrupt loss of momentum. Then, he got up, holding you against him by the waist, looking down at his sweatpants. “You made such a mess… soaked all over m’pants.”

You didn’t — no, couldn’t respond to his musings, pressing your thighs together in an attempt to return friction to your needy pussy, biting down on your lip to muffle your breathy pants. 

He noticed this, however, smirking and quickly pressing you stomach down onto the vanity. You caught a glimpse of yourself for the first time since your shower, and you flushed with shame: your eyes were heavy-lidded and dilated, lips pink and slick with drool, your brows in a perpetual knit.

You looked fucking filthy, and when you felt Cillian press his thick head to your entrance, something you hadn’t noticed he’d pulled out, too enraptured in your dirty expression, you shut your eyes. 

You were suddenly so much more aware of the situation: you’d fucked yourself silly on your co-stars thigh, the co-star who was twice your age. He now knew you weren’t a talented aspiring actress, no, you were just a desperate little thing begging to be fucked. 

“Hey, hey,” He tutted in mock-disappointment, “open your eyes, and fucking watch yourself. It’ll be good for our scene.”

You whimpered helplessly, obeying him and fluttering your eyes open, as he pushed his cock past your dripping folds inch by inch. 

“Oh my god,” you cried out when he finally pressed all the way in. You felt so full, stretched to the brim with his hardened cock, so deep his balls touched your sticky clit.

“So fucking wet,” he commented, chuckling darkly behind you. You were totally slick, helping him enter you faster, but his cock was still a foreign intrusion to your inexperienced cunt: you were young, and had never been the type to “get around” — at least not with the intentions of getting fucked so much you could take any length of dick easily. 

You clenched around him, a groan leaving his mouth at the increased pressure around his cock, and he snapped into you, making you bounce forward as your lips parted with a sweet moan. 

You’d been focussed on his face, in the mirror, but Cillian’s hand suddenly tangled through your hair, grabbing a fistful of it and lifting your head to face yourself. “I told you to fucking watch yourself,” he spat, gripping your hair tightly. “you’re the reason we can’t wrap up, so do your job and fuckin’ practice.”

With that, Cillian started pounding into you, digging the rough pads of his fingers into your hip, and you would’ve protested such a fast progression — having been given barely any time to get used to his long cock — but your expression was even worse than before, if that was even possible. 

Your mouth was open, tongue out and panting like a fucking dog, your lustfully sticky spit spilling down your chin to your chest, and your eyes were rolling into the back of your head with each hearty thrust Cillian delivered you. The sounds you were making weren’t helping your embarrassment either, all unintelligible mewls and needy whines for his cock. 

“You’ve wanted me for so long, haven’t you? I always knew what a filthy desperate girl you were, pressing up against me during shooting… those naughty hands on my thighs,” he snickered. 

“Needed you in me so bad,” you whimpered, nodding enthusiastically, barely able to register what you were doing now with the pleasure washing over you and clouding your senses. Your back was arching into him, sucking in his cock and never wanting him to leave despite the mind-breaking ecstasy that was coming from his pounding. 

“Just look at your dirty fuckin’ face… so pathetic.” he murmured, leaning down to press a kiss to your cheek; sweet and lovely, a stark juxtaposition to his unrelenting rutting and degrading words. 

You whined at his words, but you knew they were true: you’d never seen yourself get fucked, always too busy with, well, getting fucked, but seeing yourself in the mirror like this had you unexpectedly hotter than before. There was just something about it, your face unabashedly contorting around the pleasure, Cillian’s hands snaking up your body as he rammed into you in the background. 

Kind of like your own personal porno, you thought offhandedly, and you wondered how it’d affect you if you filmed yourself. Hopefully, with Cillian. 

His other hand then came up to your folds, spreading them apart so he could see himself disappear into your hole. “Fuck, your cunt’s so perfect,” he growled, his head falling back, losing himself in the pleasure. 

The orgasm building in your gut wasn’t like the one when you’d been grinding down on his thick thigh, no, it came faster, making you sweat and your knees shake. You wanted more, and you gasped out “faster,” and “harder,” to Cillian, needing him in the stick spongy spot deep in your cunt. 

“Please,” you begged without any expectation of a real answer or action, “please, Cillian, please.”

He did go faster, though, to your apparent shock, both hands coming to your thighs to steady himself. “So needy,” he grumbled, pushing himself deeper and more swiftly into you, feeling how deliciously your fleshy walls tightened around his new pace. 

With that, your high came just as quick, hitting you like a fucking freight train and making you scream out his name. Your orgasm wrecked you, made your vision go white and your thoughts stutter to a complete halt, and you vaguely made out Cillian’s proud hum, whispering “Good girl,” in your ear. 

When you came to, your head was hanging low, your eyes blown out, lips puffy. Cillian was still thrusting into your worn-out pussy, but it was more jilted, shaky and needy. 

“Come in me,” you pleaded suddenly, gripping the vanity to keep your trembling legs up, “fill me up, please, make your come spill out of me.”

“Good god, girl,” he groaned, pounding one last thrust into you before letting go, his cock pulsing around your wet core. He was pressed up to you so deep you could feel him shoot his load right into your cervix, and you grinned weakly, a sweet image of you: knocked up with his kid, your cunt so young and fertile you’d get pregnant from just about anything from him, entering your mind. 

After a moment, he slipped his softening cock out of your filthy cunt and picked you up by the waist to set you down on the vanity and keep you from falling onto the floor. 

“Thank you,” you mumbled, looking up at him through your lashes. You then bit your lip, feeling his thick load of creamy come ooze out of your used hole onto your vanity. 

He noticed too, letting out a satisfied groan, spreading your legs lightly, before collecting himself on his finger and pushing his come back into your cunt. “Such a good girl,” he reiterated, going back to being sweet and petting your hair, doting on your weak form, looking deep into your eyes. 

You swooned at his delicate actions. “Is this a good time to say I like you?” 

He laughed, all adoringly. “It’s as good a time as any. I like you, too, if it’s any consolation.” 

“But you, y’know… you said I was too young,” you reminded him, frowning slightly. 

He sighed, gaze drifting away nervously for a moment before coming back to you. “That I did, but, well… if you wanna take this old man for a ride before I keel over,” he shrugged.

You couldn’t help the laugh that belted out of you, his words so ridiculous and completely not based in reality. “Oh, sure,” you said, shaking your head, lips still in an amused tilt, “you’re mine, old man.”

Before he could speak, probably say another stupid joke, your hands wrapped around his neck and you pulled him toward you, pressing a soft kiss to his plump lips. 

“I like you like you, okay?” You whispered, sounding incredibly juvenile but twice as heartfelt, your tone wavering and self-conscious. You were bearing your heart on your sleeve here, okay, acknowledging feelings you thought should never come to light. 

His hands came up to your face, gently holding you. “Good thing I like you like you, too.”

ii.

“Cut!” The director called, and you swore you felt your heart drop to the floor. Fuck, you thought, mind racing, what went wrong this time? Was it the kissing, or the hands in the hair?

However, the director came up to you and Cillian and let out an uncharacteristic shriek of delight. “Perfection,” he said simply, bordering on catatonic with how content he was. 

Your shoulders slumped with relief, and you leaned into Cillian, who was subtly dancing his fingers across your thigh. “It’s finished?” you asked, breathless with excitement.

The director nodded. “That was electric, needy, tense, delicious, passionate, so, so passionate,” he continued with a gasp, hands clasping together tightly.  “You are two of the most amazing actors I have ever worked with— you are incredibly talented, so convincing I’d have thought you did sleep together.” 

You preened at his praise, but not without looking up at Cillian, meeting his gaze and barely keeping your expression happy and neutral and not at all warm at the thought of the other night's events. 

As the director went off rambling about the utter masterpiece the movie was to be, Cillian trailed behind you off the set, murmuring lowly in your ear, “I guess practice does make perfect.”