#intimacy of sleeping with you

[natkhat-sa-shyam]

Can we sleep?

Like just sleep sleep. Maybe clothes on or naked Or half-naked in underwears. But hugging. Arms around each other And a leg between yours And the other over your soft thighs. Maybe lights on or off, your call. Maybe the room scented with rose Or lemongrass.

Maybe you wearing a dark lipstick Or keeping it moist with a lip balm, Either way it won't be ruined. Maybe your silky hair over my face Or they're tied in a bun. Maybe my face digging your bososms Or looking straight into your eyes And drift to sleep Just like the old time, but Just sleep.

[foxyheartstring]

[kenjakusbraincum]

Sukuna is old. He is also weirdly cultured for the monster that he is. With so much time on his hands, he loves indulging in arts and literature, and as with everything else he tries, he's good at it. You wouldn't know this, of course, you are only his pet. The time you spend with him is limited and hardly consists of intellectual conversation. You are there to serve one purpose and you know that quite well. So when you wake up in his bed one morning, two things come as a surprise. First that you're even here. It's one of those rare occasions when Sukuna couldn't be bothered kicking or carrying you out of his chambers once your time together was up. Second, he's awake, bent over his desk and so concentrated on a little figurine in his hand that he doesn't immediately notice you've shuffled awake. Once your eyes focus, you see that he's holding a tool in his other hand. He's carving wood. You're almost hypnotized by the scene. The scene feels so private that even for a pet like you, who knows Sukuna in the most intimate way, it feels like you shouldn't be watching. But you can't look away.

"Awake?", he asks, without sparing a glance at you. You apologize for staring, and look for your clothes around the bed. You throw them on just precisely enough to cover up until you reach your chambers, just wanting to be as quick and innocuous as possible. You wait for Sukuna's approval to leave. He gives you a simple nod, once more avoiding to look at you. You leave feeling conflicted. Special, because he allowed you to stay and watch (even as little as you did), but saddened because he barely looked at you, once more solidifying in your mind that you're only interesting to him when you're naked and bent over. As long as you've been here, you could never stop wishing for his validation.

Sukuna knows when you get insecure too. He notices the way your eyes droop, the way you close in on yourself and seem absent in his presence. He justifies this excessive worry about you by telling himself he likes to be the only thing that bothers his pets. All the way until he realized he already is the only thing that can make you sad. This realization falls upon him one time he lashes out on you and sees the immediate change of heart on your face. Now, he isn't one to apologize, especially not to someone who is as low under him as his pet. But why does he feel guilty when he sees this one act of his ruin your day? When he catches a glimpse of you sitting in the garden with your head hung low, or leaving more food on your plate than you usually do. If only you knew the way you really made him feel.

He beckons you to his chambers, and you follow three steps behind him like a good pet does. You didn't expect this time to be any different than others. You've become used to serving Sukuna on days you loved him and on days you hated him. But when he tells you to close your eyes, you know something is different. You obey, of course, and listen to his footsteps as he fetches something from the room. His hand takes yours and opens it, placing a piece of wood onto your palm. You already know, but you wait for him to allow you to open your eyes. He lightly presses his thumb on your cheek under your eye, and when you look, you find a small wooden fawn, curled up and asleep in your hands.

"Master!!..", you start, but nothing else can leave your mouth. You turn the figure around in your hand, inspecting and admiring the details. He's given you gifts before, but not ones carved by his own hand. Not ones made with love.

"You don't have to squint anymore.", Sukuna says, almost jokingly. But his face is as serious as ever as he looks at you, his muse. He thinks of the first time he's exhausted you to the point of passing out right after your nightly meetings. You were relatively new and very unsure of your safety. He thinks of your small body curled up in sleep on the edge of his bed, knees pressed to your chest in a primal, subconscious attempt to protect yourself. His little pet, his fawn.

You slur on and on about how beautiful it is, how you don't know how to thank him, the usual when you receive a gift. And as usual, Sukuna shuts you up with a kiss. You welcome it and wrap your arms around his neck, giving yourself in to him and letting him take you to the bed.

And he takes things slow tonight. He's gentle and so, so giving. Every sensation is delicate, prolonged and heightened to exhaustion. You cling to him, pull him impossibly close, and come apart under the comforting weight of him. Afterwards, you hold his hand to your face and kiss it softly. His hands, so large and strong, capable of such violence, yet for you they craft gifts, cradle, caress, love... in a very subtle and distant way, of course. With these thoughts your hands slip away from his, you turn around and quickly drift off.

He looks at you now, sleeping so close to him. Trusting him with your back, and turning your curled up form to the outside world. As if he is no longer a perceived danger. He smiles to himself in victory, and plants a chaste kiss to your shoulder to wish you one final goodnight.

[i-dont-talk-for-days-on-end]

I have this vision of Holmes getting sick or injured while out investigating, idk, anything that puts him into a vulnerable position really. But he will politely but very sternly prohibit anyone from fussing, or helping or touching him, insisting they GET WATSON, and that's his last word on it. And when Watson finally arrives, Holmes all but melts into his care, and Lestrade realises a) oh Mr Holmes was really not feeling great and b) those two have something really special going on

[theeroticlover]

Mhmmm !!! I don't wanna wake up .... Also don't want you to stop either...... 💤

[kaogens]

Vash and wolfwood having a nap

sobs a little

[flowerakatsuka]

clingy ass

[thebirdandhersong]

last gripe of the day: I think teen movies should include less losing your virginity and more being a little weirdo in high school

[urdeadbeatd4d]

how it feels to love my boyfriend

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[canisalbus]

I'm sorry to send a message of sorts through your Ask tab, but I want to say that I really love your piece, " Seclusion ". First, I really love how the room and objects around Vasco and Machete look. The headrest's texturing is extremely cool. It looks beautiful. It makes sense with the era these two lived in, of course, but the design of the headrest feels much older in comparison to modern times now, and I think that's really cool, personally. It's a bit difficult to describe, but the pillows and bedding both look really soft. It feels protective, almost. Finding comfort in isolated sheets, but your characters are together. The comfort is not only furthered, I imagine, but I could see them feeling safe with and because of each other, too. They're resting in silent, cool darkness, the breathing of the other bringing them into a world of just their own, to breathe with just one another, I feel. The way you depict them here, they both look safe, so to speak? They feel so sealed away from the outside, and comfortable. Resting against one another, and the fact that they dress differently to bed, I think is really lovely. This piece is really sweet. Thank you for creating all that you do. It truthfully means a lot to see, and learn of.

.

[theoryofwhatnow]

no i’m fine i’m just thinking about the fact that there was a time where alex would peacefully fall asleep to the sound of nigel tinkering with his tools, or the soft sound of his breathing as he lay in the opposite bed across the room from alex.

“nigel was moved to another room. it was strange, i almost missed him.”

[oldbutchdanielcraig]

Sex scene anon here. omg thank you for resharing that clip.

I was just reminded that not only was the IC not on set during Drew and Daniel's sex scenes, Luca left the room as well. iirc it was only the camera man and maybe a guy holding a boom mic? And at the end one of them cried because it was so beautiful. Forgive me for not linking a source - I've been searching, but I've talked so much about this film it's gotten lost in the abyss of me screaming about it. :')

OH MY GODDDDDDDDD. well if i had to put my money on anyone crying i'd guess it was drew bc he is kind of the crier 😭 i know he cried during filming the final scene but i didn't know someone cried after filming one of the sex scenes too. that is so. it's crazy because they just took the intimate parts of filming SO SERIOUSLY like it's clear it meant soso much to them that they were chasing real intimacy in the process and that's just so 🚬

[shy-girl04]

Sleeping With You

Is there anything more wonderful?

After we have floundered

through our separate pain

we come to this. I bind myself to you

like otters wrapped in kelp, so the current

will not steal us as we sleep.

Through the night we turn together,

rocked in the shallow surf,

pebbles polished by the sea.

Ellen Bass

[dangerous-fighter-fairy]

The most intimate thing characters can do is take a nap together actually. Or on each other or cuddled up. Relaxing together enough to fall asleep? Get the fuck out of here. That takes the cake

[foundationsofdecay]

There was a half-baked post somewhere in my head I was typing out regarding the first trilogy sort of beginning with the coming together of earth and heaven and ending with their separation, but halfway through I realized I was mostly rehashing an old post I'd already made on a related topic lol but I do have to say, it fucks me up in Take Aim that the weapon mentioned is implicitly long-range. It doesn't require any contact, and plays into the entire narrative in the song of wanting this person who "love(s) like weapons kill" to turn that towards you and "break [you] apart" despite an emotional distance made physical through words.

Not just that, but to run after you (perhaps to catch you eventually, but we only say directly that we want to be followed, and already wished that they would "call out [our] name" which evokes a similar image) and even declaring that we yearn for their embrace so badly that we "tear [ourselves] apart" over it, the only real physical contact happening here being self-directed. It's a very stark departure from the lacerations and the desire to bite and be bitten that we saw prior to this song, certainly. It feels instead, to me, like a continuation of anxieties made known and exacerbated in the earlier tracks in the album, having reached a point where we can only interact like this from a distance, even as we still "can't resist the violence" mentioned in Higher.

We ourselves even say towards the end of this track that "when the moment is perfect, [we] will fire and forget 'till we both lay broken," where even with a possible future where we're together with this person we've devoted ourselves to, we would use an impersonal means of violence. How odd is that choice, given the language around violence we see used everywhere else in the trilogy? Perhaps we're just looking to match or mirror them, to use the same means to this end. To be honest, even though that line comes just after asking to be taken aim at and broken apart, I'm still unclear as to if we are aiming at them or at ourselves. If we want to be wanted and to be followed and called out after, though, I do think we would need to be taking aim at them, or to simply finally fire at them after already having had them in our sight for so long once we've been struck ourselves, knowing that when we look at them, they'll be looking right back at us.

We need that to establish this moment where we've broken through one another's defenses, no matter what it took to get there, and shown that we're worth it to one another just based on the fact that we could get through to them and see what they're keeping inside, a struggle we see revisited time and time again in songs like Give, which comes immediately after this one, and further along the trilogy in songs like Say That You Will, The Love You Want, DYWTYLM, and Fall For Me.

I think it's interesting, though, how we do get glimpses of what that realized physical and emotional intimacy looks like even in the same album, through songs like Sugar, which has both sex and violence, Drag Me Under, which is sexual without violence, and Blood Sport, which is violent without sex. In going back and forth in the album between this distance and embracing we talk in these songs so much about our respective weapons, but like in Give it's not just about an open warfare being fought unfairly, but about being a protector as well. How beautiful is it, then, tragic as it may also be, that this coalesces to this point in Blood Sport where we still love and cherish them enough to declare them to be our weapon of choosing? There's ambiguity in this declaration as well, that I think is key. Are you the weapon I choose to fight others with, possibly even to protect you rather than myself, regardless of the pain you may bring me? Or, it simply that you're the weapon I'd always choose to be wielded against me? No guns, no knives, just you? It's still you, after everything, and it will always be you, no matter what. Maybe that's what doomed me to lose our battle, but I'd still pick you over anyone and anything to do this to me, with me.