#i was thinking 'why did they even make a vampire core?' its aperture so. not impossible by any stretch but.

[glass-oranges]

my creature in the real!!!!!! He is now puntable. (here's a link to the model I used!!)

[ruki--mukami]

On all fours, head angled back and eyes locked with those of her darling master's, with the command of his last words, "...devote all of yourself to me," her breath hitches at the same her walls clench. A faint smile plays at the corner of her lips as she lowers down onto her forearms, putting herself even further on display for him. "Please, master. I need you inside me. I'm so wet and tight~, just for you. Only you." Unshed tears prickle heat to the backs of her eyes as her feelings for the vampire threaten to rise up. "You're the only one who can make me feel this way, this desperate~. I'm aching for you so badly~!" Imploring him to believe her, bottom lip slightly trembling, hoping that her performance will measure up to his standards, she lowers her head down to the mattress and reaches her arms behind, using her fingers to fully spread herself wide for her darling master. One finger threatens to trace down her slit, wanting to add more emphasis to her neediness. However, knowing she's not allowed to touch herself without permission, she resists the urge. "Please, please~ master! I want to feel your cock and fingers pounding into me until I can't think straight, until I'm not even sure if I'm riding one long orgasm or if I'm having them in rapid succession. I'm all yours~"

⚠️ NSFW BELOW: 18+ ⚠️

“Hahaha… You really did it. My, my. Someone truly is needy for me—I’m impressed, though your begging could use some work… I can see from here just how hopeless you are. You say in that desperate voice of yours that I’m the only one who can make you feel this aroused to the point of your body aching from head to toe, from clit to womb, from pussy to ass for me, and yet… It’s still not enough. I want you more than just needy and desperate. I want you to remember who exactly holds this fragile life of yours in his fingers… Why don’t you shout out his full name as I fuck you senseless? Perhaps then I’ll forgive you for the subpar display, Livestock. Brace yourself.”

Parting your legs even further apart with his knee, the ravenous Vampire situated himself behind you, gently prodding at the tiny nodule of flesh that sent sparks of rapture all throughout your body and straight to your brain like an arrow of perfect accuracy with the deft circular motions of his thumb, mimicking how he would soon torture your tighter hole above. The semi-hardened head of his cock rubbed at your wet entrance as Ruki leaned forward to cup and push your breasts together in tandem with each inch slowly disappearing inside. Warm, aphrodisiacal friction enveloped him, earning a prolonged moan from him as he remained still for a moment, deliberately avoiding the thrusts that had you weak in the knees, trembling atop the satin sheets of the bed. After abandoning your clit and breasts, his digits hovered above the unattended aperture as if vacillating whether he should give in to your carnal desires so early.

"Such a good girl, doing exactly what her master tells her to do."

One hand clawing into your hip, the other massaging your asshole, Ruki began to thrust rapidly into your heated, velvety core. Already clenched around him as tightly as you were, your womanhood practically wringed the Vampire's engorged cock as he grunted out his approval. From the vehemence and severity of every surge and retreat, one could hear the bed slamming into the wall, its legs nearly giving out with each collision of your bodies melded together into salacious unison. However, before fingering you as you implored him earlier, he applied the most immaculate amount of pressure in a series of harsh spanks against your rear, exulting in how the pillowy flesh reddened, in how it might even make your toes curl or your back arch from how expertly he timed it with each shove of his cock.

"Count them out," he cooed against your ear, landing the tenth blow, and then the one afterwards until the spanks doubled in total. "Fuck, Livestock... It's like you tighten even more around me...! You truly are Master's little slut. Moan louder for me... Haah, you are so beautiful, taking me so well on your hands and knees... I'm going to fuck you until you can only think of my cock and nothing more. You'll be cock drunk in no time, taking on the shape of me just as you've done so for my fangs... Speaking of which, we've only just started. I must train you to realize that no other man, no other human, can possibly fulfill you the way I do. Up until now, I held back... but it's time for me to teach you how to be the good girl I always knew you could be."

Ruki thrusted with unparalleled celerity, exerting only a fraction of his vampiric force as he finally shoved two digits into your stretched hole. The lascivious symphony of flesh slapping flesh echoed throughout the bedroom as he leaned forth, burrowing his sharp ungues into your shoulder once more. An endless sea of crimson gushed forth from the vein before he assuaged the ignited site of agony with the contrasting caress of his lips, occasionally suckling the wound as he mercilessly pounded your cervix like a supersonic.

"Haah, ah... Fuuuck yes, that's my good girl...! I'm going to ruin your insides for anyone else who would dare to touch what's mine...! Especially this ass of yours—even your ass is all mine. Feel more of me for weeks, for months, for years, for decades, until you finally perish at my hand. And then, I'll resuscitate and sire you to do my bidding... That's right, you were tailor made for my cock. We'll burn together for an eternity. You taste so sweet, I'll never tire of you... I can't get enough of you, Livestock. Oh, how I love breaking you in."

[mandibierly]

31 Genre Show Producers on the Heart of Their Series

Over the last month, executive producers of more than 30 current genre shows have taken part in Yahoo TV’s “Why Genre Shows Matter” survey, either via email or by phone. We’ve learned which genre show was the first to resonate with them, which genre show they believe deserved more Emmy love, which current genre show they think is tackling an issue well, and, if they were a Buffy the Vampire Slayer fan, what moment, episode, or arc best explains why in honor of the show’s 20th anniversary.

Our final question to them: What is the issue you’re proudest of tackling, or most invested in, on your own show? Read on for their answers.

Related: Yahoo TV’s Complete “Why Genre Shows Matter” Coverage

Brian Minchin (BBC America’s ‘Doctor Who’)

The Doctor sees horrors in the universe and faces them with kindness and understanding. (While reserving the right to blow things up if required). That standpoint goes into everything, and is hugely valuable. I love that children watch a hero do that. (Credit: BBC America)

Source: Yahoo TV

J. Michael Straczynski (Netflix’s ‘Sense 8’)

We designed Sense8 to say that regardless of where we are born, what our ethnic background, gender or sexuality might be, we are more alike than we are different, that what unites us is stronger than what divides us, and that the common coin of our shared humanity trumps the forces that would set us at each others’ throats. At a time when we are being tribalized and factionalized and marginalized as never before, we felt that was an important message to convey, and it’s only become more relevant and vital in the last year or so. (Credit: Netflix)

Source: Yahoo TV

Eric Kripke (NBC’s ‘Timeless’)

I’m really proud of how Timeless shines a light on some of the lesser known stories in history, often involving the heroic contributions of women and minorities. I’m proud of how we’ve established ourselves as a warm, multi-ethnic, inclusive view of history. Because one, it’s the truth, and two, America’s history should be for everyone. (Credit: Sergei Bachlakov/NBC)

Source: Yahoo TV

Albert Kim (Fox’s ‘Sleepy Hollow’)

This season on Sleepy Hollow, Ichabod Crane has gone head-to-head with a villain who believes that America has failed as a social and political experiment and that tyranny is how the country needs to move into the future. Which means Crane has been forced to defend the ideals of the country he helped establish over two centuries ago. It’s a situation that’;s allowed us to explore the question: What makes America America? Through that lens, we’ve looked at the stories of real historical figures like Benjamin Banneker, a Revolutionary War-era African American surveyor and engineer who knew that when Thomas Jefferson wrote the phrase, “All men are created equal,” it sadly didn’t apply to everyone. Now, more than ever, seems to be a good time to be bringing up issues like this, even in a fictional context. (Credit: Tina Rowden/Fox)

Source: Yahoo TV

Robert Singer (The CW’s ‘Supernatural’)

I think as the show has matured, we’ve become very conscious of the idea that world is not black and white, and that the shades of gray in this life are not easy to deal with, but it is important to try. Sam and Dean have certainly, over time, found their moral center, and because of this they try very hard not to see the world in just black or white. This season, with The British Men of Letters, who do view the world in black and white, has given our leads moral challenges which for the most part they have been up to handling. When they haven’t been up to the task, the lessons learned from these episodes have been profound. I think the best genre shows try to do this, and while good lessons learned are very valuable, it also makes for better storytelling. (Credit: Dean Buscher/The CW)

Source: Yahoo TV

Adam Horowitz and Edward Kitsis (ABC’s ‘Once Upon a Time’)

There’s a saying on our show that we keep coming back to: “Evil isn’t born, it’s made.” Once Upon a Time is at its core a show about hope and optimism. We like to believe that the world is filled with good and when evil does rear its head it’s because circumstance conspired to create it. And if circumstance can create evil, then those same circumstances can be defeated, and the best of humanity can win out in the end. (Credit: Jack Rowand/ABC)

Source: Yahoo TV

Cheo Hodari Coker (Netflix’s ‘Luke Cage’)

I love the fact that we have two black male characters that you’ve never seen before. You’ve never seen a burly 240-lb. black man that can throw stuff that’s also a bookworm, and you’ve never seen a musician that’s a gangster. And the fact that you have a gangster that is really just a frustrated musician is interesting. And what Simone Missick did with Misty Knight or what Alfre [Woodard] did incredibly with Black Mariah, I mean, it’s just next level… All Blaxploitation is, is the opportunity for an African-American cast or lead actor or actress to do the same things that a white action hero gets to do… The reason that Shaft has a dominant theme song is because James Bond has a dominant theme song… I wanted the show to not be embarrassed by the Blaxploitation roots, but embrace it. Then at the same time, open up the camera, so to speak — widen the aperture — to include other genres. I mean, honestly, what Luke Cage; it’s a hip-hop Western. And you have Luke Cage as the sheriff of Harlem. He’s basically Shane. He’s Shane or he’s any number of reluctant heroes as played by Clint Eastwood. (Credit: Netflix) Read our full conversation with Coker.

Source: Yahoo TV

Joe Henderson (Fox’s ‘Lucifer’)

In the second episode of the show, we established that our lead male character is bisexual, which I think is pretty rare on network TV. We worried the studio and network might push against it, but instead, they championed it. And when I mentioned it to Tom (Ellis, Lucifer himself) he just shrugged. “Well of course he is.” When it aired, the only reaction was positive. I’m proud that what we thought might be pushing boundaries/creating controversy was instead welcomed as normal. Because of course it is. (Credit: Jack Rowand/FOX)

Source: Yahoo TV

Jeff Davis (MTV’s ‘Teen Wolf’)

The idea of inclusion on Teen Wolf has always been something for which we strive. We’ve heard from fans that how being gay is treated so nonchalantly in the world of Teen Wolf has been something they’ve loved most about the show. (Credit: MTV)

Source: Yahoo TV

Ken Woodruff (Fox’s ‘Gotham’)

The story I’m proudest of is from this season (Season 3). We were able to take a popular character from the canon of DC Comics, Penguin, and tell a personal, real, heartbreaking love story between him and another male character, Edward Nygma. (Credit: Jeff Neumann/FOX)

Source: Yahoo TV

Melissa Rosenberg (Netflix’s ‘Jessica Jones’)

In the comic books, Jessica wasn’t actually raped — she was an imprisoned voyeur to it, and we just wanted to make it a more personal experience and more realistic. We really were just telling the story of this character and never said, “Okay, we’re going to tackle the issue of rape or domestic violence or any issue like that.” We’re just going to tell her story and be responsible about it and be honest with the character. And so when it aired, there were initially all these think pieces on how it addressed rape and domestic violence. And then we were like, “Yes, that’s exactly what we intended to do!” Obviously we were dealing with an issue, but we never approached it that way. The minute you step on a soapbox is the minute people stop listening to you. (Credit: Netflix) Read our full conversation with Rosenberg and The Magicians showrunner Sera Gamble.

Source: Yahoo TV

Sera Gamble (Syfy’s ‘The Magicians’)

We felt that sexual assault was really the core of the Magicians story. The reveal that the Big Bad [The Beast] evolved into a monster as a defense mechanism to protect himself because he was being sexually abused as a young boy struck my partner, John McNamara, and me as a really amazing use of fantasy, and it felt psychologically real. It was non-negotiable for us. We really wanted to tell that story. It kind of became the guiding mechanism for the whole show; just the idea that fantasy is used to explore darkness and the human psyche and the various evils that we do to one another and to human beings. When we got to [where] Julia is assaulted by a trickster god, it’s a very graphic rape scene. What was important to us was to be honest and unflinching about it. We didn’t want to find any trapdoors that we could go through that made it less personal for the audience. So for example, we could have made the creature that assaulted her look less human and we chose not to. We wanted him to feel as human and present in the room as possible. Most important for us, when we filmed that scene, was to stay in Julia’s point of view, to make sure we were telling her story, and that she never became the object of the story. She was always the subject of the story. (Photo by: Carole Segal/Syfy) Read our full conversation with Gamble and Jessica Jones showrunner Melisssa Rosenberg.

Source: Yahoo TV

Bruce Miller (Hulu’s ‘The Handmaid’s Tale’)

I’m proudest of the way the show deals with institutionalized sexism and misogyny. The show takes place in an alternative present where women are commodified and strictly oppressed under threat of violence. In a world like this it’s easy to get lost in categories, i.e. victims, collaborators, oppressors, but I’m proud of how our show tries to humanize everyone in Atwood’s Gilead. (Credit: Take Five/Hulu)

Source: Yahoo TV

Michelle Lovretta (Syfy’s ‘Killjoys’)

Consent and agency are important themes in most of my work, and are also just a natural fit when dealing with science fiction, especially as a woman. In Killjoys, a lot of our long arcs are about systems trampling on the rights of individuals… and then we sit back, crack a beer, and have fun watching how our smartass underdogs win out. (Credit: Ian Watson/Syfy/Killjoys II Productions Limited)

Source: Yahoo TV

Ronald D. Moore (Starz’s ‘Outlander’)

I’m proud of the way we depict our heroine as a smart, strong woman who is able to adapt to living in the past without losing her sense of self. She’s not a damsel in distress and she’s often the one to come to the rescue of the man she loves. (Credit: Starz)

Source: Yahoo TV

Emily Andras (Syfy’s ‘Wynonna Earp’)

I’m very proud of the female representation on Wynonna Earp — has there ever been a western with more women running around firing guns and kicking ass? — and I like to think we handled the LGBT storyline delicately with grace and good spirit. (Credit: Michelle Faye/Syfy/Wynonna Earp Productions)

Source: Yahoo TV

Marco Ramirez (Netflix’s ‘Daredevil’)

From the beginning, Daredevil has been concerned with characters who uncover truth, whether through vigilante activity or journalistic integrity. The Ben Urich story, which then became Karen Page’s story, is something that seems to take on a new and different meaning every year. Season 1, it was about taking down Wilson Fisk. Season 2, it became about uncovering the truth behind the murder of Frank Castle’s family. Maybe it’s The X-Files still in my DNA, but “the truth is out there” is a hell of a dramatic motor in TV. (Credit: Barry Wetcher)

Source: Yahoo TV

Terry Matalas (’12 Monkeys’)

12 Monkeys is pretty morally gray, through and through — which gives us great latitude to explore things like blind faith in any kind of doctrine.  We delve into how one can be driven to do terrible things: Fear. Love. Faith. (Credit: Ben Mark Holzberg/Syfy)

Source: Yahoo TV

Mark Fergus (Syfy’s ‘The Expanse’)

You’ve got these middle-aged guys who have lived badly, or if they had convictions they lost them, they tripped and fell in life and they’re trying to find a way back to the light… That’s the story we gravitate to because I feel like we have something to say about that. It’s Children of Men, it’s Tony Stark, it’s Rick from Casablanca, it’s The Verdict. [In Season 2’s “Home”] Miller felt like his whole life had been the fabric leading him up to this moment, so the fact that he was a f–kup his whole life actually helped him in the moment where he needed to redeem himself. That final scene with Julie, that was the reason we wanted to make this show. That was the whole heart of it. It’s not only the heart of the book, I think it’s the heart of the whole show. (Credit: Syfy) Read our full conversation with Fergus.

Source: Yahoo TV

Bryan Fuller and Michael Green (Starz’s ‘American Gods’)

Fuller: We’re very proud of the coming-to-America stories. We told them because we were very moved by them as reminders of how we all got here. And when we made them, we thought everyone would be moved by them too and were very surprised to find out by the time it airs — especially after November — those immigration stories have become far more political than we would have ever expected. If people are moved by them, so much the better. If people are challenged by them, that’s there too, and not a bad thing at all. (Credit: Starz) Read our full conversation with Fuller and Green.

Source: Yahoo TV

Ryan Condal and Carlton Cuse (USA’s ‘Colony’)

Condal: We’re proudest of the human drama in Colony. The genre, the science-fiction, is just a backdrop that applies the correct pressures (i.e., an alien occupation of Los Angeles) to explore the themes in which we are most interested. This season, there are two particular issues that are addressed that really interested us. In episode 2.04 (“Panopticon”), we dramatize the very real and growing technological surveillance state as it applies to the world of Colony and, in particular, the Bowman family. What happens to a society when it lives in constant fear of being watched? Can anyone trust anyone? The answers are dark and approaching the nihilistic, which is why we were so drawn to it. The other issue is the true nature of resistance. When we think of the word “resistance,” in a science-fiction context, it tends to conjure images of the Rebel Alliance in Star Wars and Sarah Connor in The Terminator. But real resistance is ugly. It’s politically motivated, it’s brutally violent, it is uncompromising, and it is often utterly futile. This is a big theme this season, particularly in the second half, and I think the audience will be surprised about what Colony has to say about the issue. (Credit: Isabella Vosmikova/USA Network)

Source: Yahoo TV

David Greenwalt and Jim Kouf (NBC’s ‘Grimm’)

Greenwalt: Grimm attempts to offer an explanation for monstrous behavior and the inexplicable nature of evil. Kouf: The environmental issue in episode 9 of this season, as the environment is an issue that’s important to me, and the senility issue in episode 10 of this season, as it is an issue we all have to deal with. (Credit: Allyson Riggs/NBC)

Source: Yahoo TV

David Eick (Freeform’s ‘Beyond’)

Beyond is interested in how a nuclear family holds together despite extraordinary events, and how growing up and becoming an adult is sort of like learning to be a superhero. (Credit: Katie Yu/Freeform)

Source: Yahoo TV

Julie Plec (The CW’s ‘The Originals’)

It’s all about family, for better or for worse, through the good and the bad. It’s about the bonds of blood. And as children of dysfunction and abuse and tyranny, it’s about how these kids grew up to be both the worst parts of that and the best parts of themselves in spite of it all. (Credit: Annette Brown/The CW)

Source: Yahoo TV

Damon Lindelof (HBO’s ‘The Leftovers’)

I feel most proud of the way our show addresses grief… how surprising and upsetting and nonsensical coping mechanisms can be, whether that mechanism is joining a cult or hiring prostitutes to shoot you in the chest. There is no more profoundly complex human emotion than the one associated with losing someone you love and The Leftovers is a constant examination of that idea. (Credit: HBO)

Source: Yahoo TV

Julie Plec (The CW’s ‘The Vampire Diaries’)

I think that we said a lot that this is a show about love and loss. And those are two extremely universal things that everybody on this planet goes through at one point in their lives. They, with luck, fall deeply in love at least once. Unfortunately, over the course of a lifetime, they experience loss more times than anyone could hope. It’s very difficult for people to express themselves emotionally to deal with those emotions. In the phases of managing and moving on from grief, it’s a very complicated journey. A show that tackles issues of loss and grief, like what we do, is just another tool out there in the universe to let you sit and have a good cry, or to see something about your own experience in this fiction. (Photo: Bob Mahoney/The CW) Read our full conversation with Plec.

Source: Yahoo TV

Nick Antosca (Syfy’s ‘Channel Zero’)

Loss and the experience of coping with it, in Channel Zero: Candle Cove. We’re a horror show, and loss is the most universal real world horror. (Credit: Allen Fraser/Syfy)

Source: Yahoo TV

Dana Gould (IFC’s ‘Stan Against Evil’)

Stan Against Evil is largely about moving on after loss. We start Season 1 at the funeral of our lead character’s wife, and by the end of the season, he has only started to come to terms with it. I went through a divorce a couple years ago, and didn’t realize until midway through filming that I had been writing about myself. (Credit: Kim Simms/IFC)

Source: Yahoo TV

Dan Harmon (Adult Swim’s ‘Rick and Morty’)

I am proud that our show addresses what I consider the root of all our issues: it’s better to have felt an unfeeling universe than never to have felt at all. (Credit: Cartoon Network)

Source: Yahoo TV

Drew Goddard (NBC’s ‘The Good Place’)

I believe The Good Place is the first show to explore sexual relations between an anthropomorphized afterlife information delivery system and a gentleman from Jacksonville, but it’s possible St. Elsewhere got there first. (Credit: Vivian Zink/NBC)

Source: Yahoo TV

David Benioff and D.B. Weiss (HBO’s ‘Game of Thrones’)

We spend a lot of time pondering the complexities of incestuous relations. Talk about a sticky situation! (Credit: HBO)

Source: Yahoo TV