#equally a horror film

[doritofalls]

"if you hate women you'll love this movie" is genuinely the worst take about wolf creek I ever heard honestly chewing on glass in real life

[couturefaith]

:)

[abutterflyobsession]

my dad about to accidentally inflict deep and lasting emotional scars on his young children: here’s a movie by the same people who made Totoro! It’s called Grave of the Fireflies

[useless-gay-kid4]

“now this is real horror, it makes you uncomfortable and doesn’t rely on cheap jumpscares” would it kill you to stop being such a prick and have fun for once. could you try anyway

[stoportotouch]

entertaining Notions about 1776

[galerymod]

There is a film about an artificial intelligence network that has finally determined that humans are the biggest pest and then wants to eliminate or contain them.

At OpenAI, AI now also creates videos

Pioneer OpenAI presents another advance in the development of artificial intelligence: new software can produce short videos based on text specifications. The first sample sequences of a woman in Tokyo, for example, are astonishing.

What is interesting overall is that no matter what risk technology mankind is involved in, whether in chemistry, biology, atomic physics and now AI, it is always carried out according to the same procedure: first do it, then think about it and then realise that the development can be misused.

Chemistry = chemical warfare weapons

Biology = biological warfare weapons

Atomic physics = nuclear weapons

AI = dangerous real-time altered reality applications, AI-controlled weapons technology, sociological cultures economic changes to the entire world of work ,.......

But now to the present

OpenAI has developed an application with which you can create a completely Ki-controlled reality.

This reality, which is not a reality, can no longer be distinguished from reality.

Open IA explains that you cannot create politicians with the application and embed them in a fake reality in order to abuse it for your own benefit.

What rubbish, why do you need politicians if you can't create real events which you can then use to incite ethnic groups against each other in order to pursue your own goals. The seizure of power on the basis of the disintegration of national unity.

Yes, next to it we have a few nice films that are completely harmless - no, not really.

How about the text entry: in the bible belt of the united states of america a trump supporter is brutally killed at a por life demonstration by three woke liberal demonstrators.

Or

This here in the middle of Jordan a fundamentalist Jewish settler shoots a group of Palestinian refugees.

Only stories made up by us which can of course be brought to life by a AI to the detriment of us all and to the benefit of a few who only pursue their own goals which are not in harmony with humanity.

And it will happen whether you mark it or not - it will become abuse. And the makers will, as always, not take responsibility but only generate money for the benefit of their shareholders.

As always, no one bears the responsibility and we all bear the risks!

It's time to create rules that everyone should abide by and thereby recognise those who violate them. Let's do nothing about it and if we do then only half-heartedly.

So these AI "impacts" will happen and we will all suffer as a result.

It will change the world and not for our benefit, but for the benefit of individuals.

The drone with facial recognition and AI as a weapon, the social score idea coupled with ki to dominate a people,.....

Hooray and this is more modern..... Insider 🌋🌋👍

mod

AI could support us in the fight against climate change, but that is not the business model that the makers of ki have in mind. Neither technology nor ki can solve the problems of climate change, both parts can only help to slow down the rise in temperature.

Political will and social responsibility based on action are the foundations for securing our future. AI can improve the world for us, but then societies have to be reorganised so that everyone benefits. AI tax for jobs that are lost due to AI, basic income, voluntary social work with responsibility paid from AI foundations, AI companies that take on social responsibility. .......

[dalight02-blog]

Watch Equalizer 3 Free Here

Watch Equalizer 3 Free Here.

[theveryworstthing]

Gloria and Phoebe!

i missed goblin week this year due to Situations but every week is goblin week so whatever.

Gloria, Dame of Daylight, is the titular host of of the spooky late day show Beam Dreams, which has a huge cult following among non-human and mostly nocturnal horror fans. she started the show 20 years ago after growing bored of playing the same role over and over in human-led productions and posing for monster girl pin-up gigs. she used the money from her former jobs to buy equipment, hire some buddies, and start her own campy public access show highlighting a few of her favorite monster-led indie horror films. these days she's going grey (well, greyer) and gravity is Happening which make her already racy costumes more of a gamble, but the show still holds the ghoulish charm that made it a success. 

Gloria leans more comedienne than dark and broody despite the media she platforms and she always has a witty observation or subtle joke at the ready. she also has a soft spot for physical comedy and will casually pull an item out of her hair or cleavage unprompted. she doesn't critique any of the work that makes it onto the show unless specifically asked to, but those segments are always fan favorites since they're always equal parts sincere, insightful, and cheeky. she's a real Character. 

Phoebe has much more humble origins. as a mostly mellow music nerd, she currently owns the record shop across from the Beam Dreams studio and lends her expertise to help with segments spotlighting up and coming musicians who fit the vibe of the show. she's found a lot of weird little bands for Gloria, and the current program wouldn't be the same without her. 

even though she makes an effort to stay out of the spotlight as much as possible, it's common knowledge that she's one of Gloria's close friends, which is good for business and also very annoying sometimes. over the years she's had to train herself to spot red flag Beam fans trying to cozy up to her for information or access to Gloria and now she's real mean about it when it happens. 

[sp0o0kylights]

Indie horror filmmaker Eddie Munson, high off his first big (underground but notable) success, knows the movers and shakers of the film world have their eyes on him. 

They're just waiting to see if he was a one hit wonder before they open all the doors he's been trying to kick down. 

His next upcoming film is his chance, his shot at finally making it. Of being like Rob Zombie and the other creators he looks up to that masterfully blended metal and horror. 

This is his golden ticket. 

The project starts off smooth. His last success has greased the wheels, and things fall into place faster than ever before. 

He's got the best idea for this insane haunted house story, a true "mazes in mazes" type of deal with a queer twist. A real look at how a place can haunt a person just as easily as a ghost can.

 Everything's going swimmingly--until one of his leads drops out the day they're due to start shooting.

No call no show's, and later, Eddie will find out the guy got a last second call back to be a contestant on one of those Love Island bullshit romance gigs (and laugh his ass off when the main love interest takes one look at Billy Hargrove and goes on a five minute rant about ugly mullets on national television) but right now? 

He's fucked. 

He's called in every favor he has for this film. Maxed out every credit card he owns, tapped every contact, got on his hands and knees and begged his rising star journalist best bud to help him market it. (Which Nancy agreed too, for way less cash than she should have.) 

 Eddie can't get anyone on the phone, much less find a replacement actor and the amazing place they rented, that is so dark and wonderfully eerie, is booked out the rest of the year as an AirBnB. 

If he doesn't film now, he loses it all.

Cue the other lead, unknown theater actor Steve Harrington, watching his hair pulling, tire kicking, 'cursing and hopping while holding a toe' mental breakdown and asks why Eddie himself doesn't act in it. 

"Just go full Kevin Smith man. Act and direct." He says, with an easy grin. 

Jeff, Eddie's tried and true videographer, trades glances with Gareth and Grant (Eddie's long used special effects and makeup team, who double for about twelve other jobs because they're also his best friends and they're all in this together, make or break.)

"We don't really have a lot of other options." Gareth hedges. "You're already using me and Grant as background characters." 

Eddie, hands fluttering around his face as though trying to wave away this entire situation, squeezes his eyes shut and lets out a pained hiss. 

"Fine, fine!" He announces with the air of a man running towards a fire. "Fuck it, this is our one shot and so help me I will be shooting it!" 

Steve politely hides a laugh with a cough. 

"Chuckle all you want big boy, I'm going to tragically romance you so hard people will forget both of our characters actually live." Eddie snarls.

Steve, the handsome bastard, just winks.  "Looking forward to it." 

Eddie blushes, but hides it with a surge of frantic energy, conveyed by lots of yelling and moving and getting the ball rolling. 

Two days later, Steve would give the performance of a lifetime down on his knees, covered in a literal pound of fake gore, booty shorts and nothing else as he sobbed about how a lover could become a home. His hands clawed at Eddie's jeans before resting a tear stained face on a slim leg as he bent his body towards Eddie like it hurt to be away from him. 

Eddie would later receive equal praise in his own acting during the scene, with the world and every reporter in it asking how he conveyed an otherworldly panic so beautifully throughout Steve's performance. What was he thinking, to evoke those expressions on his face? 

The way his own pale hand, unmarred by blood and acting as a metaphor for the plot, would come to stroke Steve's cheeks.

Eventually he'd come up with a smooth polished answer that cheekily pleased his audience, but nothing would ever come close to the truth. 

("Eddie I've known you since grade school." Jeff said that night, a scant few hours after they'd wrapped. "You can act man, but not like that." 

Eddie made a wild "shut up" gesture, looking frantically over his shoulder before admitting; "You saw how close his face was to the prince of darkness!? I was seconds away from popping a boner next to his lips, in front of the 4K camera!” 

Eddie bounced into Jeff’s face so he could hiss: “He fucking had his chin on my thigh, Jeff, and I am only a man. A mere mortal!" 

"So we're gonna unpack all of that later." Jeff said finally, when he'd managed to get his mouth working and Eddie back out of his personal space. "But dude, we've talked about you calling your dick the prince of darkness." 

Eddie flipped him off.) 

One year later and critics named Corroded the best horror film of the year, praising the camera work, practical effects, and how there wasn't a soul alive who was surprised to hear Eddie and Steve were dating after their explosive on screen chemistry.

No one ever quite understood the prince of darkness jokes or why Steve mentioning it made Eddie blush, but that was a secret to find out later. 

Today on WIP’s I have no intention of writing, indie horror movie AU!

[flanaganfilm]

Hi, I'm a big fan of your work. Sorry if this is a dumb question, why kill the kitties? I notice it a lot in horror in general, and it completely takes me out of the story and just makes me feel bad for the cat. I feel like I'm missing something.

Not a dumb question at all - and I knew I'd be getting some of this the moment we decided to include Poe's The Black Cat in TFOTHOU. The comments sections of the world are full of accusations that I hate cats and/or hands, and - well - neither is true. I've admittedly gotten a little flippant with my humor in the past when people have brought this up. My knee-jerk reaction is always to say something along the lines of "well, Websters defines 'horror' as..." But honestly, as far as I'm concerned, it's just not a thing.

A brief history of cats in my work:

HUSH - Maddie's beloved cat, "Bitch," escapes the danger of a home invader completely unharmed and is alive and well at the end of the movie. The last shot of the movie is Maddie lovingly petting the cat on the porch.

THE HAUNTING OF HILL HOUSE - Yes, a malnourished stray kitten dies within Hill House, only to be horrifically reanimated. This was done to show the horrors of Hill House, serve as a warning to the family, and foreshadow the deaths of several human beings (who would meet more horrible fates) later. Hill House is an evil place, and it killed and collected all sorts of living things... there are dead humans aplenty, and also phantom dogs, which Stephen and the kids hear several times and see in episode six. I'd argue that Hill House is an equal-opportunity horror show.

DOCTOR SLEEP - Azzie the cat is a great friend to Dan Torrance. Azzie also has a "shine" of her own, and can sense when patients at the hospice are going to die, and goes into their rooms to comfort them. Azzie is never once in any danger throughout the film and, we presume, lives a long and happy life.

MIDNIGHT MASS - All of the residents of Crockett Island, which include 157 people, a huge population of stray cats, and at least one particularly sweet dog, do not fare so well in this show. But nothing against the cats - everybody dies. The arrival of a certain evil creature marks doom for literally every living thing on the island (except for two people). And yep, it started with the cats, because they were plentiful and would not alert anyone to its presence. We see its lair full of dead rats, birds, and raccoons as well, all eaten while the creature was in hiding.

THE FALL OF THE HOUSE OF USHER - we adapted The Black Cat, written by Edgar Allan Poe. If you're familiar with the Poe story, you know that it involves the horrible death of a cat, which then seems to get revenge from beyond the grave. This is Edgar Allan Poe's story - we did not write it. HOWEVER, we decided to make a huge change to Poe's story. At the end of our retelling, we reveal that Pluto the cat is alive and well (and still wearing the Gucci collar), and that the supposed violence against the cat existed entirely in the person's mind. Pluto 2 - the terrifying, supernatural replacement that stalked Leo - is not real either. It is just Verna, taking another form (hence the injury to VERNA'S eye). So in this show, not a single animal is harmed AT ALL. We did that on purpose. We decided to change Poe's classic story so that the cat lived. We went out of our way to do that. I truly don't have anything against cats. I do tell horror stories... but that's about it! I hope it doesn't make it more difficult to enjoy the story, and thank you for watching.

[allthingskenobi]

This is honestly a beautiful love letter to the prequels AND Revenge of the Sith, and I encourage everyone to read it.

Some of the highlights for us:

In recent years, the slaughter of younglings and the ultimate efficacy of Order 66 may have become dank meme fodder to be filed alongside the droid attack on the Wookies and “Hello There!” But back in ‘05? That montage of Clones massacring Jedi across the galaxy, Anakin igniting his ‘saber at the Jedi temple, was a real watershed moment — a visceral evocation of the horrors of war and the sheer oppressive power of fascism. Thrilling and terrifying in equal measure, “Execute Order 66!” endures as a reminder of a more daring time in franchise filmmaking.

and

Even now, the emotional and technical craftsmanship of the duel is astonishing. Christensen and McGregor’s blistering choreography and the emotional intensity of their performances; thousands of man-hours’ worth of VFX blending large-scale soundstage work and real footage of Mount Etna erupting; Lucas going full Shakespeare with Anakin’s excoriating, “I hate you!”, and Obi-Wan’s anguished, “You were my brother Anakin… I loved you”; John Williams going God-mode once more with his cacophonous score. It’s an epic battle between the forces of good and evil, the culmination of two trilogies and almost thirty years of cinematic storytelling, painted on the largest canvas imaginable. Honestly, what more could you want from a Star War?

[simp-ly-writes]

Crush

─────── · ·

Pairing: Spencer Agnew x Shy!Reader

─ · · SUMMARY: You try and hide your crush on your co-worker.

─ · · TAGS: mutual pining, gender-neutral pronouns, fluff, hurt/comfort, meet-cute, cheesiness, confessions.

─ · · MASTERLIST | TAGLIST REQUEST | WORDCOUNT: 1,765

─ · · A/N: I told myself I would never write about IRL people nor ever post this or even go back to my smosh phase but somethings in the water today I guess!

─────── · ·

↳ You had originally worked for Good Mythical Morning as one of the leads of the marketing team before you switched over to Smosh as they re-bought the company. You would miss your team, your friends for the past several years dearly. But you were invested in the new challenge of getting these channels back to their glory days with new content and ideas to work on.

↳ You kept to yourself as best as you could as your new co-workers came up to you and introduced themselves by your desk side. Spencer was not the first to come up and say hi to you, in actuality- it was you who rather abruptly walked into him at the end of your first week. The distinct smell Mountain Dew Kickstarter spreader across every fiber, drenching your shirt as it spilled equally over his hoodie.

You remember placing your hands to your mouth in horror, a string of apologies set upon heated cheeks before rushing in to the nearby staff room and back out with a wad of paper towels as you started to dab at his chest before throwing them in his face once remember you did not know your co-workers good enough yet.

Spencer laughed, taking none of it to heart as he dried himself off as best as he could while not making any eye-contact towards you. You apologized once more, extending your hand awkwardly to greet your new acquaintance.

"name," you stated softly in seeing the growing number of people exit the room that he just exited from, it appears the filming just finished for lunch.

"Spencer," he shook you hand, offering a polite smile before looking down the hall. Various cast members you remember meeting slapped him on the shoulder and gave you a wave before continuing down the hall.

"You're not going to report this to HR for anything, right?" you asked, half-joking half not as you looked down to see that your undershirt was indeed visible.

His laugh caught your own as you it died down to chuckles before you rushed towards your car for spare clothes.

─────── · ·

↳ In the next coming weeks, you found your footing once more. Standing behind camera as you recorded little teaser snippets. Quickly edited some pictures for the instagram team and sent off your reports all on your tablet.

↳ You enjoyed sitting towards the back, far away from any possible cameras in a dark corner with your water bottle by your feet. Texting the members of your small team through the group chat as you became lost in your own little bubble before the lights were coming back on.

↳ Looking at the time on your device, you quickly stood up and rushed out the room ahead of everyone else. Your social battery was already low from the mornings meetings and made your way back to your desk

↳ A sudden clearing of someones throat had you jumping out of your chair as Spencer stood at your side water bottle in hand. "You forgot this at set earlier." And placed it on your desk.

"Thank you, Spencer," you said with a smile, doing your best to ignore the way your palms were beginning to sweat and praying that you could go back to your hermit corner.

He offered you a smile in return before exiting the space and back towards his own desk as you slumped in relief. "Tough day?" Courtney asked in a light tone before forcing you towards the lunch table.

─────── · ·

↳ You were growing closer to everyone, making friends with people from other departments and still keeping up with your old co-workers on the weekends. Yet you were still to embarrassed from your first few interactions with Spencer to move your relationship from sharing files or the dreaded small talk.

↳ The audience seemed to be growing to you as well. Somehow your little murmurs to yourself had gotten picked up on the microphone and used in the final edit. When watching with Courtney the most recent episode of TNTL, you were surprised to find that it was you who made Olivia laugh that hard. You were really rooting yourself to this company.

↳ A few cast members and producers had tried to get you to move closer to the cameras for more of your comments or even get you on set as you shook your head violently and turned down every offer- still preferring to stay in the shadows.

↳ Yet even when doing your best to hide away, Spencer would sneak his way over with a snack or offer to review what clips you decided on for the reel later that day. You felt childish in many ways on how afraid you were to speak with him, using short sentences or nods of your head but he never took them as rude and was in a way, way too understanding that lead you to feel how you do currently.

─────── · ·

↳ You hated everything to do with Spencer. You hated how much he would always check in on everyone and somehow find all your little hiding spots in the office and on set. Hated the way his smile and laugh would make your heart race. Hated the videos he would attach to his emails that he thought you would like, and you did.

↳ You despised how he wouldn't force you to talk, yet he would just sit there with you at lunch or offer to walk you to your car after work. Your heat couldn't say no nor did your co-workers allow you to as Courtney was practically shoving you both out the door without another word.

↳ A few of them even asked if you did in fact have a crush on the Director and by the look on your face and the shake in your hands, they knew the answer all to well.

─────── · ·

↳ You stated to feel indebted for your shyness as you offered Spencer a fresh can of Mountain Dew during lunch or even provided morning pasteries for the both of you. The whole office took note of his smile that day while filming and how you both started to work at one another's desks.

↳ The more time you spent together, the more confident you grew and you thought to be getting over your crush now. You would have your chair closer to the front of the set, Spencer would often stand or sit beside you between breaks- resting his arm on the back of your chair as he would peer over to see whatever was on your tablet.

↳ Rumours spread, you could practically feel the eyes for sure on your back as you walked around the office together. HR had even sent you a few hinting emails that had you flashing back to your first week working at Smosh.

↳ Cameras were picking up on it too. The attention was growing all too much, your feels were growing all too much before you were taking a step back and allowing more opportunities for your team as you took a step back.

↳ Of course, Spencer took notice of this as well. Asking around, and even once during filming where you had gone only to find you put other people to film the clips and take the photos.

─────── · ·

↳ "Are you okay," Spencer asks, bursting into your new office space as you stood up straight from your desk, a smile a bit to wide as you stiffly welcomed him into the space.

↳ He rounded your desk, sitting upon it, concern written in his features with the slightest tilt to his head. You fumbled with your fingers, struggling to come up with words, "Im okay, just taking a break is all- working on other things."

"I'm just worried for you my friend, never mind work. Are YOU, doing okay?" Spencer pressed, knowing that the answer you gave wasn't entirely truthful.

↳ Friend. The word wounded you as you blinked away tears, suddenly feeling ridiculous. You were an adult and yet this stupid crush you had was coming in the way of everything you worked so hard towards.

"Yes. I am doing okay, thank you for checking up on me."

─────── · ·

↳ You hoped that the time apart would help you, only finding yourself hurting more. You fell right back into the schedule you and Spencer developed together and you hated to admit to yourself but you had never felt better.

↳ They were filming who meme'd it? And yours had yet to come up until now. It would be your first seconds fully on camera as everyone cheered you on before hand. The comments from earlier in the week were excited to finally see who you were, that night you had even found a compilation of every time Spencer mentioned you, to your suprise it was over 5 minutes long- or maybe you just watched it a few dozen times.

↳ Nonetheless, your meme was instantly guessed by the man. His eyes immediately found your own from behind the camera as you started to shrink away, slipping down the couch and onto the floor was a blush as he calmly wrote your name. Shayne seeing this laughed, it echoed the room as he and everyone else also knew the answer from your combined reaction.

↳ Everyone else in the office was loving it. You meme'd your first time meeting with poorly drawn MS-Paint visuals and a simple caption and as your name and picture flashed up on the screen. Cheers rung throughout the room as one of your team members gently rubbed your back in reassurance

↳ After gaining back your will to live, you were suprised to find a pair of arms bringing you into a hug. "I am so proud of you, first time on camera!" Spencer spoke into your hair, you could feel his smile as you stood there still in shock before retuning the action.

↳ Not knowing if it was the adrenaline still running after the showing, the physical comfort, or what you thought to be hearing his heart beating as fast as you own, you blurted out to the shock of many others still cleaning up after the shoot- "I like you a lot."

Spencer chuckled, bringing you back into a hug as you hide your face in his neck from the cheers, "I like you a lot too. But please now finish your turn on game pigeon 8-ball."

─────── · ·

[mustainegf]

Idk if you’ve done something like this before but maybe a list of all the kinks you think the tallica boys have 🫣🫣

I WAS SO EXCITED WHEN I GOT THIS!!!!!

Headcannons for James, kirk, Jason, Lars & cliff

𝐊𝐈𝐍𝐊 𝐇𝐄𝐀𝐃𝐂𝐀𝐍𝐍𝐎𝐍𝐒

𝐉𝐀𝐌𝐄𝐒 𝐇𝐄𝐓𝐅𝐈𝐄𝐋𝐃

𝐃𝐎𝐌𝐈𝐍𝐀𝐍𝐂𝐄: James likes to dominate a lot in bed, very much like his stage personality, leading the band. He likes having that dynamic of power, placing him with the responsibility of you getting to finish. However he isn’t always like this, he can be just as soft and gentle with you when he’s in a romantic mood.

𝐏𝐑𝐀𝐈𝐒𝐄: Verbal affirmation is both given and received in massive amounts from him. This came out of all the shit he's been. And plus, he just loves to tell you how perfect you are.

𝐁𝐑𝐄𝐄𝐃𝐈𝐍𝐆: James LOVES the idea of you having his kids, and not in a weird way, he just love the idea of the both of you being so in love and having beautiful babies with you. He constantly thinks about how pretty you would look pregnant, carrying his child. He would be so proud.

𝐒𝐏𝐀𝐍𝐊𝐈𝐍𝐆: he just loves the playful punishment, all consensual of course. He loves when he lays a teasing slap over your ass, watching the print of his hand flush into your skin.

𝐄𝐃𝐆𝐈𝐍𝐆: He is one for really extending pleasure with himself and you, enjoying the build-up and the intense release that follows. He’d rather see you cum after being edged for hours rather than in 15 minutes.

𝐊𝐈𝐑𝐊 𝐇𝐀𝐌𝐌𝐄𝐓𝐓

𝐑𝐎𝐋𝐄𝐏𝐋𝐀𝐘: His interest in horror films and all extends into the bedroom, keeping things quite interesting. You two don’t always do it, but whenever you do, Kirk is almost always a vampire, and you’re the damsel.

𝐇𝐀𝐈𝐑 𝐏𝐔𝐋𝐋𝐈𝐍𝐆: Kirk finds hair pulling exciting due to the sting. Put he doesn’t pull your hair, he likes having his hair pulled. Whether he’s eating you out or pounding you into the mattress, one tug on his hair and he’s a moaning mess.

𝐕𝐎𝐘𝐄𝐔𝐑𝐈𝐒𝐌: He is interested in being watched, though he tends to keep this one to himself, afraid you may not be totally on board with it. It excites him nonetheless.

𝐒𝐔𝐁𝐌𝐈𝐒𝐒𝐈𝐎𝐍: Except… it’s not you who’s submissive. During sex, Kirk and you are always on an equal level of power, but if there ever is an imbalance, Kirk is always submissive. Good god this man is obsessed with doing whatever you say, watching your body loom above him, breasts bouncing as you ride him and call him a good boy

𝐉𝐀𝐒𝐎𝐍 𝐍𝐄𝐖𝐒𝐓𝐄𝐃

𝐎𝐑𝐀𝐋 𝐅𝐈𝐗𝐀𝐓𝐈𝐎𝐍: He loves to give and receive oral, for it is intimacy. AS much as he loves a blowjob, he’ll beg you to let him eat you out all night, and he will, rutting into the mattress with his mouth full with you.

𝐁𝐎𝐃𝐘 𝐖𝐎𝐑𝐒𝐇𝐈𝐏: He was in love about all the little things of your body, appreciative of the beauty and a physical connection. His hands will search all over for something new to squeeze, caress, kiss, lick, anything.

𝐄𝐗𝐈𝐁𝐈𝐓𝐈𝐎𝐍𝐈𝐒𝐌: Jason gets excited about being watched. He wants to world to see him fucking you and know you belong to him and only him. Sometimes he’ll leave the door unlocked when he fucks you backstage, knowing full well one of the guys will probably walk in on you two.

𝐃𝐈𝐑𝐓𝐘 𝐓𝐀𝐋𝐊: He wants to verbalize his intentions of what he feels like doing and, in turn, loves to hear what you would want him to do to you. He finds it oddly, but insanely arousing to be able to communicate so bluntly during sex.

𝐋𝐀𝐑𝐒 𝐔𝐋𝐑𝐈𝐂𝐇

𝐂𝐎𝐍𝐓𝐑𝐎𝐋: Lars LOVES being in control, not only concerning business matters but also in bed. This pleases him to lead the experience, being in charge of every aspect, and punishing you when you whine.

𝐓𝐄𝐀𝐒𝐈𝐍𝐆: He's into the playful part of teasing, making it a real drawn out affair, he’ll tease you from your whimpers, how desperate you are, about how bad you must want him if you’re already this whiny.

𝐈𝐌𝐏𝐀𝐂𝐓 𝐏𝐋𝐀𝐘: Lars likes the feel and the sound produced by impact, whether it’s by way of spanking or some other manner of consensual striking. He wants to mark you.

𝐂𝐋𝐈𝐅𝐅 𝐁𝐔𝐑𝐓𝐎𝐍

𝐑𝐎𝐌𝐀𝐍𝐓𝐈𝐂 𝐒𝐄𝐍𝐒𝐔𝐀𝐋𝐈𝐓𝐘: Slow, passionate lovemaking is meant for Cliff. The act is lent a deeper intimacy, and he takes it quite seriously.

𝐌𝐔𝐒𝐈𝐂 𝐈𝐍𝐓𝐄𝐆𝐑𝐀𝐓𝐈𝐎𝐍: absolutely loves to have music playing while having sex, in fact, you’ve never had sex without music on. He needs it, it makes it that much more intimate

𝐎𝐔𝐓𝐃𝐎𝐎𝐑 𝐒𝐄𝐗: Cliff's love for nature spills over a bit to a desire for outdoor lovemaking, like on a sunny morning, the sun is still rising and the sky is pink as you have each other in the warm morning air.

𝐌𝐀𝐒𝐒𝐀𝐆𝐄 & 𝐓𝐎𝐔𝐂𝐇: foreplay with this man lasts a while, he wants to leave no stone unturned, he’ll give his attention to every inch of your body before finally moving on to the goods.

[chaotickimchi]

Killing Your Darlings - A guide on writing death

(Inspired by some writing tips I saw on pinterest. I decided to try my hand at a “writing death” guide. Small disclaimer, these are suggestions or things to consider, there is no rule book on writing death and your story/characters will ultimately play a role in the shape and shades you colour in your scenes with.)

SHOW DON’T TELL?

How does your character discover the death? Is it really necessary to show the body to the audience? 

Consider this, which will have more impact on your character, watching someone die or getting a phone call and hearing the news from afar? Depending on your story, it could be more gutwrenching if your character isn’t there to say their final goodbye. Sometimes not showing the body can be more devastating. Don’t underestimate your readers empathy and imagination, if your characters have a very strong bond, severing that tie from a distance can be incredibly impactful. Just because your character dies, doesn’t mean you have to show the body. If that’s the case for you, then you don’t have to worry about describing the “death scene” at all. 

WHAT’S IN A NAME?

Writing a murder mystery or a battle? Well, I suppose your character will see a lot of shit, time to describe the Dead Darling. 

Corpse. Cadaver. Body. Remains. Carcass. The Deceased. 

Several words refer to a dead body and they aren’t all created equally! You wouldn’t call your character’s dear old granny a “carcass” for example, and how many of us use the term “cadaver” to describe human remains in a casual setting? Consider the context, who is speaking, what is their relation to the Dead Darling? The use of a particular noun can change the weight and mood of the scene, there’s a reason your local funeral director doesn’t go around saying “CARCASS” to grieving widows/widowers, it sounds harsh and nasty. Maybe your character is in denial and doesn’t even describe the Dead Darling as “dead”, instead they view them as “like a doll” or “impossibly still” or looking like they’re asleep. 

Context matters, so consider the relationship between the Dead Darling and the character and also the situation they are in. Take the following as a rough example; 

Detective Mc Dude has been called to a scene, he’s given a rough description of the victim over the radio as he drives to the scene. He arrives and to his horror, he recognises the body as that of his secret lover. His colleague joins him and fills him in as Detective Mc Dude tries to gather himself.  “Detective, the remains were found this morning by a jogger. We’ve yet to make an I.D …” Detective Mc Dude’s mind is reeling as he wrestles against his inner turmoil and the need to maintain his composure and act professionally. Later, he goes to the coroner to discuss the autopsy results. The coroner describes the injuries they have discovered on the corpse. Detective Mc Dude begins to build his case. 

While the example lacks a lot of detail and flourish, I do hope it helps illustrate how the weight shifts around with the use of different nouns throughout the example. The coroner in this example feels no attachment to the Dead Darling, this is their job, they see a corpse and try to gather evidence. Detective Mc Dude recognises her body, whereas his colleague sees the remains. Do you see the difference there? Mc Dude sees the person, her body, his colleague doesn’t know who she is or what her story is, he has less connection to her and he sees the remains, it feels more distant and impersonal compared to Mc Dude. 

This might be a bit of a head scratcher, the differences are very subtle but can become really pronounced when weilded well in a scene. My advice is to pay attention to discussions of death in real life or books/tv/films etc. Read your paragraphs out loud and see how they feel, sometimes you can intuit what fits and what doesn’t. You may notice things that surprise you, for example, news readers often say “a body has been found” or “the remains of a man/woman were found”, whereas you and your friends/family are more likely to describe a deceased loved one with “his or her body”. 

A detail as small as using personal pronouns can carry significant weight, likewise, the type of language used can convey a lot of emotion. His/her body can be used to create a sense of closeness or sympathy, corpse can suggest a clinical or distant view, carcass or remains could indicate a hint of barbarism or malice. That's not to say that “corpse” can’t be used sympathetically or that “body” can’t be used to convey malice, it’s worth experimenting with which types of nouns you want to use. 

YOU LOOK LIKE DEATH WARMED UP- OH WAIT

Death comes in many shapes, sizes, colours, smells, and forms. A character sitting at someones sickbed watching them fade away will have a completely different vibe from Detective Mc Dude discovering a stomach-churning murder scene. Unless the dead body randomly falls out of the sky, chances are your character might notice some context clues or details in the environment before we get to the body. This could be anything from the beeps of machines and the sterile hospital smell, or maybe there’s a blood trail on the floor and the sweet stench of death clings to the air. It’s rather likely you’ll set up a scene before you zoom in on the finer details of the body, what kind of things would catch your character's attention? 

Now your character has come across a body… What do they see? The glassy dead-eyed stare, mouth twisted in a painful grimmace, the massive gaping chest hole where the facehugger popped out- Wow, that escalated quickly… 

Think for a second, what might your character notice first; look of terror in the victims eyes or THE MASSIVE FUCKING WOUND IN HIS CHEST… I know, the blue lips and glassy eyes might feel like a great place to start, but I’m willing to bet a massive pool of blood would catch your character's attention first, they’d probably have to get closer to see the look of terror in their eyes! Consider the larger details if your character is further away and hone in on the finer details if/when they are closer.

Not all deaths are quite so … gruesome. Maybe someone died peacefully, closed their eyes, smiled, and slipped away in a dream. Describing the “look of death” doesn’t have to be all that far removed from how you write regular emotions and expressions, except in death these expressions get locked in or frozen in time. A dead body isn’t all that different from a living one when you think about it, so why would you reinvent the descriptive wheel? A living or a dead body could “wear a painful grimace,” let your character read whatever expressions they can uncover when they find the Dead Darling. 

Smells, sounds and other sensations. You don’t have to go ham with descriptions, sometimes less is more, it really is down to you, but another thing you might want to consider are the smells, and sounds going on around them. Maybe your character disassociates a little and you forgo the visual stimuli entirely and need to express death using other senses, maybe it happens in a very dark room, or maybe you just want to draw in other descriptive elements into your death scene. 

Sounds: Siren blaring and alarms bleeping, the faintest little ‘huff’ as they draw their final breath, the ominous death-rattle cough, piercing shrieks suddenly cut short, a gutwrenching crunch-squelch, the click of a switch and the poignant silence of the life support machine ceasing. 

Smells: bleach/disinfectant, latex gloves, blood/gore, rot and decay, sickly-sweet or vomit-inducing, smog/smoke and fire, the smell of the Dead Darlings perfume, the environment (e.g. outside perhaps the smell of death is swept away by the powerful salty-sea spray or masked by the stink of the sewer the body was dumped in…)

CONCLUSIONS

There’s still a lot to explore, but I hope this has given you some food for thought when considering death in your stories. There’s more to explore, such as what happens after death (funerals, burials, anniversaries), writing scenes where your character murders/is murdered, the various ways characters can die… Faking character deaths … like there is a WHOLE LOT but this just covers a few things I find helpful to consider or at least think about when I read/write stories or generally listen to how language works around me. 

Good luck killing you Darlings ;)

[pugh-bug]

No.42 Chapter 1

Art Donaldson x reader : slow burn friends to lovers

I finally wrote chapter 1, I hope you all enjoy it! I’m excited for this slow burn

You widened your eyes at Patrick’s casual declaration. As his words: ‘Art’s gonna come live with us for a while’ hung in the air, you watched your best friend of ten years destroy a churro like it didn’t matter. Flat No.42 had been your sanctuary for four years with nothing but Patrick’s film commentating disrupting your peace. The two of you had a rhythm. An understanding of how the other lived and wanted to live, a schedule for taking out the recycling that Patrick stubbornly ignored.

You had game nights, movie marathons all without anyone having to third wheel. You weren’t ready to give that up, not even for Art Donaldson a man you’d been acting a fool around since Patrick introduced you.

‘Y/N,’

As usual your face concealed nothing.

‘Be good about this okay? Liam kicked him out to move in with his girlfriend, the least I can do is let him live with us for a while.’

You tried to picture watching tv with Art or looking up from your cereal in the morning to be greeted with his sleepy, cute face and messy curls. It took half a second before Patrick asked why you were smiling and even less for you to force a complexed frown.

‘Okay so when’s he moving in?’

Patrick wiped his sugar dusted hands on his ‘I told ya’ shirt, gaging your reaction with amusement. ‘Today, probably 6.’ So much notice - not that you were surprised the man once woke you up 2 hours before a flight he forgot he’d booked for the two of you.

‘Thanks for the heads up.’

——————————————————————

Forever the most organised member of the fire and ice duo, Art was at your door at 6pm exactly. Patrick opened the door as if it was Christmas Day and Art was Santa himself, you’d seen him smile brightly countless times but he actually glowed around Art. It was sweet, only sometimes sickeningly, and you understood the obsession. Art was the type of person lonely people craved.

‘Have my room, I’ll take the sofabed.’

Art broke away from Patrick’s bear hug to widen his eyes. You couldn’t help but smile at Art’s reaction to his friends generous offer. Patrick had a way of being there for his friends in such a way that never made them feel like they owed him. He had always been kind because of who he was, not for any accolades yet it somehow seemed to amaze Art every time.

‘Y/N,’ He turned to look at you, walking over confidently. The two of you had only started hugging in the last month, and usually only at the end of days spent with Patrick. He always hugged Patrick first.

‘Welcome to our piece of shit flat,’ you chuckled, as Art pulled you into a short but sweet hug. It took all of your strength. and did every time, not to pull him even closer to you. He always smelt of strawberry scented shampoo and the occasional cigarette which on anyone else you would have hated, you didn’t smoke, but on Art was heaven.

Art liked his own space, as did you, so for a few hours you let him unpack and relax on his own whilst you caught up on work. It wasn’t until Patrick ransacked his/Art’s room for a tie that the equilibrium of the flat was disturbed. ‘I’ve got a date!’ He exclaimed, ignoring the horror in Art’s face. He’d been on his twentieth push up and hated being watched.

Rushing out the door, using one hand to dress himself and the other to text the girl he was going to be late, Patrick made a lot of noise. You and Art were stood in the living room watching his antics with equal amounts of amusement and judgement. When he finally made it outside, Art watched you lock the door behind him.

‘Lucky girl.’

You raised an eyebrow, not sure if he was joking.

‘She won’t feel it when he eats all her food as well as his.’

Art smiled at your quip, knowing it was absolutely true, and thought to himself how nice it was going to be to get to know you better.

Chapter 2

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