#i don't really hate the comics but now i don't really like them like i used to

[iconicname]

Yeah

Always think about that scene where lucifers mother tells him that instead of being sent to hell, God wanted to kill him.

And while she clearly had her own motivations for telling him this (to get lucifer angry enough to get revenge)

So whether or not she was straight up lying for bending the truth, what gets me is how fast lucifer believes her. That belief doesn't come out of nowhere. Which never gets addressed ever again???

Though you could argue that that belief came from sending lucifer to hell indefinitely (which is just if not more cruel because c'mon) Netflix lucifer has a lot of canonical self hatred and implied suicidal ideation (plus his "devil form" which supposed to be a reflection of how he subconsciously see himself)

Coupled with the fact that we've never been given any indication whatsoever of the actual events that led to lucifer being sent to hell other than a vague "rebellion" and a something about Michael manipulating lucifer (which feels like a cop out but whatever)

uppermost with how in the show (bcs comic lucifer is a completely different dude) lucifer is extremely pacified, sure he makes scary faces and will get violent every now and then but nothing about him screams "diety who committed a sin so grave and horrific and showed no sign of stopping that the only option was to banish him to a place so dreadful that the goddess (a being who should effectively be God's equal) feared going back" painting a picture that lucifers punishment was not necessary or just.

And speaking of the goddess or Charlotte ig, she was also sent into hell. And I get the reasoning that it's because she kept causing mass death to humanity, which might seem justified from a human perspective, but to her, God, and her children this is the equivalent to sending her son to Diyarbakır Prison because he said "no" to you or challenged your authority some way. And then later, sending your wife to the same place because she knocked over your ant farm that you were investing more time than into your family.

Because both Lucifer and Charlotte have shown to be good people. Sure they're a little fucked up and have a tendency to use underhanded methods to get what they want but they're motivations while sometimes misguided are rarely malicious.

Charlotte was introduced a big scary figure (let's not forget how wary and downright scared of her he was initially) but she's really a hurt (rightfully so) ex spouse who wanted to get back at God for what he did to her (and lucifer bcs that scene in hell with dead uriel proves that she does love her kids she probably has trouble expressing affection in a straightforward way a trait that was either worsen or caused because of stay in hell) her method of revenge was likely the only thing that could save her herself too because lets be real, everytime both lucifer and her were on earth they both had angels coming down to bring them back to hell through extremely violent means. (I don't care if they were apparently "misguided" every angel that came after them wholeheartedly believed that what they were doing was justified and were pretty damn sadistic about it, too. that belief didn't come from nowhere)

From episode fucking one, it's unsaid, but we establish lucifer as a character who has already had his redemption (and this is through the assumption that he was more "evil" before the show starts) the whole plot with Delilah, someone who made a deal with lucifer to become a star but ended up a addict and involved with shady people. She was at her lowest when she asked she owed lucifer (I think about this a lot bcs I believed she assumed that whatever lucifer would ask of would either be something she couldn't give or something she wouldn't want to) lucifer said to "get her life together" as payment, thus giving Delilah a second chance at life.

Again this is episode fucking one, one of the things I hate about the show and fandom is it portrays Chloe and Lucifers relationship as "the awful misguided evil who is tamed, saved, guided by the second coming incarnate" everytime lucifer has growth as a person the credit is given to Chloe like she did something or just being around her gives you heaven points instead of the reality "lucifer holding Chloe in such high esteem because he's falling in love with her that he bends himself backwards to make himself into someone she would approve of"

because that would acknowledge that God was wrong, that lucifer didn't grow because of his interference, not in fact he did all the work himself (reconciling with a sibling who was hostile for a long time, forgiving his mother for being a bystander, even going to therapy like srsly bro is stronger than me).

And this is why they have God coming in acting like some goofy harmless guy because the narrative established that lucifer doing good thing = Chloe doing "miracles" and since Chloe was directly made by God thus put in lucifers path, it means Lucifer's "redemption" and happiness is on account of god.

That's why everyone is so easy with him. Lucifer is hurt and mad and God is like "but a gave you Chloe ☝️😊 aren't so much happier now?" And "lucifers like damn ur right, all is forgiven!" Chloe's the same way.

And since he's literally God the same goes for every other character for whatever reason or another he's essentially bribed every character to like him and has been playing a long term honeymoon phase (cycle of abuse) with lucifer. lucifer has essentially lost his support system which makes me grind my teeth.

OP you're especially right about Linda because Lucifer specifically made himself vulnerable to her about his traumas, self-esteem, self hatred and so much more to her and for her to say that to him must be gut punching, because she essentially invalidated everything he expressed to her 🫠

Honestly, to me, Lucifer Netflix as a whole has a lot of trouble validating lucifer as someone who was hurt. They love to hammer on his flaws (which makes sense since it started as a series about growth) but when it comes to his trauma, self-hatred and or when he's hurt by another character it gets brushed aside or mentioned once and never again.

Take for example the early seasons with Chloe and Lucifer first developing their partnership it it always delves into a series of misunderstandings, Chloe being a no-nonsense person and lucifer doing everything out of the box. What usually happens is that lucifer steps out of line Chloe will lash out (verbally) and lucifer goes "I don't understand your point I will go to Linda about it" wakiness ensues and by the end of the episode Lucifer has learned some kind of life lesson.

But the thing is that Lucifer is a character who's so genuine with his actions and is worldview is vastly different from hers in so many ways, he always means well so when Chloe says hurtful things (I'm not berating her for this it's completely understandable from her perspective) it's never acknowledged later, no "Hey I was wrong" or "sorry for calling you that" or maybe a "I should have taken you seriously"

It's such a miniscule aspect but it's brushed aside. Same thing with the whole poison situation there's little remorse and Chloe gets to handle the consequences on her terms.

Its like that with every situation really, any character (but mainly chloe) gets to stomp all over him and he's never allowed to fight back or they get "proven right" .

the most annoying part of lucifer on netflix is that he was literally right the whole time. i don't give a shit if the literal actual god was "just trying his best." lucifer was 100% right to be angry at god and in fact, i think everyone should've been downright pissed when they met him. ESPECIALLY linda. fuck her for real for telling him that his conflict with god was partially his fault. lucifer described an abusive father to her countless times and the second she met him she started fawning over him? fuck that. chloe should've punched god in the face

[mewtwoandme]

As i tell myself "Take a break and eat a cake". Do not push yourself to do art or feel the need to do it AND! Don't apologize because you need a break, if you need one just say it, No apologies needed ever

If the hug helps even though it isnt real

I just have to stop making promises I know I can't keep and letting my ambition get the better of me XD

Real talk though?...There's other things hindering me continuing the story too. Aside from irl things, i've had a lot of time to think about my focus and direction with drawing my interests lately since the holidays. I've been at it with these pokemon/mewtwo comics, this whole blog, for almost 5 years now...straight. I haven't focused on much else art-wise really, accept for a few non related pokemon doodles sprinkled in here and there...and as much as I'm hesitant coming to terms with it and hate to say it...I guess constantly drawing the same thing for a couple of years has finally caught up to me. So there's currently an ADHD mind barrier preventing me from picking up my pen and finishing the next comic.

I have other interests and fandoms I'd like to draw for and had thoughts of making another blog about one of them. That's a small part of why my mind is a bit unfocused as of late. I feel divided, my motivation specifically feels divided. I'd like to pursue drawing other things but I've been suppressing the urge to until this current baby arc is done. Maybe that's my mistake. Perhaps I won't feel satisfied unless I doodle some of my other interests first before returning my current story...but that also means prolonging the arc further when I've been so close to the end of it for what feels like ages now! It's a frustrating feeling.

[poorly-drawn-mdzs]

Look what we've become.

[First] Prev <–-> Next

[shima-draws]

Me: Hehe Sanlu!!!!

Fandom: Oh but Zoro? Where's Zoro? What about Zoro? Including Zoro in this. Adding Zoro here because. Zoro tho

Me: KICKING YOU IN THE SHINS STOP THAT

[mamawasatesttube]

kon sweetie im so fucking sorry that someone would even say something stupid like that oh my god.

[necrotic-nephilim]

fan fact the only canonical world where tim is happy like batman is the future where he and cass are married and share the title

this is from solo #10, last story, written and pencilled by damion scott who was the first main artist of cass's run

THANK YOU FOR THIS OH MY GOD I WANT TO KISS YOU ON THE MOUTH.

i KNEW there was an Elseworlds story i had read where they ended up together!!!! but researching got me NOTHING and i half convinced myself i hallucinated it. i've always made the joke i think it's so funny Tim is the only Robin who's been with all of the Batgirls (Steph in the main timeline, Babs in the Arkhamverse, and Cass in this comic) but when i was trying to find it i doubted myself because i could find NO trace when looking it up, just reference to canon comics where CassTim was heavily implied. damn near gaslit myself.

anyways this whole thing makes me unwell. because i'm of the firm belief Tim could never be happy if he stayed a vigilante his whole life, *especially* if he became Batman. because that is canonically one of his worst fears. it's why i like Tim Drake of Tomorrow (Savior) so much, because it's a personification of those fears and the sort of proof that Tim becoming Batman would set him on a hyper-paranoid overly controlling path he wouldn't come back from. but? the idea that Tim could be happy and healthy as Batman if he was sharing the mantle with Cass? that makes *so* much sense. they represent very different aspects of Batman ('the noble detective' and 'the vengeful knight' pretty aptly display that) and her drivenness and dedication to the Bat as a symbol would be the thing that keeps Tim from falling over that edge. it'd keep him from self-isolating (a thing Tim is known to do when he's falling down a paranoid spiral) and keep him steady. meanwhile he would ground her, make sure she knows she's not alone. that's my only real gripe with Cass as Batman, is that she shouldn't be so alone and 'one man army' the way Bruce is. she needs to keep her support system she worked so hard for. she needs someone to remind her that she's human and treating herself like a weapon 24/7 isn't sustainable, something Tim has tried to get through to her. they're just so good at balancing each other out and DC would never go in the direction of exploring them again, but there was a time it really felt like we were on the cusp of them flourishing as a couple and tbh, i almost feel like we missed out.

[starry-bi-sky]

i have... ✨Danyal Al Ghul Headcanons✨ but specifically for my yaelokre danyal oneshot

There's also the tumblr post here but I recommend the link in the title because its the ao3 version, and that one is edited and has some stuff in it that's not in the tumblr post, and will be the version I'm using.

So for summary: this Danyal is also from a Demon Siblings Au where Danny is five years older than Damian. However, things turned out a bit differently, and Danny and Damian had a fantastic relationship with one another. Danny loved music and regularly came up with songs to sing to Damian with. Specifically the folk band Yaelokre's EP "Hayfields" (seriously go fucking listen to it its sooo good. Harpy Hare is the second song but its my favorite. Special shoutout to @gascansposts for introducing the band to me)

He falls off a train when he's twelve and Damian is seven while the two of them and Talia are on mission. He ends up with magically induced amnesia and wakes up in Arkansas while the Fentons are on their yearly Divorce-iversary visit to Aunt Alica, and since he can only remember his name, he ends up being taken into their care.

---------------

Yaelokre Danny has the same facial scar as Things in Threes Danyal, since he was initially another version of him where things turned out better. I'm debating on whether or not I should take it away however, and give him a different scar (maybe from when he fell off the train?), just because the scar is a pretty key identifier for Ti3 Danyal.

-----------------

Danny frequently visits Aunt Alicia in Arkansas! Well, only after he gets settled in and stuff. He doesn't really like the city that much and prefers the countryside where Alicia lives. I know she lives in a cabin but I'm changing it to a farm, so she puts Danny to work and gets him to help her.

I don't want to confine his hobbies to only being star stuff, because people tend to have more than one hobby and I feel like it reduces him to one-dimensionality, so he likes to garden, and learns guitar. His room becomes filled with plants, and he turns their roof into a rooftop greenhouse right below to OPS Center.

He has a complex relationship with the weapons from his past, but he's not... like... appalled by it? When he finds his weapons in the Fenton attic all he thinks is that they're his weapons, and he starts carrying a knife on him afterwards. Essentially he becomes fascinated with weaponry because its one of the few physical ties he has to his past, and while he's not training like he is in the League, he allows his strong muscle memory to guide him through his katas.

Danny likes climbing things. This causes Problems For Everyone Else.

----------------

Danny was not the "kinder Al Ghul" in the League. His kindness extended to his brother and family, and that's it. To everyone else he had high expectations out of them, and the pride you'd expect from the grandson of Ra's Al Ghul and trained by its top members. While he wasn't like, unnecessarily cruel or anything, he wasn't merciful either.

This transfers post-train fall as him coming off as no-nonsense and unforgiving. He's not fond of the idea of giving people second chances, and is skeptical of the idea. He's disgusted by incompetency and views it as an unforgivable offense, especially if he thinks that the person should know better, although he's not sure why. Some egocentrism for the soul.

He doesn't like being touched by anyone who isn't family, and gets irritated when anyone grabs him or holds onto him for extended amounts of time. Dash has gotten hit so many times. With Jack Fenton's tendency for abrupt physical affection, it doesn't make it any better. I'd argue it'd make it worse because Danny doesn't want to be touched more often than not.

------------------

Danyal had a red scarf in the League that he wore on his last mission, it came off before he fell off and caught itself on the roof. Damian still has it and took it with him to Wayne Manor. He's got it locked in his room and takes it out when he's alone and missing Danny the most. One time he forgot to put it away before leaving his room, and Dick was visiting the manor for something and found it. Damian found him holding it and freaked out.

Dick could only say "I've never seen you wear this, Damian, this is really pretty--" before Damian shoved him to the floor and stole it out of his hands, before screaming at him; "Don't touch this! You don't ever touch this! This is mine! You hear me!?"

It caused such a commotion that the rest of the family present came to see what the fuss was about, and Damian kicked them all out of his room. Dick is the one brother Damian's the closest with, so the fact he reacted so strongly shocked them all.

This is likely what leads to the "Danyal" conversation.

[4lph4kidz]

[sharlmbracta]

if ozai had a proper backstory/character regarding his family and personality instead of just "ozai = ultimate villain = ultimate evil (literally, like the summation of all kinds of 'evil')" and got more screentime, then it would have made the ultimate lesson of atla as a series more viable, like the zuko redemption arc, that there is no "true black / white" nor "ultimate good / evil"

he was such an 1D character in the series it's so intriguing when ao3 spices up his character

[yo-yo-yoshiko]

Always, the star of my heart!

[somelazyassartist]

Hate it when I simultaneously feel like I've been working myself to hell and back and also feel like I have absolutely nothing to show for it. Like I am so tired but if I do not get Products ready to Sell I am going to chew my limbs off bc I hate that I need money to live but I do!!!! And the things I do aren't even that hard my body just sucks and hates me doing anything at all ever!!!

[rmbunnie]

I know Morrison's Batman tends to be considered one of the greats, and I am definitely warming up to it more than I did on my initial read, but there are still some elements of it I found really didn't mesh with me. I feel like I can say this a lot more concisely than I did during my initial readthrough of Batman and Robin 2009, plus I've had more time to reflect and actually form a coherent opinion that wasn't a gut reaction, and keep in mind that I've read Batman and Robin in a vacuum Morrison-wise and can't speak on it in the larger context of their Batman run, but aside from just. very odd writing of certain characters, I feel like one of the more significant things that rubbed me the wrong way with this storyline was that a lot of the "weirdness" I'd seen hyped up felt either inconsistent enough that it didn't have a significant presence for me, especially towards the end of the run, or very surface-level.

One of the runs I see hyped up as some of Morrison's greatest work is Animal Man, especially for its metafictional ending. I haven't gotten around to reading it yet, but I expect that I'll enjoy it, or find it very interesting at the least (although author-inserts can come across a bit arrogant sometimes imo.) The point is I've heard good things, that it comes down to a very interesting and one-of-a-kind conflict in the end, which made me in some part hopeful for similar with Batman and Robin, (although I do have to admit I was reading it in part to see how off his Jason really could be.) I didn't really find that, tbh. There definitely were genuinely weird plot points with impact on the story which I feel were really successful, unfortunately it seems like a lot of them were at the cost of any prior characterization for the characters involved. Damian has steel implanted into his spine which allowed Deathstroke to control his movements and set off his emotional connection with Dick, Talia just had to be written horribly for it to happen. Sasha is a really interesting parallel to Damian/Robin-in-general. The conflict around her grotesque mask permanently fused onto her face and the fear that it'll kill her completely to take it off, the scene in which she gets said mask in the first place/the dollotrons, and the concept of a villain getting their own Robin in someone completely unrelated to Batman and the impact their legacy has had is all really original and cool, it's just that it's all dependent on a bewildering version of Jason that directly contradicts all previous characterization save BftC. To me the tradeoff doesn't feel necessary, but the events are inventive and have weight in the larger story.

In other areas though, especially as the run wrapped up, the zaniness that I see hyped up a lot, while providing a unique atmosphere, felt a lot like set dressing more than anything. In retrospect, the first time I really noticed this was the Professor Pyg dance page back in issue 2 or 3, I believe? But it became much more frequent towards the end of the series. The entire city becomes infected with a viral drug by Professor Pyg which isn't a major threat and doesn't serve anything in the story much besides being wacky, letting Professor Pyg say odd things about his mother sometimes and putting Commissioner Gordon... in a dress! Zany! (Professor Pyg is eventually... presumably?... torn apart by a parade of dollotrons and his narrative importance dies with him.) Alongside the Morrison-original villains like Dr. Hurt and Professor Pyg, there's a mysterious new player in town who's been orchestrating everything, and after a dozen issues of mystery it's the Joker, but wearing a mask and making edgy "differently-abled" jokes!

Dr. Hurt is interesting, and I liked his part of the story if I ignored the panels of auxiliary weirdness thrown on to add to the vibe, and I think there's something fun and interesting there about the legacy of Batman vs. artistic interpretations with his motive of ruining the Wayne's legacy (made more apparent with his talk about the Batcave being "the way it was meant to be in his head," the manor and Batcave "his to ruin," but Dr. Hurt kind of fades out of the story as Batman returns and is defeated by Joker, laying a banana peel on the ground. In the context of the theme of artistic interpretation and Morrison's commentary that they never cared to pretend the story was going to end with anything but a return to the classic Batman, I actually find this really interesting. A character heavily defined and reinvented by Morrison's writing being defeated by one of the most iconic Batman characters with a classic comedy trick from the 19th century feels like the conclusion to the contrast between Batman's legacy and the artistic license of the authors writing the comics: you can have your personalized elements, but the legacy of Batman is elastic and unlikely to be molded by them: certainly it won't be destroyed. Despite this, it didn't change the exhaustion of seeing the Gravedigger's mask come off and settling in for another comic where the Joker is gonna be doing classic zany Joker stuff.

As much as I'm frustrated with the way Talia and Jason are written during this run, I didn't entirely hate it, and the more I think about it, the more I find things I like. Some of my frustrations come down to taste, and are an unavoidable product of my personal taste differing from a pro comic author who had an established writing career while I was going to elementary school. I feel like some previous Batman comics were referenced in really exciting ways, for example the combination of Bruce's absence, a drug being used to gain control over citizens, an odd demonic presence, an imposter cult leader (If you can call Dr. Hurt that) prolonging his life through magical rituals, the background detail of complete chaos in the city, and one of the main villains being torn apart by a crowd of his followers, from the limited number of straight-up-Batman storylines I've read, felt pretty strongly like a nod to The Cult. But even considering the commentary on creative license vs. the consistency of Batman as a pop culture icon, the feeling of reading the comic was frequently that I was being convinced of a weirdness that didn't extend through the story down to the actual structure or plot points of the issue I was reading (with exceptions, such as the Sasha + Professor Pyg thing,) and although I appreciate the message of the return to status quo in the ending, with the hype of the story's inventiveness and uniqueness on my mind, it was kinda disappointing to realize halfway through that for all the weird window dressing, the story would be commiting to a much more traditional turn than what I was expecting.

[zorthania]

A piece about survivors guilt.

This comic isn't perfect. I started it back in October 2023, and every time I picked up my pen, I wept.

I bring this to you today, on 9/11, in hopes that you reflect on this day a little differently than how most Americans would. Let it move you to continue to boycott, protest and challenge your family, friends and colleagues. You have a bigger impact than you would believe.

Thank you for reading this with an open heart.

From the river to the sea...

I'd like to bring to attention the fact that the figures depicted above are a gross undercount of the actual number of deaths. I scoured the internet high and low to source my findings and not a single one could break down the devastation that befell an individual ethnicity. Instead, they lumped a bunch of ethnicities together, provided a general timeline, and called it a day, reinforcing the sheer scale of dehumanization propagated in the west. The only consistency between all the articles I looked up was the 4.5 to 4.7 million figure I've included above, and even then, they were all published by western media news outlets... the very same that have been so unreliable and complicit in the genocide of Palestinians today. So I have to take everything they say with a grain of salt.

We are not just numbers.

All of us have ambitions and desires and lives worth living.

With that said, this is your friendly reminder to:

Donate an e-sim

Donate to PCRF to provide Palestinian children aid

Donate to Pious Projects to provide woman with feminine hygiene kits

Donate to CareForGaza to provide food to displaced families in Gaza either through their Gofundme or their paypal

Donate to any of the vetted gofundme campaigns on GazaFunds to help Palestinians trying to flee Gaza.

And if you or someone you know sees or experiences a hate crime and can afford it, SUE. This is a more effective use of your money than most realise. The reason zionists act with impunity is because of the normalization of white supremacy and oppression of ethnic minorities. Challenging that in any capacity tells them that there are consequences to their actions and makes them think twice before engaging in hate crimes and helps raise all of us up against the systems currently in place that let them get away with it.

If you can't donate or spend any money, you can:

Do your daily clicks.

Boycott targeted companies on the BDS list (if you're like me and you don't want a single dollar to go towards anything supporting Israel right now, you can use Bdnaash to double check what products are okay to buy, but the BDS list is sufficient as it is a strategic attack and proven very effective thus far)

Flood your representatives emails and voicemails with how you won't be voting for them unless their politics align with an immediate ceasefire in Gaza.

Attend a protest, be LOUD.

Challenge your circle of friends, family and colleagues with conversations about Palestine. (THIS IS THE MOST UNDERRATED AND MOST EFFECTIVE THING YOU CAN DO)

and if you're really up to, be disruptive in any capacity that you can think of towards major corporations benefiting from this onslaught. (i.e. halting military manufacturers from production + shipments, sticking boycott stickers on products at your market etc)

And finally, if your country wasn't mentioned in the above excerpt, it was no deliberate omission on my part and I encourage you to come forward and tell your story about the suffering of your people so that this may be a learning opportunity for everyone.

You are seen.

You are not alone.

Thank you again if you've read this far.

From the river to the sea...

[liedownquisition]

Oh boy. You know, I really love how you've cut some of those panels out. Here's a little more context on Oliver very clearly laying a solid chunk of what's wrong with Jason at Bruce's feet:

And you know what, you're right! No one's ever obligated to forgive everyone or anyone ever! But also guess what! You're also ignoring like... a lot of stuff actually. You think the batarang is the only thing people have an issue with.... as if it exists in a vacuum as the only thing Bruce has ever done wrong to Jason ever? Because most people aren't so much mad over a single incident as we are over it happening again and again and again.

RHATO Rebirth v2 #25

Batman and Robin uhhh Issue 6 I think? Going off the omnibus, sorry

Batman #138* *yes I'm aware that Bruce is being influenced by "Zur-En-Arr" in this, but honestly? I've always felt that this & the Batman & Robin one were some of the more in-character examples of Bruce's flaws manifesting in abusive ways

Or maybe some of these are too recent. Let's talk my personal favorite little beef that I like to contrast with Ollie:

Batman #424-425 The Diplomat's Son & Consequences

Ollie, on the other hand, when his charge commits a murder that Ollie thought could be prevented:

Now there's something to be said for how the writers for these stories had very different opinions of the sidekicks that were responsible, Starlin, for example, fucking hated Jason (Well, Robin in general) and wanted him dead, and it's deliberately set up to be a question of whether or not Jason actually did. Regardless, Bruce pretty cleanly absolves himself of any wrongdoing in his upbringing of Jason, whereas Ollie takes responsibility for Mia being in the position that she even could/would make that kind of call. And at this point, Oliver had Mia with him for a lot less time than Bruce had had Jason.

If it was Just the batarang, then, frankly, I think it's be a lot less controversial. This isn't even everything OR the worst panels from those incidents!!! I'm just cherrypicking, just like you were. And you know what, let me add this:

According to Bruce, Ollie's a pretty forgiving guy, it looks like. And if we're taking more Rebirth into account, Oliver was pretty chill about Cheshire hanging out with his family, and she's definitely caused her fair share of problems for the family and world at large on scales Jason has yet to even touch*, regardless of if she's Lian's mom. *some of Jade's crimes are dubiously canon, but with the reality mashing from Convergence in a way all of it is.

Ollie is a lot of hot air. I love the man, and he'll rip anyone and everyone a new one at the drop of a hat for any godsdamned reason. Pretty sure he's called Bruce and Barry and Hal all fascists before, so he has no hesitation in saying the absolute worst about people while... still having a relatively decent relationship with them in the long run, actually. Hal even used to be a villain for a while and Oliver was forced to kill him and now they're buds again. An alternate version of Hal that is STILL that villain continues to torment Oliver and his family.

Would Jason need to actually work to earn forgiveness from the Arrows? Probably. But he's still friends with Roy now (yes, CURRENTLY. AS HE HAS BEEN FOR OVER A DECADE he hasn't even been features in much w/ Roy lately but it has been REFERENCED), and even if it was small that olive branch of helping Roy and Lian reunite (and their general friendship, actually) isn't something that Ollie would just brush off, just as he wouldn't just brush off the events of Seeing Red.

But, in the grand scheme of things, kidnapping her, sending him on a wild goose chase across town, "having a talk" (mia's words) then letting her leave unharmed, and blowing up a building behind her is honestly small potatoes in comparison to the Repeated incidents of textbook abusive relationships that goes on between Bruce and Jason. (And I cannot overemphasize how little Mia was injured by this incident.)

Of course Olie was talking shit about Jason in the interim, Red Hood is incredibly dangerous, and he's scared for her safety. You can SEE how stumped he is by her coming out of this completely unharmed. Plus! This is hot on the heels of her return after the Dr Light Incident, and Ollie has every right to be scared out of his fucking mind.

But when it comes down to it, Mia Was Not Harmed. I will not stop saying that. Because in the world of villains and superheroes and red Hood doing significantly worse shit to other characters, this is NOTHING. Even actually within Arrow comics???? This WAS NOTHING.

And oh my god "He did the same thing Joker did" okay so where do I start with this

a) that was the point, obviously.

b) he didn't, actually.

c) that was the worst description of both incidents I've ever read in my entire life. Joker didn't "take a kid from his father and torture him and make him doubt his place in his family" unless you're talking about the fucking Arkham 'verse!

c2) actually let's break down that description: "took a kid from their father figure" Joker didn't take Jason, he was sold out by his mom. "Beat them up" understatement, but go off. "Tortured them mentally about their place in their family" not really. Joker just beat him nearly to death laughing for the most part, Jason's doubts about it came after he came back to life and saw news that Joker was still alive.

d) hmmm I wonder who said it was just Jason messing with Bruce...

Hm. Yeah. Bruce is definitely the most reliable source for Jason's intentions. I mean, was it generally to spite Bruce? Probably, yeah. But Jason's very good at multitasking and layering his intentions.

e) once again, Mia was not harmed. Jason spent most of their sparring match on the defensive, And only hit Her, physically, like, four times? and all of them in retaliation to her getting in close and hitting him first*? (And, trust me, if Jason can pull the hypercompetent bullshit that is "Seemingly shooting wildly but managing to hit nothing but THE STRING OF MIA'S BOW while also accounting for how she'd dodge" he could do sooooo much worse.) Notably, he briefly had her pinned to the floor with his hands around her throat... and then let up just after he held it long enough to make his point *Note: this is not a justification, she had every reason to fight back with everything she had and what Jason does is very fucked up on like...a normalscale. But it's worth noting he was Very Visibly and outright explicitly "teaching" her throughout it and it's soooo much less than any other villain has done to her.

This doesn't read to me "Making her doubt her place in her family" so much as "Emphasizing their similarities" this is the kind of speech the villain gives when he's trying to recruit the hero. (something which, hilariously, he mocked the idea of in UTH) But you know, all interpretations of canon are valid, although...

Funny enough, this also is very much not what Joker Did, actually. I mean, I don't recall Joker letting Jason have ANY agency at all, really. Just started breaking bones.

Now, I didn't post all of them because if I kept going it'd just be the whole comic, but yeah he does very much air out his daddy issues and compare them to her relationship with Ollie. It's clear that while he does know a lot about Mia... he also doesn't know much about Ollie. At least, not personality wise. Not how much genuinely better he is at this whole parenting gig.

This is so, so much easier to forgive, conceptually, than everything that goes on in the Batfam both from and to Jason and from and to OTHER MEMBERS OF THE BATFAM without involving Jason at all!!! (Birthdays, amirite?)

And, honestly, I'm probably seeing a lot of the posts that you are, and the ones making the Jason & Ollie bonding posts? Aren't really the same ones going on about the Batarang Incident. We've moved on to the rest of the, gestures above, Patterns of Abuse. If we discuss anything past post-crisis at all. (Speaking of post crisis, I actually remember Jason doing a pretty big solid for one of Oliver's close friends... hmmmmmm. Oh, yeah, he helped out when Black Lightning was framed for murder by Slade so good that even HE thought he did it! Granted, that was pre-Mia. So he's not going to stop being wary, but it's not like Jason hasn't done good things that affected people close to Ollie either.)

And if Jason's emotions aren't an excuse, than, well, Bruce's aren't really an excuse either, are they?

Jason's not even the only one who gets abusive treatment from Bruce. And regardless of your personal interpretations of whether or not it's a valid Batman characterization, after multiple writers have written this kind of thing across multiple continuities, there comes a point when you have to accept that this is a genuine flaw that Bruce carries and find a way to reconcile it with everything else.

And if we're going off of canon-gospel, Jason's own behavior has steadily trended towards more and more fangless, more palatable, in a way that given exposure Oliver would probably tolerate, considering all the others that he tends to tolerate. He still seems to regard the Batclan in general as a dumpster fire, "None of my kids would take a shot at me" he says, completely correct, while Batman's kids wouldn't even hesitate. He rolled up with unsolicited advice about Batman's relationships multiple times, all correct, and gotten shot down or ignored as if his significantly fewer incidents of being a shitty parent that he's very self-aware about somehow make him unqualified to speak at all!

Sometimes the reason that people are writing this, is because they like Ollie more than Bruce, because he knows how to actually apologize and actually do better. And trying to ignore canon in favor of making "good dad" Bruce stories, can wear you down when you just keep seeing Bruce depicted worse and worse and worse, and so maybe you want to start seeing the people trapped in Bruce's vortex move away from that.

And among those in that vortex, Jason has it the worst. Like, this isn't a competition. Some of the shitty stuff that Bruce does to him could be argued to be just responses to what he does himself (victim-blamey, but you know what let's pretend it makes things okay) like uth, or RHATOv2#25 But... Batman & Robin? "Oh Bruce was upset about Damian."

What was it you said? Oh, that's right: "Your feelings being valid don't excuse the harm you do, guys."

Gotham War? I'm sure you'll make excuses for Bruce there. I mean, maybe implementing it was Zur, but, frankly, that "Failsafe"? That has "Bruce genuinely thought this" written all over it. Hypocrite. Considering what his response was to the last time someone messed with his mind.

Oliver... kind of is the canon version of fanon's "good dad Bruce" tbh. And sometimes people make that connection, see those parallels, and want to play with that. It's just a what if.

You know that thing about tragedies about how if anything happened any differently it could have been prevented, that someone could have been saved? Ollie fucks up, but, fundamentally, if Ollie had been in Bruce's position, he would have saved Jason, not by doing the impossible of making it there in time, but by putting Jason first and having healthy communication lmao. Because Bruce very explicitly didn't! He didn't want to talk about it because he was scared of the truth! Or, he was scared of what he believed to be the truth, which would be that Jason had killed. And that it wasn't Bruce's fault. Because it's never Bruce's fault if he failed to raise Jason in that way that took that instinct out. It's not his responsibility to have realized, as the adult in the situation, that Jason maybe shouldn't have been exposed to so much rape and murder at an impressionable age. It's not his responsibility to keep better track of his barely teenaged son who's going through severe trauma right in front of him because they failed to enact justice on someone.

And Bruce had a lot to say about what he thought about Jason that varied and, honestly, rang more as projecting his own issues onto Jason than matching up what was actually happening on the page. Better meta-writers than I have discussed how rarely we get Jason's POV in these situations, that we're TOLD a lot about Jason by everyone else who has an agenda to frame Jason in a certain way.

If you hate Jason Todd, or hate jayroy, then block the damn tags & add it to a content filter bcs generally the latter is always marked. if it's someone on your dash reblogging them and it's not tagged/hiding it then ask them to tag it so you can filter it or stop following them idc. Don't pretend your cherry picking of canon and willful out-of-context misinterpretations is any better than anyone else's.

I have seen many posts and fanfics who are going "Oliver works with Jason to annoy Bruce!", "Oliver protecting Jason from Bruce!", "Oliver deciding to annoy Bruce by being like a father figure to Jason!", "Oliver being so happy for Roy and Jason being together!", and etc, but in canon, Oliver HATES his guts.

Here is a compilation of Oliver thinking or talking about Jason from Seeing Red, which is the first Red Hood's story after Under The Red Hood, and the one time Oliver and Jason interracted in canon (if I'm not mistaken, they never did since):

For the last one, he is talking to Bruce and Jason is one of the "every damned manner of sociopathic fruit fly".

And like, Oliver and the Arrowfam are 100% justified in their dislike or hate. He literally pulled the same shit Joker did on them: took a teenager away from her father figure, beat her up, torture her mentally about her place in her new family and her usefulness, make her and her guardian think he was going to kill her, explode the building she was in in front of her father figure to make him believe he was too late... And all of that to get to Batman. He doesn't give a shit about Oliver or Mia, it's about Batman, it's about Bruce. Just like when the Joker killed him, it wasn't about him, it was about Batman.

And it doesn't matter that Jason changed, because others aren't obligated to forgive someone because they redeemed themselves. I do not believe that Oliver is fine with Jason, he is probably not very happy he hangs around Roy, and does NOT want him near Mia ever again, and certainly not his granddaughter, Liam. That's the man that kidnapped his daughter because he was mad at his own father, nope. He knows how it is to be annoyed with the Bat, and it doesn't justify this.

I can hear y'all seeing disregarding canon is fine, and yes, sure. But also, folks, you are such hypocrites if you want to keep in that Bruce threw a batarang at Jason's neck, and erase how it was an accident ("Batman doesn't make mistakes!" Firstly, he does, canonically, make huge mistakes sometimes. Secondly, the man was an emotional wreck, his son had come back to life and had been killing people and his other son, Dick, was maybe dead because his city just exploded. He is human, not a machine! Thirdly, it is simply fucking stupid for a character who is against killing to willingly inflict such a mortal wound.), but Jason being a huge asshole to others is either erased or excusable (your feelings being valid don't excuse the harm you do, guys). Talk about favoritism.

[kroosluvr]

temptation

i lowkey have too many notes to write down properly KDFHKDS but ill write them down for Future Cele so i can read it later and be like omggg past cele ur so fun and interesting

in general, the more "color" the scenes have, the closer it is to "real life" as opposed to the muted/hushed winter blues of maruki's reality

i.e. the dark frames w akira smiling and the very last panel are when reality sinks in: first for akira, then for goro

by the way this is long winter au but sumire is still brainwashed. this also works for canonverse but i just had long winter au in mind:o

youve heard of laundry and taxes now get ready for coffee and pastries

in every panel, akira is smiling! :) and goro is very much not smiling.

intentionally his face is hidden in the last 2 pages so its unclear whether it's the "ideal reality" already (akira/goro's daydreams/wants/desires), or if goro is still fighting akira on making sure he picks the right choice

the smoke from the first page kinda leads into the 3rd page omfg COMPLETELY UNINTENTIONAL BUT REALLY COOL LMAOOO

that's nameless and belladonna in jazz jin!!! i love them. I LOVETHEM. i miss them so bad is it obvious

the cafe is loosely based off of caffe strada @ uc berkeley LMAO. my parents used to take me there a lot as a little kid so that's the first cafe i think of when i imagine one. its like right on the streetside, basically on the sidewalk, so its very bustling and people are always walking by... probably a little disconcerting to see everyones summery bright smiles despite the bitter cold and snow

in long winter AU, the Ideal Reality starts before 1/1 so yeah they get to see the new years fireworks together (or something)

also intentional that they wear the same winter outfits in the whole comic although it Probably does not take place at the same time. in maruki's snowglobe, time seems frozen in place... but akira and goro are both acutely aware that the sands are running thru QUICK

goro's frustrated expression on page 3 is one also of disdain: "don't speak FOR me you fucking imbecile" type of expression.

goro, who's never lived a normal life and therefore doesn't know much abt "normalcy" nor really actively seeks it. this 3rd semester is basically purgatory for him and he doesn't care to try and go through the motions the way akira does. akira what do YOU know about the type of "normalcy" i deserve? how do YOU know if i "deserve" that?

im thinking that this is a naive akira who is mostly set on taking the deal because he feels hopeless... seeing all his friends with good happy lives while goro and himself are alive and miserable and shouldering the weight of the world during the horror of long winter......

oh but if he takes the deal they could all be good and alive and happy!!!.... and goro knows this. i feel like in any other universe (i.e. akira is 100% certain on not taking the deal and goro knows this) then goro would be happy and carefree to do these little indulgences for himself and akira's sake, to just enjoy the snowglobe world while it exists.

but this goro is discontent. he sees how akira is enjoying the snowglobe and knows maruki is depending on this. goro has to be the one to remind akira that none of this is his to keep........ in this fucked up world, routine is dangerous. becoming comfortable is dangerous. they cannot keep any of this.

on that note, goro says "i hate you" in a halfhearted sort of way (it's not true and akira knows that.) but he's trying to think of a way that he can dissuade akira from picking the wrong choice.....

and i think the thing is, goro thinks all of this, but he still falls into the rhythm of routine with akira anyway. in a way, goro feels hopeless too.

all of this is maruki's doing........ paralyzed by the inability to choose... whatever you do, you lose. goro needs to hold akira at arm's length so the stupid sentimental fool doesn't get too attached and falls into the wrong universe. akira needs to make a concentrated effort to detach himself from goro even though he wants the simplest thing in the world: just one more unremarkable day with him. it's lose-lose..........,

also i liked drawing the tentacles in the last pic the freaking blue lines on them were SO satisfying to draw

edit: also the last page: the blood flooding the panel….. the idea of the ideal world being built off of the blood and sweat and tears and bodies of the people who could have been. of those lost in the actualization, of those destroyed, of those stitched together and brought back to life. all just for a little false happiness. goro sees it but akira doesn’t, and it’s a grim sight.

[prael]

Chemistry

Jenna Ortega x male reader smut [Commissioned fic]

Masterlist word count: 9,196 Kofi(donations/commissions)

"You know that's not my thing, right? Why even bring this to me?" You throw the papers down on her desk and they spill over the wooden surface.

"Did you even look it over?" She sighs, holding out her hands for you to take them back, "This could help you break out of the R-rated mould you've found yourself in."

"Look it over? You know this isn't my genre."

She rubs her forehead as though she's stressed, "Look, we all have to make concessions, right? It's a few months of filming and a lot of money."

"It's fucking romance," you dismiss.

She raises her voice in response, "It's your fucking career."

"What's that supposed to mean?" You push back, and she's taking a glass from the shelf behind her desk and emptying the whiskey within it in one practised motion. She's keeping her cool and taking a moment to simmer down by cleaning up the papers. The silence tells you as much as her words could. She's trying to help you like she always has.

She says, "You know what it means. You're no George Clooney. You're no Vince Vaughn. One trick ponies are rare. You gotta work on your range."

You stay quiet, clenching your jaw because you can't argue. This is what she does: tells you what you need to hear instead of what you want to hear. She's tough love and always has been. Took you under her wing and at times carried you to where you are today, so who are you to question her judgement?

"Did you ever stop to think 'why'?" She asks before taking a drink. "Why would I bring you a part that I know you're going to hate?"

You cross your arms, remaining silent as you stare at her. She smirks before answering her own question.

"Because I know who they're eyeing for the leading actress. Jenna Ortega. You know she's all the rage these days. Netflix deals and music videos. She's fuckin' viral and she's fuckin' money. Her name is gold so I want you on her fuckin' hip." She takes another sip, watching you absorb the information she's feeding you with an unrelenting stare.

She always gets like this, all the foul-mouthed excitement is enough to convince you that she really believes what she's saying.

"Alright. Got a pen?"

-

Pre-production is... well, it's different. It all feels a little foreign to you, right from the off with the script reading, because it's obviously such a different vibe than anything you're accustomed to. It's all so light and breezy and a little comical. You don't do comical.

There's no deep-seated angst, or hatred festering below the surface of your character, rather he's kind, loving, funny, a little bit of a klutz. It's a long stretch from the characters you usually play—murderers, drug dealers, car thieves. Now the viewers are supposed to like you?

Most days on set aren't that far outside of your comfort zone though—you don't think. You go through the motions like you always do, take direction and talk to the production crew, and keep it cordial and civil with the cast, especially with Jenna. Up until now, your characters have had a few brief scenes. It's all coffee shops and public parks, pretty places with lots of wide shots and lingering looks in the script, and you aren't sure how comfortable you are with it.

"Camera two," The director calls and you and Jenna take up position.

You grab her hand, and her smaller fingers curl around yours instinctively, holding on tight. She smiles at you and says softly, "Just like we talked about, okay?"

You nod and rub your thumb over hers to ease her nerves. There was this awkwardness for the first few days that has gradually eased away, the two of you talking more often. Not work stuff, which might have been smart. Just small talk. About food and places you've visited, TV, and bands, it kept things light and amicable.

"Quiet on the set."

Silence falls, and your heart rate speeds up. Your breathing is a little laboured as you wait.

It's the first time you're supposed to kiss her and somehow it doesn't feel like just acting, not really. Acting for you is fighting with some rogue cop or soldier, all stunted rage and brute force. Or you're stalking someone through the dark streets at night, the cold metal of the gun in your hand biting at your skin while you focus on nothing but landing a kill shot. There was never anyone looking at you the way Jenna is right now.

She's biting at her bottom lip, hazel eyes peering through impossibly long lashes to stare at you. You've been told this scene is important because it's a bit of a catalyst for the rest of the movie. She's looking at you, you're looking at her, and then when they call 'action' it's supposed to be one of those moments where fireworks erupt and the earth moves. That's what they want; a connection.

"Action."

Jenna bites her lip and brushes a strand of hair behind her ear, glancing up at you nervously. She's so much more practised than you, so much more effortless with putting on her act. All you have to do is smile and lean down to meet her lips. That's all there is to it, as the director says: just like that, perfect. But you want him to call cut. To say it's too staged, or the lighting is bad, or that the location isn't right.

No such luck.

You move slowly like she needs to be savoured. Of course, you've been coached, there's stage direction in your head in addition to her hand on your forearm.

Your lips brush hers tentatively, once, twice, and you tilt your head a little further to bring her closer. Close, but still not quite... until she breaks character and giggles into your mouth.

"I don't think you're supposed to be laughing," you joke, and there's an eruption of frustration from the other side of the cameras at a ruined take. You aren't bothered though, and neither is Jenna by the looks of it. She's half hiding her face against your chest and grinning like an idiot.

"I'm sorry," she says weakly, pulling away. "It's so hot in here."

She fans herself and starts pacing, while the director calls out, "What the hell was that?"

You wave a hand, "Sorry, my bad." You try to take the blame. "Can I get five minutes?"

The director sighs and gives in with a shrug. "Five minutes!"

"Really, you don't have to—"

"It's fine," you explain quickly, before turning to the line producer who just happens to be passing, "Hey, can someone cool her down? Maybe some water?"

"I'm fine," she tries to argue.

"You're flustered," you tease.

"You were doing this thing with your eyes. I don't know how to explain it. It was kind of intense, I had to laugh," she laughs again, and it's an easy, airy sound, the kind that soothes, and you decide that you like hearing it.

"I was? Damn," you sigh, running a hand through your hair.

"I know this isn't usually you're thing, I'm guessing it's your first kiss on camera? Just relax. It'll be nice," she shrugs, clearly far more sure of herself than you.

-

You're deep into the filming now. You think you're selling it, this whole relationship thing, making it seem natural as well as making the people around you believe that the chemistry is there. The weirdest thing of all is that you really enjoyed kissing her. Or, at the very least, you haven't minded it thus far. You don't know if that's the right feeling to have, there's no guidebook for this—not that you've read.

Off the set, she's nice, she's friendly and eager to get to know you. Maybe it's weird that she's trying too hard, maybe she just wants to work as seamlessly as possible. Regardless, it seems to be helping, because now, when it's your turn for coverage, you're more than happy to lean in and capture her lips. She's gotten bolder and so have you, to the point where she runs her fingers through your hair and kisses you back, so when 'cut' finally comes and the mood is broken, it takes a few moments to reorient yourself to the real world.

It's easy, you decide.

Now, the two of you have been joking about today for a while. She's been running this rhetoric of how excited she is for the car scene.

You remember your first read of the script and how this part had you almost cancelling the gig. So, sitting here in the backseat, with cameras fitted all around you and Jenna in your lap, is just a reminder of the monumental shift from where you were then to where you are now.

"Just ignore them," Jenna instructs and kisses you lightly. "Do whatever feels natural." She's echoing the words of the director, though from her they're much more relaxing to hear. You kiss her, her body languid and warm, pressed flush against yours. The touches you feared come so naturally now as you put a hand on her waist and trace her ribs, dragging her shirt up a little bit more with each pull.

There's something rather enticing, you must admit, about putting hands on her slender waist, even if it's under the watchful eye and strict instructions of the camera. Especially when her tongue does that thing where it flickers past her lips and finds your own. Fuck, she's good at this. There's no other word for it.

There has to be a call for a 'cut' coming soon, right? It was supposed to be a brief make-out, so says the script, but they don't seem too interested in stopping either of you anytime soon. You've heard that it's normal, to feel aroused while filming, but it certainly doesn't feel right. The fear is seeping in the longer this goes on; fear that Jenna will feel exactly what you're scared she'll feel.

But those short jean shorts she's wearing while sitting atop your lap, hips flush with yours, tend to elicit some automatic reaction, whether you want it to or not.

"Alright, cut! Great work everyone. Break for fifteen!" The director yells, the tension snapping immediately as Jenna rolls away, giggling.

She says something to you, you don't catch what as you blink in her direction, but she's already climbing out of the car, bending forward ever so slightly to give you a tantalising show of her ass before shutting the door behind her.

A few minutes later you've made your way to the drinks trailer for some much-needed water, that's when there's a tap on your shoulder and the unmistakable strawberry scent that accompanies Jenna hits your nose.

"You look a little shocked, is everything okay?" She has this wry smile on her face that turns your stomach a little bit.

"Yeah, I'm fine," you respond stiffly, cracking open the water bottle and taking a long drink. You nod towards her and state, "Good work out there."

"I should say the same to you," She's closer than before, the tip of her shoe bumping against yours as you stand with the picnic table at your back. "You're a natural. And the boner? Nice touch," she mocks.

She's far too cavalier for your liking right now, and more than a little brazen.

"Don't look so freaked out. No one is going to say anything. It happens all the time, don't worry."

"Do you just have a thing for humiliating me, Ortega?" It's a thing the two of you have been doing for a few days, the fake sternness and the use of surnames, like you're pretending to be angry with each other.

"What if I do? Are you going to go file a complaint?" She sings, tracing her finger down the centre of your chest.

"Watch it, Ortega," you respond half-heartedly, and she steps a little closer.

"How about you keep the boners to a minimum from now on though. It's distracting." The smirk on her face grows only more devious before she winks and then turns away, vanishing into the crowd and leaving you alone and in need of a very cold shower.

-

On-screen chemistry is the single most important thing in a film like this. If you don't make the watchers believe that the two of you are madly in love, then it's all pointless. You're getting good at this, playing this game, this new facet to your role. You think about the warmth of Jenna's kiss and her fingers curled around the nape of your neck; the feel of her in your arms.

Each take gets harder to finish. Make no mistake, it's not that the kisses are a problem, in fact, they're actually a little too easy.

You're both laid in a bed, under the covers, you're on your back and Jenna is half-draped over you. Her hair is a purposeful mess and there's lipstick on your neck. The implication is clear, the two lead characters hooked up for the first time, and you're simmering in the morning after, caught by your character's phone ringing beside you on the side table.

Jenna is quiet, watching the sheets twitch every time you move. You can tell that she's thinking by the furrow in her brow and the way she bites on her lip. The cameras are rolling and you need to answer the phone. There's no one on the phone, of course, that gets added in post. For the purpose of the scene, it's your ex-girlfriend who can't quite let you go.

"Why do you keep calling me?" You look weary like your heart is about to give up. The line is silent, but you know the script. "I don't care if you're upset with me, it's over. It's done. There's nothing left to say."

Jenna props herself up on one elbow, facing you with her dark eyes, her tousled hair falling over her shoulder. She is, in a word, mesmerising, and it feels wrong to turn your face away from her, even to add more angst for the camera.

"I'm hanging up," you continue, staring back at her.

Jenna pushes her hand under the sheets and balls it into a fist. She hovers it right over your crotch. Her character is supposed to jack you off while you're on the phone until you manage to hang up. That's what's supposed to happen.

You fake a gasp as her hand begins to move. When she bites down on her lip in response, it's the hottest expression you've ever seen. You swallow hard and your cock gives an honest twitch that feels as though it catches her attention for a fraction of a second. Her eyes widen and flick to the source of the movement, her jaw clenches and it brings you an almost unwanted satisfaction.

Each fake stroke presses down onto the growing ridge of your hardening cock, but neither of you breaks character or even dares to break eye contact. You keep up with your lines, and the strain in your voice is all too real, "I don't care how torn up you are about this, me and you are finished."

The ache in your muscles builds heat prickling under your skin, setting you on fire. You tighten your jaw in response as a means to control yourself. Only for Jenna to do the unthinkable. She lowers her hand and glides it down the length of your hard cock before wrapping her hand around it.

What's she doing?

She grips tightly, and even though there is a pair of underwear separating the two of you, it's still her. For the first time in the duration of this shoot, you drop out of character completely, staring at her in utter disbelief. What are you supposed to do in this situation? You can't just say something, it's going to get you both in trouble.

She strokes you beneath the bedsheets in tandem with the scene, so no one else has a chance of knowing. So, you keep talking, murmuring some fake dialogue and struggling with every word.

"It's—mmh," you turn your head, squeezing your eyes closed and steeling yourself. This is madness, utter madness. The throb of your cock only worsens the longer her hand keeps sliding, stimulating. It's a hellish limbo. "It's not fair for you to harass me like this, delete my number will you?"

This is the point where the ex-girlfriend realises something is wrong. In the script, she's figured it all out. She recognises the whimpers in your voice, and you're supposed to deny it. But Jenna won't stop touching you, pushing down harder, applying more pressure and using the full length of your erection as her playground.

Your breathing is heavy and strained. You try to clear your throat subtly, "No, no I'm not with someone right now." You glance at Jenna who grips tighter and smiles devilishly. "You have no idea what you're talking about. If you think, for even a second—"

You try your best to focus on your performance, but with the physical distraction, all your carefully practised lines start to fall apart, coming out jumbled. Jenna is rubbing harder, stroking faster, and her hand feels so good around your cock.

This is the point where your ex shouts, and you finally hang up the phone and drop it onto the floor, kissing Jenna fervently.

"Cut!" The director calls. "Perfect. Absolutely perfect."

Suddenly, the two of you are apart. A rush of cold air floods the space between you. Reality checks in again, reminding you that this was not in the script.

"You good?" Jenna asks, and you nod back. She looks proud of herself, the cheeky little smirk that crosses her features is all too telling. A reminder of just how insufferable she can be.

"What was that?" You lean closer and whisper, trying to make sure that the rest of the cast and crew can't hear you.

"That was acting." She responds confidently.

The director interrupts by calling your name and saying, "Alright, next scene. Going to need you under the covers. Prepare the phone call."

Now it's this whole role reversal, Jenna's character gets her own phone call from her own ex. That's the concept at play here. Meanwhile, you're down between her legs. The script says to 'mimic oral sex' which sounds... so much easier than it actually is.

Aiming to ignore the whole ordeal, or at least your conversation and what it could mean, you duck down beneath the sheets to prepare. She's lifting them up and watching you get into position. She's spreading her legs, while a team of assistants adjust the sheets over you to dress up the shot.

Looking up at Jenna under the sheets, through the darkness and at the apex of her thighs, this feels so wrong. She's... pretty. No. You stop the thoughts in their tracks. This isn't a time to indulge. You're filming a movie, playing a role. In reality, this is your job. There's a script, there's a purpose.

Still, the whole situation just feels so strange.

"Action," the director yells.

As per the script, Jenna drops the sheet as the phone rings. Now it's just you and everything below her chest, trapped under a blanket. Your hands are barely hovering near her thighs, and revenge is on your mind. If she can toy with you, you can toy with her.

So you hold her spread legs, grip them firmly just as you hear her answer the call, "If you want to grovel, then go ahead and grovel. Just remember the last time." Jenna's voice is perfect for her character, and just as it's always been, full of attitude and feisty. She's passionate, especially when it comes to putting her acting on display.

Alright, 'mimic oral sex'... first it's kissing. Lightly placed, right at the top of her thigh, little pecks to tease and taunt. You feel the slight tremble beneath your fingertips as she attempts to carry on the faux conversation. They said you shouldn't touch her. They said she shouldn't touch you.

But you feel the heat coming from her. You're mere inches away, and sure, there's the cotton thin fabric of her underwear blocking the way, but even still you catch the barest hint of her scent—sweet and musky. You grip her thighs more intensely and press your lips against the fabric.

"It was one kiss," Jenna continues, and her voice betrays her now. A subtle tremor that undermines how put together she had seemed moments before. It's enough to have you smirking.

You roll your tongue over the shape of her through the fabric, testing your limits. There's only so much you can get away with, but you'll push it. Push it as far as you can, this is the bed she made.

Jenna rolls her hips towards you, and, of course, the cameras can't see this, all they can see is her on the bed holding the sheets and pretending to talk to her ex.

"It didn't mean anything..." She tries again and fails, a breathy moan forcing its way out and revealing the growing pleasure, the need growing in her voice. She has to place her free hand over her mouth as you continue to taste her, your tongue working over her panties with no hesitation, all rhythm and no breaks.

You continue, running the flat of your tongue over her, flattening the damp fabric against her cunt, and you feel her throbbing. It's undeniable, the way she tenses under your grip and shifts ever so slightly, each slight movement an obvious clue towards her struggling with maintaining her composure.

It's not difficult to hear the change in her voice. The shake and strain of each breath only grow worse the more your tongue curls against her panties. Sure, you haven't yet come into contact with bare skin, but simply knowing just how enraptured she is by the teasing, is enough.

You can't help the slight chuckle that follows, and why would you? This whole performance is starting to become very personal, and when you squeeze her thighs, and apply pressure until it's enough to bruise, you can hear the soft mewl as she fights her way through a rather passionate phone call.

"Why don't you just fuck off?" She hangs up the phone and throws it to the side. In a moment, the same hands are wrapping around your head and dragging you close. As if there was any space left to separate you. "Oh god yes!" she moans out—it's all the script. The scene is supposed to continue until there's a fade to black. No one needs to know that the moan is real.

At the very least, she tries to contain herself. Though her hips swaying, and bucking rhythmically against your face say something very different. And the heat radiating from her core is undeniable. The cotton of her underwear sticks to her so heavily, clinging to the slight folds and wrinkles. Enough to get a good idea about what's going on behind it. That there is indeed a welcoming, quivering cunt that might benefit from an enthusiastic tongue.

Jenna's groans take on a noticeable tempo. "Don't stop, don't you dare stop. Fuck. Yes!" Her words are spilling out messily. For a moment, her responsibilities seem to vanish. She's abandoned her character and resorted to feeling your tongue against her pussy with such ferocity that, were it not for your hands pinning her down, she might have suffocated you in that tantalising heat.

As the cameras continue to roll, with filming still going on above the sheets, the pace only grows hastier.

You're aware of your heart rate spiking, the sudden realisation, the knowledge that someone might be onto the two of you, that you've crossed the imaginary line that exists between the bedroom scene. With the flicker of your tongue, that line gets a little more blurred.

And Jenna seems to be in no hurry to stop either. What was supposed to be just acting becomes a carnal need. Her hips wriggle frantically against your gyrating mouth.

"Cut!" Comes the much-needed command, and you rip away from beneath the sheet.

Jenna's chest heaves, her thighs tremble and her toned stomach tenses. You struggle, forcing back the burning desire to claim her, devour her, kiss her senseless.

It's just acting.

-

Filming goes late into the night, as it so often does. Jenna has a series of scenes with the supporting cast, and you're only there to support them. Still, you make sure to keep watch from the sidelines. She's beautiful when she acts, all passion and fire. That's another reason you're so drawn to her. Everything is so easy for her, flawless. Talented little minx.

Hours after sunset, you stop by her trailer to check in, like you so often do.

You knock, and seconds later she peeks out of the door, saying, "What? What did I do now? Oh, it's you." The harsh greeting melts away into relief, and you grin at the reaction.

"Damn, maybe I'll go then." You make a gesture to turn away, and Jenna grabs your wrist and pulls you inside with all her strength.

"Are you stupid?"

"Me? No, the very definition of sanity." You laugh and follow her further inside. It's bigger than your own, with a seating area and everything. Not that you can focus on the surrounding amenities. Because her black, lace thong is the only thing she's wearing, and, for a second, it leaves you speechless. It's impossible not to stare at the way her round little butt perks out behind her.

Jenna asks, "Like what you see?"

"What happened to your clothes?"

"My clothes are fine, I'm in my trailer aren't I? Nothing strange about relaxing like this." She says as she saunters off, the golden curves of her back highlighted by the single lamp she has lit in the corner. She stands in her kitchenette, bare back to you, pouring herself a glass of red. Her thong contrasts starkly with the honey colour of her skin. She stretches an arm back, and half glances over her shoulder.

"I can feel you staring, you know?" Jenna says, pausing for a moment while the cogs turn in your brain. After a while, there's no point in resisting. So, you close the distance between you, stand behind her, and embrace her thin waist.

"Am I bothering you?" you question, pressing closer.

"Only a little," she leans back into the touch. "But that doesn't mean stop."

An unseen force guides you. Perhaps it's those thoughts that came to mind when you were holding her, on set. What would happen if you just got to know her better?

Your mouth feels so dry from the nerves, but you drag a hand up the length of her waist, over her taut stomach, before cupping her breast. Jenna closes her eyes and hums in response, and when your palm rubs against her bare nipple, her mouth falls open.

You sink to her ear and bite it gently while catching her nipple between two fingers, which elicits a sharp gasp from her lips. You pull her firmly against your chest, and her back presses to your shirt. Fingertips brush her belly, stroking from hipbone to ribcage.

"I figured we had a little unfinished business. Remember?" You kiss her earlobe and grin, fully aware she can't see the expression.

"It did seem to me like you were quite close to being finished," she teases. Your fingers curl and squeeze the swell of her breast, earning a groan. "Tell me. How was my performance?"

"Could use some work," you mumble, kissing the side of her neck. Jenna's breath shudders when your teeth drag against her throat. She sets the glass down, freeing her hand to rest on your forearm. Holding, or perhaps holding on, you can't tell. Either way, it's an invitation to keep going.

"You think so? Looked to me like it was the best performance you had ever seen—ahem—felt."

You chuckle in her ear. All the while, her breathing becomes a little heavier. She even reaches a hand back, curling fingers in your hair to make sure your mouth remains on her. It sends an alarm bell ringing in the back of your head, a warning, a red flag, a stop sign. But what if you don't?

"I'm not like my character," she whispers. "She's all romance, nice dates and lovey-dovey shit."

"No?" you whisper.

"No," she says sternly. She twists under your grasp to face you. Your hand lands on her hip, and before she's looking up at you with her lips parted, she murmurs, "But I do enjoy being eaten out."

This time, Jenna pulls you down into the kiss. The sweet pout of her lips draws you in. She tastes sharp, like the wine, but her mouth is warm and inviting. You take her bottom lip between your teeth, and she moans, her painted nails scraping through your hair. You feel her hands fumbling, then the thud as your pants fall.

"Fuck me," she breathes the command when your palm finds the swell of her breast again. She's pushing you back, guiding you across the room, pinning you onto the arm of her couch. She lifts her knees and presses it between your legs. She pins you there and continues to kiss you, harder, rougher.

She grabs the collar of your shirt, and then the buttons begin popping. The air brushes your chest making you even more aware of the insanity unfolding in her trailer. As she unravels the rest of the shirt, Jenna pulls back, standing up with a cocky smile on her face.

There's not a chance to speak, or even comprehend, for that matter. She puts her palm on your bare chest and forces you back. You crash into the cushions, and the next thing you know, Jenna swings a knee over your head.

In an instant, she's hooking her thong to the side, then taking a handful of your hair and sitting on your face. Your hands move automatically, gripping her thighs, pressing thumbs into the soft, ample flesh. Your tongue brushes across her pussy, and the feeling of your tongue flicking across her makes Jenna let out a beautiful, quivering moan.

Her scent intoxicates. It's divine.

With strong hands, she leads your movements, grinding forward against your mouth. Daring, unashamed, desperate. She's just as much an animal as she is a woman, and that realisation makes your body tense. You part her tender folds with your tongue and taste the warmth of her nectar, causing Jenna to keen.

Her cheeks grind against your lips as she quivers atop you. Her sighs alternate between delighted huffs and breathless moans. As long as you're licking, the sounds keep coming. If anything, they grow stronger and more desperate. She won't hold back, and it makes your head spin, your focus becoming a singular, dizzy blur.

Her juices coat your mouth, slicking your chin and running down your throat. She tightens her grip on your scalp as if trying to punish you. But really, her actions only draw you closer. The taste of her makes you drunk, and not the kind that comes with a hangover in the morning, no. But the kind that makes the rest of the world and its expectations dissolve, leaving just the two of you in the remaining silence.

Jenna's pussy is a beautiful thing, you realise. Swollen and dripping, deliciously wet. It's a tempting treat just begging to be toyed with. You tongue her clit, rolling it back and forth. When you get just the right spot, a tremor passes through Jenna's frame, a hard squeeze of your scalp, as though it had been scalding her.

"Fuck, so good," Jenna groans. "Keep going. Just like that."

More noises pour out of her and splash into your ears, exciting you in a way you've never been before. And the little shimmies she gives you aren't unpleasant, or unwelcome, far from it. Those subtle dances send waves through you and make the motions of your mouth automatic. Your tongue can't get enough. Neither can your hands. You bring them higher, taking her firm ass, sinking fingertips into her plush, round cheeks and pulling her onto your face.

The movement makes her laugh. "Look at you, so excited. Hungry, are we?" You stroke your tongue up the length of her glistening wet cunt, and Jenna twitches on top of you. Her delight returns, a cry of joy and want. "Go on, eat it. Eat that fucking pussy."

The muscles in her abdomen tighten. Sore and taught, every part of her shivers and shakes, twitching and fluttering with your movements. She cries out in ecstasy, as driven mad by your tongue as you are by her taste.

Her thighs clamp around your head. You can feel her begin to writhe, twisting left and right as the pleasure rages through her. She can't control her hips, keeping them glued to your mouth and twitching violently.

Jenna cums, and her juices flow into your mouth. You drink the reward of your handiwork, as her words become hazy murmurs. An erratic pattern of curses and blasphemous platitudes. As if singing all her highest praises.

When she stands, her legs wobble with the aftershocks of an orgasm, but her posture says there are still things she wants, things only you can give her.

It takes seconds. Jenna's thong is on the floor and then she's pulling at your waistband, tugging them down until she has your cock free. Her nails scratch along the length of your length and her palm settles around it.

"Fuck, you're so hard."

Jenna strokes your shaft and gives it a playful squeeze. You watch the heat shimmer and roll around in her eyes as she sizes you up, and the way your cock gives a stubborn and needy twitch. She seems to like that, too.

When her eyes go lidded and she lowers her head down, opening her mouth and slipping her tongue across the head, you almost can't comprehend how good it feels. Your spine tightens, everything goes rigid, and you're left without a shred of control over your voice. That seems to matter not at all to Jenna.

"Hold on," she slips the head of your cock between her lips, just barely, and smiles around it as she smears your precum across her tongue. Before she looks up, meeting your eye, and then forces her head down further, wrapping her warm, wet mouth around as much of you as she can manage. You both gasp as her tongue sweeps along the underside, and you see her cheeks puff out for a moment, then relax once she settles into a rhythm.

It feels amazing, un-fucking-real. Jenna is bobbing her head up and down. Blissful moans leave her with every pass, and the lust-fogged look she gives you should be illegal. Wet sucking and slurping fill the trailer, drowned out by her hums of adoration. Each one sends vibrations shuddering through your cock.

You thread your fingers in her hair. It's a token act, your control as she moves means nothing. In a blink, she's sucking the length of you down to the very base. She struggles a little when you hit the back of her throat, but pushes through, going again and again, deeper and harder each time. Tears threaten in the corners of her eyes. Still, she won't stop.

"Jenna," your voice is thick and strained. "I'm going to—"

A few more passes of her hungry, slippery mouth have you finally toppling over the edge. If she has any intention of pulling away, the temptation or aversion isn't potent enough for her to react. She kisses and slurps, bobbing feverishly, drinking your spurts of cum and caressing your length with her soft, swollen lips.

Jenna stays with you in her mouth, breathing heavily, the look of satisfaction on her face intense and perverse. She takes her time to gently nurse the last pulses from your erection until you're twitching and overstimulated. Only then, and after a minute longer, does she finally concede and pops her mouth off your cock.

The emptiness it creates feels too much like a loss, and yet, all you can do is stare at her, heart hammering and unable to feel anything past the aftermath.

Jenna perches herself on the coffee table, her legs pressed together and angled to the side, letting her hair fall over her bare shoulders. With one hand, she cleans her mouth and smiles at you.

"I guess this puts a line through unfinished business, huh?" She laughs a little. "Long day tomorrow, best get some sleep."

Then just like that, you're half-dressed, watching her slip off to the tiny bathroom to clean up. A few minutes later the trailer door swings shut, clicking behind you.

Outside, the night air is cool and bitter. It snatches the warmth away from the memory of her touch.

-

They're saying it's going to be a success. Critics have reviewed the project already, including early screenings, and private showings. The reception is very positive. That's great, you know it is, and everything is piling up and coming to a close now. All that's left is one last night, the premiere itself, the main event. This will determine the fate of the film, whether it's a runaway hit, a fantastic start to awards season, or a straight-to-streaming disaster.

"Been a while," the voice behind you says and you turn to see Jenna at your shoulder. She looks exquisite, elegant, and alluring in her gown.

"Understatement." You take the time to look her over again. It was only a couple of months ago you saw her naked and had her on your face. It feels so distant, and almost like a dream. Maybe it is, given how quickly she went cold afterwards.

"Red carpets aren't really my favourite thing. It's... all overrated, isn't it?" She sighs.

"Yeah, you told me."

"I did?"

"At the party, on the last day of shooting. You said, and I quote, 'I hate red carpets, everyone is so fake.'"

She rolls her eyes and laughs. "I must have been drunk."

"You were very drunk," you confirm. "Remember? And you were doing that thing with your foot."

Jenna tenses. "I did, didn't I?"

It was a few hours into the party, and most everyone was way too drunk to even make sense. You found yourself sitting down, trying to stop your head from spinning the way it was. Then she came and sat across from you. Apparently, she'd been drinking more than usual, given the wide-eyed look she had when she'd approached.

"You're handsome," she told you and flashed a drunken smile.

"You're drunk enough to say that to anyone."

"You're smart," she leaned closer, and even in the darkness of the room, you were mesmerised by the way her tanned skin contrasted with the tight, white dress. "You're talented. I'm glad they cast you." She runs her foot from your ankle, along the inside of your leg.

Her toes met your knee. You think you stopped breathing as she traced circles on your inner thigh. You looked up at her face, and she was smiling, a devilish one that said she knew exactly what she was doing.

"You smell so good. Like coffee and mint. It's infuriating." Her shoe slid higher, pressing against the crotch of your pants, and she frowned. "No reaction. Maybe you're shy? Oh, wait."

She pulled her foot back and then bent to the side to reach down under the table. After a few seconds and a few confused expressions, as she fiddled with something out of sight, her shoe fell to the floor. Jenna slid the sole of her bare foot between your legs.

"That's better, right?"

She sat up straight and clicked her tongue. You couldn't believe it. Barefoot, hair down, smouldering gaze and curling her toes against your crotch. It was a lot for you at the time. She smirked, shifting again and sipping a glass of champagne before putting it to the side.

"So, how has it been? This whole romance thing?" She stepped closer with her toes and her heel pressed over your cock, digging in slightly.

"I hated the idea of it. Didn't want any part of it. But being here with everyone has made me change my mind. I've done well."

She started to rub the underside of her foot faster, creating an overwhelming amount of friction. And her smug, smiling face wasn't helping your cause at all. Then she leaned closer, so her chest was bunched up and exposed. She teased the top of your cock with her toes and rested her chin in her hand.

"I think you just have to accept it. Learn to enjoy it. It helps that everyone was so nice to work with."

"Was I?" she asks with a flirtatious lilt, pressing her toes harder against your stiffening cock. "Was I particularly nice to you?"

You choke out a laugh. "You don't need me to tell you that you're nice to look at. But you don't need me to tell you you're more than a pretty face either."

"Do me a favour, undo your trousers."

Now? Really?

"Seriously? Here?" You're sure your voice was shaking.

"Now or never."

The pressure in your loins was undeniable, and you went to work unzipping and undoing buttons. Discreetly you pried them open and pulled down your underwear. Your cock sprung free, and you sighed in relief.

She rested a hand on your arm. It was surprisingly comforting. Then she pressed her foot down to angle your cock against her instep, slipping her soft, warm skin up and down your shaft, barely rocking it back and forth.

"That's better." She smiled sweetly, teasing the head with her toes. "You were nervous." She circled the tip of your cock with her big toe. "That first day of filming, you were so worried about messing up."

"Well, yeah. New role, new movie, no way of knowing."

"Hindsight is always 20:20, but you worry too much. Don't spend so much time thinking about what can go wrong, focus more on the things that can go right."

"Like this?"

"Like this," she grinned as she spoke. Her foot pressed harder and moved faster, stroking you up and down and you did everything you could to keep a straight face as people walked by. Each with an innocent conversation, unaware of what was going on beneath the table. "Besides, you did alright."

Alright. Not great. Not good. Alright.

It's about as much of a compliment on your work that Jenna has ever given you verbally, though you wondered if the foot on your cock is indicative of anything.

"Thank you. I, uh, appreciate the feedback."

"We make a good team." Her eyes narrowed as she focused on getting you off and her top lip stiffened. "Solving problems. Improvising scenes." Her foot kicked up a gear, in a blur, up and down, faster and faster.

"Jenna, I'm—"

"Great on-screen chemistry. Great off-scene chemistry." She pushed you right over the edge with her sole on the underside of your cock. The look on her face said it all. A smile so wide as she felt you twitch against her, throbbing, shaking, and pouring cum right over her skin. "Though you are rather easy to manipulate, aren't you?"

She shot you a wink as she cleaned her foot with a tissue. "See you around."

That image has been burned into your head for a long time since then, though you work to shake it out of there while walking the red carpet. It's all camera flashes and the chore of being paraded in front of them. You follow her lead, and she meets the press with the very embodiment of what they'd want—grace, charisma, flair and passion.

You answer a few basic questions that can't reveal anything interesting or new. Something about keeping the magic, and hopefully breaking it when you win a bunch of awards. Wouldn't that be nice?

"Where do you think this opportunity takes you after the film is released?" one interviewer asks.

"Obviously, any opportunity to work with other amazing talents is an honour. I don't know when, if, or what the offer will be, but I'm certainly happy to be working again."

"And if you had the opportunity to work with Miss Ortega again?" It's a question that she overhears, and she throws you a look over her shoulder.

You try not to stammer. "Of course, if I was fortunate enough, I'd take it. She's... unparalleled."

-

This has never been your favourite part, it might even be the worst. Sitting through your own premiere, watching your own work, it's like a long, self-aware nightmare. It's a natural reaction, but that's little consolation, particularly when you know what scene is coming next. It's some over-complicated form of torture to watch yourself get a handjob on the big screen. Everyone's watching. Including Jenna, sitting next to you.

This is the cavalcade of self-humiliation.

To your surprise, Jenna reaches over to slip her fingers between your own. It's the gentle and comforting squeeze that's accompanied by a sly smirk from her when you glance in her direction. Her eyelids lower and an undeniable tension builds between the two of you. She leans in to whisper to you.

"About last time..."

You smirk. "Am I supposed to know what you're talking about?"

"The ending was abrupt, don't you think?" Her teeth catch on her lip, and those sinful eyes narrow.

"A little."

"Follow me."

Jenna stands up without waiting for an answer. Being in the back corner of the screening makes it fairly easy to slip out after her. When you reach the corridor leading to the bathrooms, Jenna looks you over and smirks.

"Tell me," she laughs out the words as she brushes a few strands of hair out of her face and pins you against the wall, "How often do you think about that night in my trailer?" She pushes up onto her tip-toes, wraps an arm around the back of your neck and pulls your ear to her lips. "Don't lie to me, I know you've thought about it."

Her tone is a familiar temptation, and you've missed it. The sensual inflexion in her voice winds its way through every bone and tendon until it's there, inside and immersing you in the raw carnality that Jenna makes you feel. "All the time."

"Me too." She pulls on your wrist, leading you again and heading for the bathroom. You let her, and she pulls you into a cubicle with her, closing and locking the door behind you. "And how many times have you got off imagining it, picturing it." Her hands stroke along the front of your trousers, and the button pops open in her fingers. You don't even get to reply before she says, "Yeah, me too."

There's something perverse about hearing her say that. Something lewd in the way she smiles at you and peels down your trousers and underwear and instantly slumps to her knees. There's no teasing, no showmanship, nothing but blunt hunger, naked and fierce.

"You're beautiful," you whisper, and her eyes dart up, and her lips pause just as she's about to take you. Her hot breath spilling over the tip of your cock.

"Shut the fuck up," she laughs. Her gaze narrows. She sinks her wet, warm mouth down onto your length, swallowing it bit by bit. When the head touches the back of her throat, she giggles as her eyes water.

A moan involuntarily slips out. Your hips buck forward. Jenna's tongue is like velvet, rolling around the tip of your cock, then enveloping your shaft. You can't help the thrusting. It's automatic, primal, a natural response to being encased in her intoxicating mouth.

Jenna looks up at you, cheeks hollowed, eyes wide with anticipation. She pops her mouth off your swollen cock with a wet noise, and immediately, her fist closes around it, jerking you. She smiles. "Wanna do it?"

"That's how you're going to ask?" You scoff, leaning against the cubicle wall, a slight grin pulling at your mouth. "Is the art of seduction really that dead?"

"Well, forgive me if I don't quote poetry at you and cover myself in rose petals," she says as she climbs back to her feet and places her hand on your shoulders. She guides you to take a seat as she jokes, "Poetry bores the shit out of me."

It's almost too fast when her slim hands lift her dress up to her waist. She watches your face, her teeth pin her lip as she reaches down to hook her panties to the side. She slips a finger inside her already dripping pussy. You throb, hard as a rock, when her hand withdraws and she's reaching up and pressing the gleaming digit against your mouth.

You taste her wetness, licking your tongue against it. "Fuck," you growl, the urge to have her, devour her, ravage her takes you.

"You want it?" Jenna sways her hips and bites her lip. Her tight little body was made for sinning, it's plain and simple. You can't resist touching her, teasing your hands up the back of her thighs and around the ample curve of her ass, then pulling her onto your lap.

"Want it," you breathe the words against her lips. Her hand settles around the base of your cock and drags it across her slick pussy. She sighs into your mouth when your thumbs dig into her hips. That's an invitation to slide inside her.

Then you fill her. Her lips seal onto yours, her eyes flutter closed, and a sweet, deep, hungry sound of satisfaction leaves her. It's a sudden rush, everything about this situation, here and now, is a euphoric madness.

She looks incredible above you, her round, firm tits straining against the dress fabric, beads of sweat at the hollow of her collar and the heat in her eyes. Perched on top of you, Jenna rolls her hips forward, grinding against your lap, coiling that hot, wet flesh around your cock.

"God, your cock feels so fucking good," she gasps as she rides you, the way she moves her hips, the wild shifts and squeezes of her tight cunt around you bring the knot in your stomach already. You buck up into her and a ragged cry tears from Jenna's throat.

You seize her hair and kiss her, swallow her cries and moans, her gasps and whimpers, drink every little sound she makes and lose yourself in the rocking grind of her hips. You're both animalistic now. Her with her bouncing, grinding and needy fucking. You with your digging fingertips and the pounding of your crotch against her. It's filthy, it's unhinged.

"This might be the last time we—"

"Shut up," you interrupt.

"Last time we do this."

"Shut the fuck up," your hands dig into her waist, pulling her down and plunging your cock deep.

"Tell me," she says breathlessly, slamming her hips to meet your thrusts. "If we end this right here, is that good enough?"

"Fuck no," you hiss the words. You reach up to pull down her dress, prying her perky, bare breasts free and enveloping one in your mouth. Your tongue traces the nipple and you draw it in deeper. Jenna slows to a firm grind, holding your cock tight inside her before she snaps forward, locking her arms behind your head. You feel the shudder inside her, feel her clenching on you.

It's a deep, powerful moan, straight to your ears, as she cums. Pulling back and grabbing your face in her palms, forcing you to look right into her eyes. The blissful, fucked-senseless expression on her face is priceless, so is the dizzying, tightening feel of her cunt. Jenna collapses, huffing and panting, while you still hunger for more.

You pick her up and slam her against the cubicle door. It rocks under the impact. She giggles and takes a handful of your hair.

"Go on, fuck me. Like it's the only time you're ever going to get the chance."

So, you do. What more could you ever do? Is there anything more rational than drilling Jenna Ortega against a door in a movie theatre bathroom?

"Good, yeah," she wraps her legs around your waist and curls fingers in your hair. "You're getting there." She tilts her head and you claim the side of her throat, biting her neck. "If I tell you that you can cum inside, will you fuck me harder? Is that it?"

You groan into her neck, grip tightens, and you draw her body right to yours.

"If I tell you how badly I want to feel you cum, that it's driving me crazy, would that make it better?" She tightens her thighs around your waist and huffs out the words as though the effort is too much. "Go on. Do it."

The door rattles on its hinges, but you hardly even notice. Everything is her. Her body, her eyes, her voice, her. Your fingers lock around her waist, hold her tight while you pound her. The sweat-slick strands of her hair hang across her forehead, her skin glistens, and you're mesmerised by how good she looks while you fuck her.

You sink your teeth into her shoulder as you fill her. You lose control, twitching, and buried to the hilt, a groan into her skin as you twitch inside her. Cum spurts, your body shakes, her sex pulsates and clenches. She milks everything, and the next thing you know, you're falling back onto the seat, her collapsed on top of you and heaving. Gentle movements of her hips keep the sensations alive until you have nothing left to give her.

Overstimulation sets in quickly, her fingers slowly entwine with yours as you sag back against the seat, trembling and spent. The pair of you stay there, sweat-drenched, messy and grinning, sharing the tangle of soft noises in the silence.

"So, that was..."

"Pretty fucking good," she cuts you off. She rests her head against your shoulder, her hands settle on your arms, caressing you.

"That's what I would have said," you tell her, as you run your hand over her thigh and palm her ass.

"Damn. We might as well get married and drive off into the sunset." She laughs, and you chuckle with her.

"Or maybe we could just do this again sometime?" you ask with a slight grin.

She considers it. Pouting her lips and twitching them side to side. Her expression takes on a knowing edge, something mischievous as she looks you over and replies. "I'll see you around, maybe."

Now that...

That's just cruel.