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feyd-meowtha · 4 months ago

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Another snippet from the MOTA 90s clubbing AU!

(This time featuring Curt/Ken and the extent to which I had to bend space and time to make the Jude Law joke work)

“Long way from home, cowboy,” Curt said as he pulled a pack of cigarettes from his pocket and flipped the top open. “Want one?” He added, holding them up toward Gale, “they’re menthols.” Gale wasn’t usually one for smoking but his tongue was begging for something to do and he did like mint so he agreed, gingerly taking one out of the packet and holding it up for Curt to light.

“You wound me,” said Bucky from the opposite side of the table, holding one hand to his chest like a mother who’d just seen her child’s first tattoo. “You don’t want my smokes but you’ll take one from this…this... fiend.” “Oh, fiend, is it? That’s a new one,” Curt mumbled as Gale said,

“You didn’t offer.” “You don’t even drink!” Bucky spluttered, gesturing far too vigorously with his burning cigarette and earning a scornful look from the woman behind him. He shook his head mournfully. “I can’t believe this. I risk life and limb to get him in here and the first chance you get, you steal him away from me.” He pointed a finger from Gale to Curt. “He smokes menthols!” Bucky finished with a huff, crossing his arms and sticking out his lower lip in a petulant show of immaturity that shouldn’t have been nearly as endearing as it was. “Told you no-one wants to kiss a guy who smokes Lucky Strikes. How old are you, eighty?” Curt said with a shrug before turning to Gale. “They have character!” Bucky exclaimed. Curt just shook his head and turned back to Gale. “Though I hate to disappoint ya Buck but I got a feeling someone special is gonna be here tonight. So I’m afraid my heart belongs to another.” “The guy who looks like Jude law?” Bucky said, his eyebrows buried somewhere up in his hairline. “Dude, don’t do it. You totally struck out last time. I saw it, I wish I didn’t but I did and it was bad.” “Yeah but that doesn’t count because I don’t remember it.” Curt said as if that made any sense whatsoever. Then he stopped dead, his eyes taking on a slightly haunted look as he met Bucky’s gaze and said solemnly. “Never let me do G again.” “It’s not my fault some people can’t hack,” said Bucky before adding, “and to be fair it wasn’t all bad. I think he thought you were kinda funny, even after you started talking about how much you liked ‘Shopping’ which he had not seen because no-one except you and me have ever seen that movie and I only watched it because you made me… but then you started making that weird groaning noise and rubbing your palms on your jeans like a sex offender.” He paused for a second, the two of them cringing in unison, “Yeah...that was- that was rough, I’m not gonna lie, so probably don’t do that again.” “Don’t have to tell me,” Curt said, shaking his head to shake off the embarrassment, “That stuff is fuckin’ evil. I’ll be stickin’ with the classics from now on.”

#an extremely forced tremors reference?#on my blog?#it couldn't be #I can't help it if that is my main reference for cowboy-ish regions of the US #shopping is jude law's first big film btw #so Curt was clearly an early adopter #brief unconnected storytime: for the first 3 years of secondary school I sat next to a guy called Arshia in lots of lessons cus we were nex #to one another in the alphabet #and he loved jude law #so during IT lessons I would print out pictures of jude law and then use them to bribe him to do things #such as not be a wanker #then he moved away to canada and now I think he's a brain surgeon #I just wanna know how he feels about jude law now #Arshia man hit me up I just wanna talk #okay we can have the actual tags now #mota fanfic #mota #clegan #barry keoghan #raff law #curt/ken #ken lemmons #curtis biddick #masters of the air #cw drugs #drugs cw

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not-wholly-unheroic · 2 years ago

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The Many Faces of Captain James Hook

With the release of the first promotional images of Jude Law’s Captain Hook for Disney’s upcoming Peter Pan and Wendy, there’s been a lot of complaints about both the costuming choices made and the fact that Law’s Hook bears little physical resemblance to the captain’s more “traditional” look and seems to be older than most versions with his graying locks. Some have even gone so far as to call Law’s Hook “ugly”—which I find rather unfair and even laughable. (If you find Jude Law in any role ugly, your male beauty standards are ridiculously high and I hate to think how hideous you must think most average people are.) Further, it’s a bit shallow to reduce a character completely to his physical attractiveness—especially a character as complex and complicated as Captain James Hook. Barrie’s Hook was described as being handsome, yes, but the popular vision of Hook as being an inherently “sexy” character is a fairly modern phenomenon in the story’s history—probably largely due to Jason Isaacs’ performance in the 2003 Peter Pan and, more recently, Colin O’Donoghue’s “Killian Jones” (who isn’t even technically James Hook) for Once Upon a Time. But the character has existed for close to 120 years, and in that time, he has borne many faces—some instantly recognizable as our favorite captain; others less so. He has worn a variety of colors and clothing styles, had nearly every shade of hair, and possessed varying degrees of facial hair. In fact, you may be surprised to find that the iconic waxed mustache, red coat, and ostrich plumed hat likely didn’t become mainstream until around the time Disney put out their version of the film. (That’s not to say other, previous Hooks didn’t ever have these characteristics. Only that Disney was probably the catalyst that solidified the look into the mind of the fandom.) For those who may not be as familiar with the history of the Hooks, let’s take a quick look at some of the lesser known versions of the character…some of whose influences can still be seen in Law’s Hook.

Here we see the costume design for Captain Hook by William Nicholson for the first production of Peter Pan, Duke of York's Theatre, 1904. You’ll notice the concept art doesn’t feature the bright red coat or any pluming on the tricorn hat.

You can see how this costume idea might have translated onto an actor in this image of one of the earliest actors to play Hook on stage, Robb Harwood.

Notice, he has no facial hair at all and although he looks like a gentleman, he’s far less “frilly” than the standard Hook is today.

The iconic mustache is also conspicuously absent in the silent film’s Hook, played by actor Ernest Torrence. He also still has the tricorn hat without any plumage. Note that Barrie was still alive at the time of the silent film when it came out in 1924, and some of his suggestions made it into the film.

Another early Hook, played by famed horror actor Boris Karloff for the 1950 Bernstein musical looks downright terrifying.

He has the mustache and the hair going on but I don’t know if I’d call him exactly “handsome” here.

Then we get to the 1960s. This seems to be about the time that we get the bicorn hat that Law’s Hook wears in the promotional photo. It shows up both in some scenes with Cyril Ritchard’s version of the character (notably, Ritchard was in his 60s when the film version was recorded, and his Hook has gray hair)—though he also has the red plumed hat we associate with most modern Hooks—and in Vincent Price’s stage Hook (sadly, not recorded to my knowledge).

Of course, we also get Disney’s version of Hook in 1953, and after that, we start to see more of the “iconic” Hook look that we’re used to with a few exceptions, such as Fox’s Hook from the 1990 series Peter Pan and the Pirates, who has white hair, no facial hair, and a dark navy blue/black outfit.

Despite looking more like an angry Quaker Oatmeal man than the usual Captain Hook, this guy gets a lot of love from the fandom because Tim Curry’s voice acting knocks it out of the park and personality wise, his Hook is both refined and threatening.

We also have to remember that even Hoffman’s 1991 version of the captain is likely much older than (and not quite as good looking as) he comes off as when he’s fully made up. Recall the scene near the end when he loses his wig:

And Rhys Ifans’ “prequel” Hook in SyFy’s Neverland (2011) hardly looks like a Hook at all when we first meet him.

Even after his transformation into the pirate we’re more familiar with, he still has the “wrong” hair color and no mustache.

Yet he manages to get the right “feel” for Hook, which makes up for everything else, epitomizing the messed up father figure in Peter’s life, inspiring both our sympathy and revulsion.

My point in saying all of this is not to explicitly praise Law’s Hook or make any kind of judgement—for that, we’ll have to see the film itself—but to simply remind folks that Hook has worn many faces over the years, and ultimately, what he looks like matters less than the actor and director’s grasp of who he is as a person. Hook, as a fan favorite, has some incredibly large boots to fill and whether or not Law will live up to those expectations remains to be seen. But let’s give the guy (and his character) a chance to speak for himself before we go judging too much. Some of the greatest Hooks haven’t always looked like what we’d expect him to.

#Captain Hook #jude law #disney live action peter pan #cyril ritchard #boris karloff #Peter pan #vincent price #Robb harwood #ernest torrence #rhys ifans #tim curry #peter pan and wendy #jm barrie #Dustin Hoffman

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iliyad · 6 months ago

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talented mr ripley walked so saltburn could run

#barry keoghan #jacob elordi #jude law #matt damon #andrew scott #saltburn #i will NOT have yall sleep on ripley like this

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badmovieihave · 1 year ago

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Bad movie I have Flawless 1999

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geekcavepodcast · 2 years ago

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Peter Pan & Wendy Trailer

Disney’s live-action Peter Pan & Wendy takes inspiration from the novel Peter Pan by J.M. Barrie as well as its own 1953 animated film. In this version Wendy is wanting to avoid boarding school and growing up when she meets Peter Pan, the boy who never grew up. She and her brothers travel to Neverland with Peter Pan and Tinker Bell where their adventures will change her life forever.

Peter Pan & Wendy stars Ever Anderson (Wendy), Alexander Molony (Peter Pan), Jude Law (Captain Hook), Yara Shahidi (Tinker Bell), Alyssa Wapanatâhk (Tiger Lily). Jim Gaffigan (Mr. Smee), Joshua Pickering (John), Jacobi Jupe (Michael), Molly Parker (Mrs. Darling), and Alan Tudyk (Mr. Darling). David Lowery is directing from a screenplay by Lowery and Toby Halbrooks.

Peter Pan & Wendy hits Disney+ on April 28, 2023.

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denimbex1986 · 6 months ago

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'WHO IS TOM RIPLEY? Steven Zaillian’s recent Netflix series adaptation of Patricia Highsmith’s most infamous literary creation starts and ends on this question.

Ripley adapts the first of five books Highsmith dedicated to the exploits of the con artist–murderer-aesthete, and the portion of the story that has been reinterpreted the most: New York shipping magnate Herbert Greenleaf hires the low-level grifter to travel to Europe and convince his vagabond son Dickie (Johnny Flynn) to return to the United States. Highsmith’s novel is a masterwork of crime writing, and Ripley is a chameleonic figure who has been interpreted, alternately, as a charming sociopath, a consummate con man, and a serial killer. He has been played by actors of dizzyingly different registers like John Malkovich in Ripley’s Game (2002), Dennis Hopper in The American Friend (1977), Barry Pepper in Ripley Under Ground (2005), Alain Delon in Purple Noon (1960) and, perhaps most famously, Matt Damon in The Talented Mr. Ripley (1999).

Andrew Scott is the latest and proves to have the most insidiously perfect take on Ripley. The Irish actor, who will be recognizable to many as the “Hot Priest” from Fleabag (2016–19), as well as the maniacal, screeching Moriarty on Sherlock (2010–17), just picked up awards for his performance in the film All of Us Strangers (2023) and the play VANYA, a new reimagining of Anton Chekhov’s classic. There’s little that ties his Ripley to previous Ripleys: Damon’s was lovelorn; Malkovich made him cunning; Hopper, bombastic; Delon’s was mean-spirited; and Pepper, let’s just not. Scott, meanwhile, possesses a soft-featured handsomeness that can “mold into ordinariness” at will. This Ripley is a negative space. He observes and absorbs. Scott’s performance dispenses with charm and charisma almost entirely, in fact, and throughout Ripley’s eight episodes, the character is mostly uncomfortable, ill at ease, and clawing.

Significantly, Ripley is the first adaptation of Highsmith’s character to depict “the unequivocal triumph of evil over good” that she thought her book explored; certainly, it’s the only adaptation that finds Ripley “rejoicing in it.” Ripley will always win. But neither the book nor the series gives us anything to hold on to. There is nothing to root for. Zaillian and Scott’s narrative, visual, and performance choices empty out Ripley of the charm and emotionality that drove previous adaptations. Here, Ripley is a slippery mask that doesn’t ever quite fit right. And in embracing the character’s elusiveness and refusing to make his emptiness attractive, Zaillian and Scott have given us the definitive on-screen Tom Ripley.

How to film a vacuum of personhood? Zaillian told Vanity Fair that the choice to film Ripley in black-and-white came to him early in the process, and was inspired, in part, by the black-and-white edition of the Ripley book he had on his desk. “As I was writing,” he said, “I held that image in my mind.” The black-and-white imagery strips Ripley’s story of the postcard beauty we’ve come to expect from previous adaptations. While the golden cinematography of Purple Noon and The Talented Mr. Ripley capture the sandy ease of wealthy American expats enjoying bright negronis and crystalline seawater, Zaillian didn’t “want to make a pretty travelogue.” And pretty it is not. While there is much to praise about the moody monochrome cinematography, it doesn’t distract. Ripley’s New York is a rusty compilation of ugly details: the rotten wood of the window, exposed wire covered by a sad little painting of a boat, an overflowing shower, a musty slab of soap, the noise of other people’s bowel movements. When he arrives in Italy, the Mediterranean water is black and inhospitable. It’s a graveyard, not a postcard.

Ripley indulges in repetition and the administrative details of criminality. The paperwork, the travel, and the negotiations are granted much screen time. It’s tedious work, conning people. When we first meet Tom Ripley, he’s running a small-time mail fraud, and constantly looking over his shoulder. It’s his frustration with petty paperwork grifts, rather than any fascination with Europe or love of art, that makes him accept Herbert Greenleaf’s mission. But Ripley is a quick study: by the second episode, he’s got conversational Italian down, and he understands the unspoken rules of Dickie’s lifestyle. And he’s a hard worker. This Ripley practices. He has to, in order to maintain his cover. His forgeries are a craft, and he carries his tools—stamps, glue, a rubber goop to forge passports—with him.

Ripley’s foreignness aids him. In a 1989 essay for Granta, Patricia Highsmith recalled the image that became the genesis of Tom Ripley: a young man walking alone on the beach in Positano, Italy, early in the morning, who “looked like a thousand other American tourists in Europe that summer.” Highsmith never met that man, but the image grew and expanded into the famous character. An American in Europe, becoming acquainted with the ways of living in Italy, France, and Germany, just like Highsmith herself had done. Europe as a concept, not a destination. It was freedom. In the same essay, the author recalls a secret sort of affinity for Europe, one “so deep and important that I might not wish or need to discuss it with friend or family.” I wonder if Zaillian read this very essay. His Ripley, too, looks out at the tiny beach of Atrani, which looks similar to the Positano that Highsmith looked upon, and sees a faraway, solitary figure. In Ripley, people who interact briefly with either Ripley or Dickie see them as interchangeable, just two Americans. His foreignness, ironically, allows him to blend in.

Highsmith’s Ripley holds good taste above everything else, and so does Zaillian’s. Ripley’s lack of refinement is palpable at first. He makes all the wrong choices, sartorially and otherwise (in the film, it’s the lime-green Speedos; in the series, the paisley robe), which puts him on the wrong foot with Marge Sherwood and Freddie Miles. Played in the film by Gwyneth Paltrow cosplaying Housewives of Mongibello, and in the series by a po-faced Dakota Fanning, Marge is as desperately oblivious to her lack of talent as Dickie is. She spends her days scribbling away at a memoir about her experiences in Atrani (which Ripley edits in a delightful montage of disdain) and eyeing Ripley suspiciously. He and Marge find each other equally repellent: he is too “vague” for her to grasp (some light-coded homophobia there) and she is tacky (he throws away the hand-knit scarf she makes for Dickie). As the series progresses, he starts to build up a new persona, one that feels truer to him than “Tom Ripley”: “This was the real annihilation of his past and of himself, Tom Ripley, who was made up of that past, and his rebirth as a completely new person,” writes Highsmith. This new Tom Ripley is suave, well dressed, and well regarded, while Marge is condescended to by the Italian police and drinks too much at parties. And Dickie, well, he’s dead.

The murder of Dickie Greenleaf is a turning point for Ripley. It is his graduation from grifter to murderer and is one of the few constants of every interpretation of the text. In the book, it is semi-premeditated. Ripley conceives of this idea earlier, on the train (always the train with Highsmith), knowing that Dickie is going to politely excise him from his life, from his lifestyle: “He knew that he was going to do it, that he would not stop himself now, maybe couldn’t stop himself, and that he might not succeed,” writes Highsmith. The screen has always reinvented this moment for dramatic effect. In Purple Noon, Ripley stabs French Dickie (renamed Philippe Greenleaf, and portrayed by Maurice Ronet) in the heart, on Dickie’s own boat. A risky, impulsive decision. Ripley stages the murder as quietly rageful: neither man raises their voice, Dickie politely severs their relationship and Ripley’s bludgeoning of Dickie is wordless. He looks at Dickie’s ring, as if for confirmation to proceed before striking him in the head with the oar. It’s not about Dickie; it’s about his lifestyle, one that Ripley feels he deserves more than Dickie.

Anthony Minghella’s The Talented Mr. Ripley interprets this moment as an emotional and moral upheaval, with Ripley pushed over the edge by Dickie’s ferocious rant. Jude Law’s Dickie is a petulant child who wreaks havoc with his limited attention span and oversized charm. His first interaction (and last) interaction with Ripley is bullish: he mocks his untanned skin (“Did you ever see a guy so white, Marge?”), his lack of refinement, his inability to ski, his obvious worship of Dickie. He is violently repelled by Ripley’s desire to be close to him at all costs. So, when the oar strikes his head, we understand. He calls him a “leech,” a “third-class mooch,” and, most damningly in Dickie’s mind, “boring.”

And, in Damon’s hands, he kind of is. In a 1998 interview, the actor spoke about wanting Ripley’s “humanity to come across,” morphing him into someone who does not “ever manipulate anybody” and who “come[s] from a position of pure honesty all the time. He believes what’s happening and he believes the world he’s indulging in.” At this point in his career, Damon was always in the right place at the right time. Both he and Paltrow were Harvey Weinstein’s golden children. Damon, together with his co-writing buddy Ben Affleck, had just earned a best screenplay Oscar for Good Will Hunting (1997) and Paltrow had picked up her statuette for best actress in Shakespeare in Love (1998), both Miramax releases. It makes sense with Damon’s persona and limitations that he would interpret Ripley as a beacon of honesty, an accidentally talented murderer. He was charming, but not electrically so, unlike Law. Politely handsome, unlike the beatific Alain Delon. Smart, but not obnoxious. His Ripley is a charmless striver looking for love, not money.

Minghella’s adaptation is beautiful, turning the story into an overtly queer text, leaning into Ripley’s identity as a closeted gay man in the 1950s who falls for the petty, vagabond Dickie. It works hard to carve out the humanity of Tom Ripley. The film even opens on a note of regret, with Ripley narrating: “If I could just go back, if I could rub everything out—starting with myself, starting with borrowing a jacket …” It’s a different register, and one that tints the entire film with a note of sick, inescapable sadness. In a different way, Ripley and Dickie were intertwined in Highsmith’s first sketches of the character. In her diary, in 1954, she sketched out a character that would, eventually, be split in two:

A young American, half homosexual, an indifferent painter, with some money from home through an income, but not too much. He is the ideal, harmless looking, unimportant looking, numerous enough, kind of individual a smuggling gang would make use of to handle their contacts, hot goods.

Minghella leans into this merging of identities visually, using mirrors and twisted reflections, all tinted with an overt, and one-sided, desire on Ripley’s part. In Minghella’s version, it’s Dickie who ruins Ripley, setting him on a path of lies and other murders to cover up that initial murder, which ends with him killing the one person, Peter Smith-Kingsley (Jack Davenport), who seemed to see good things in him. Ripley is desperately lonely, encased in shadows.

Zaillian’s Ripley, meanwhile, is all shadows. Gothic, even. This is where Tom Ripley feels most at home, alone but never lonely. Even in the dark, he is not corroded by the darkness that threatens Damon’s Ripley. This Ripley is on a journey towards comfort and beauty. Once he arrives in Italy, he is smitten not with Dickie himself but with the possibility of beauty and the tranquility that the Greenleafs’ money can afford him. If anything, Dickie Greenleaf is the least interesting character in Ripley. Johnny Flynn’s take is not rude, or irascible like Jude Law’s. He might even be considered kind, at times, although deeply, pathetically uninteresting. A laughably mediocre painter, Dickie doesn’t seem to care about much at all: not about his parents, his money, or Marge. When Ripley first meets Dickie and Marge, they are asleep, napping on an Italian beach. He casts a shadow over them. But Ripley is not particularly motivated by murder. It is, like most things, tedious, hard work. The disposal of Dickie (and, later on, of Freddie Miles) takes up more screen time than the murder itself. It is almost comically extended, including a little sit-down to rest after disposing of the corpse. After he bludgeons and disposes of Freddie (Eliot Sumner), Ripley has to go all the way back to the site where he dumped the body to retrieve an incriminating object. Ripley revels in repetition, in its protagonist treading the same steps repeatedly. It is through sheer dumb luck that he isn’t caught, not through his cleverness. And Ripley delights in the lucky tedium of Tom Ripley’s crimes.

The blandness of Dickie and his cohort’s characterization stands in sharp contrast with the undeniable, easy gorgeousness of their lives. Dickie’s villa overlooking the town, his marble floors, his Montblanc pen, and his Picasso, casually hanging in his study. They are so used to it all that they fail to see the value of it, or how intensely Ripley wants what they have, not who they are. Ripley never asks for anything, but in a rare moment of honesty—hidden in plain sight, buried in a rant against refrigerators—he talks about freedom. For Ripley, freedom is not just money but also the invisibility it can buy.

This Ripley covets symbols, things that will act as signifiers of the freedom that wealth can afford. Like the Ripley in the books, who is largely uninterested in sex, desire is not his driving engine. Instead, it’s covetousness. As Scott pointed out, Ripley has an “almost sensual relationship with things.” The moment Ripley walks into Dickie’s house, he comments, “Nice pen,” and promptly pockets it. Dickie doesn’t even notice. That pen casually reappears as Ripley alternates between signing his name or Dickie’s. The camera foregrounds objects, returning to the same ones over and over again, like a murderer returning to the scene of their crime: Dickie’s typewriter and signet ring, the glass ashtray. Every time he settles into a new room, Ripley lovingly sets out his things. He does not imbue them, however, with any sentimentality. He’s not keeping Dickie’s things because they remind him of Dickie, but because they’re nice things and he would like to have them. There is pleasure to be found in objects, as much as there is in art. In the last episode of Ripley, he is gifted Dickie’s ring by Herbert Greenleaf. His work is finished. He has killed Dickie twice over. And he gets to keep the ring. In the end, Tom Ripley is where he wanted to be: alone and surrounded by beautiful things. Dickie is just another object to him, and when he speaks of Dickie, he’s really talking about himself: “Everything about him was an act.”

Art critics speak of negative space as the area surrounding a subject. The brilliance of Ripley lies in how it understands Tom Ripley not as a subject possessed of rich interiority but as the oppressive, empty space that defines those around him. He is the darkness that overtakes Dickie, Marge, and Freddie. Beautiful things smooth out the rough edges of Tom Ripley. As the series progresses, and the Ripley we first meet is well and truly annihilated, something truer emerges: an impeccably dressed black hole.'

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yikes-all-over · 11 months ago

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Aha! I knew I wasn't the only one who saw it

"You give me the creeps." - The Talented Mr. Ripley (1999)

"You make my fucking blood run cold." - Saltburn (2023)

#the talented mr. ripley #saltburn #the talented mr ripley #saltburn 2023 #barry keoghan #matt damon #tom ripley #oliver quick #jacob elordi #jude law #dickie greenleaf #felix catton

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prettiestlovergirl · 9 months ago

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❝ REQUESTS !

" late night devil, put your hands on me "

disclaimers ༊彡⬭ 𓈒 I

✪ please check my rules before you request anything! and please read these disclaimers, if you are in violation of any rules, you will be deleted and/or blocked.

✪ please make sure you have your age in your bio/ pinned on your account! i do not interact with minors!!

✪ there is no guarantee that i will write what you've requested! i do not always have inspiration for things, so please bear with me and PLEASE do not message me/harass me about whether or not i saw your message.

✪ smut is my preferred genre but i am definitely open to writing/responding to other genres! i'm a whore but i love fluff as much as the next girl!

✪ if you want a part two of something, you MUST give me an idea for it!! could be small, could be fully thought out, doesn't matter to me, but there MUST be something i can go off of.

✪ below i have a loooooong list of characters i'll write for, if you see a character you like but is not on the list, please feel free to reach out! i will let you know whether or not i will add them to the list xx

characters i'm willing to write for 𖼐꒱࿐ ִ I

✦ luke castellan ✦ coriolanus snow ✦ sejanus plinth ✦ finnick odair ✦ peeta mellark ✦ anakin skywalker ✦ peter parker ✦ jj maybank ✦ rafe cameron ✦ tim bradford ✦ wesley evers ✦ john nolan ✦ jake peralta ✦ barry allen ✦ james potter ✦ remus lupin ✦ sirius black ✦ tom riddle ✦ mattheo riddle ✦ theodore nott ✦ ares (from pjo) ✦ spencer reid ✦ aaron hotchner ✦ matt simmons ✦ luke alvez ✦ will lamontagne jr ✦ tony stark ✦ miguel o'hara ✦ steve rogers ✦ peter quill ✦ scott lang ✦ harry potter ✦ ron weasley ✦ fred weasley ✦ bill weasley ✦ charlie weasley ✦ percy weasley ✦ george weasley ✦ aaron thorsen ✦ anthony bridgerton ☆ benedict bridgerton ☆ harry hook (ouat) ✦ alex claremont diaz ✦ cardan greenbriar ✦ manny (abbott elementary) ✦ sally jackson ✦ lucy chen ✦ celina juarez ✦ hermione granger ✦ katniss everdeen ✦ johanna mason ✦ padme amidala ✦ sarah cameron ✦ angela lopez ✦ nyla harper ✦ amy santiago ✦ rosa diaz ✦ lily evans ✦ marlene mckinnon ✦ luna lovegood ✦ ginny weasley ✦ fleur delacour ✦ emily prentiss ✦ jennifer jareau ✦ elle greenaway ✦ emma swan ✦ natasha romanoff ✦ yelena belova ✦ kate bishop ✦ carol danvers ✦ wanda maximoff ✦ jude duarte ✦ prettiestlovergirl (fantasize about me, baby <3)

definitely into ༊彡⬭ 𓈒 I

☆ oral fixation ☆ infidelity kink ☆ size kink ☆ brat/brat taming kink ☆ face fucking ☆ tit fucking ☆ thigh riding ☆ daddy/mommy content ☆ domination ☆ sadism ☆ breeding kink ☆ masochism ☆ exhibitionism ☆ squirting ☆ degrading ☆ dirty talk ☆ cum swapping ☆ dacryphilia ☆ overstimulation ☆ gagging ☆ praise edging ☆ biting ☆ marking ☆ cne ☆ dubcon ☆ coercion ☆ breath play ☆ impact play ☆ anal play ☆ legal age gap ☆ threesomes ☆ brother's best friend ☆ best friend's brother ☆ daddy x princess ☆ step-cest ☆ legal age gap ☆ dom x sub ☆ gangbang ☆ bareback/ cream pies ☆ being shared ☆ free use ☆ orgasm denial ☆ brat x brat tamer ☆ knife play ☆ corruption virgin! reader ☆ bimbo! reader ☆ office sex ☆ mean! reader ☆ hair pulling ☆ dark content ☆ fratboy! character ☆ hand kink ☆ dumbification ☆ nicknames: mami, mamas, mama, ma, pretty girl, babe, baby, sweetheart, angel ☆

sometimes into ༊彡⬭ 𓈒 I

☆ somnophilia ☆ olfactophilia ☆ piss kink ☆ arm kink ☆ dry humping ☆ virgin! character ☆ best friend! character ☆ kidnapping kink ☆ thigh fucking ☆ sub! character ☆ sex toys ☆ period sex ☆ orgy ☆ drunk sex ☆ angst ☆ fluff ☆ sex pollen ☆ under the table ☆ noncon play ☆ polyamory ☆ predator/prey kink ☆ bondage ☆ sensory deprivation ☆ fake relationship ☆ cuckhold ☆ pet play ☆ cockwarming ☆ nicknames: babydoll, doll, honey, hon ☆

not into ༊彡⬭ 𓈒 I

☆ tentacles ☆ age regression ☆ professor x student ☆ childhood bedroom ☆ self-harm ☆ suicide ☆ ai ☆ pedophilia ☆ incest ☆ underage characters ☆ race play ☆ race exclusive features ☆ eating disorders ☆ depression ☆ getting caught masturbating and moaning out a name ☆ financial domination ☆ scat ☆ gay for pay ☆ age play ☆ wax play ☆ pegging ☆ feet content ☆ food play ☆ male! reader ☆

#requests #please read before sending #lola: info #thanks my love !

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