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greengoblinswifey · 2 months ago

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Dream Come True

Pairing— Nicholas Chavez x Sebastian Stan x Actress!reader

Summary— you’ve expressed desire to be between both sebastian and nicholas at the same time so they make your dream a reality. based on this request.

Warnings— possessiveness, threesome, unprotected sex, double creampie, praise kink, degradation, oral(m&f receiving), anal, double penetration, size kink.

A/n—i promise i’m working on all your requests as quickly as i can. i know this is shorter than my usual but enjoy either way🙄 <3 ALSO thank you guys so much for 4000+ followers, I appreciate it so much, i love you all <33

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Sebastian moaned as your walls fluttered around him, finally adjusting to his size so he could move.

“You feel so good, just as I imagined,” he breathed, rutting into you steadily.

You hummed around Nicholas’ thick cock inside your mouth, the vibrations making him shiver.

“You love being praised, don’t you sweetheart?” Nicholas asked, reaching down to squeeze your tits.

You had been working as a supporting actress for the two men in their new film, it was your first big role and you were excited. Even more so with the whom you were working under. Now, you found yourself under both men.

A shrill moan left your lips as Sebastian repeatedly brushed that sweet spot inside you. Your toes curled and you squirmed under the weight of his big hands pressing you into the bed.

“Your dreams came true, didn’t they, baby?” Nicholas asked. It was almost mocking, he knew you wouldn’t be able to answer with his cock in your both and Sebastian’s cock buried inside your pussy.

Both men had overhead you talking with a cast mate about how it would be a “dream come true” to be trapped between both of the muscular men. You’d do anything to have them use you.

Now, here you were.

“She’s so fucking tight,” Sebastian moaned, reaching down to rub your swollen clit. His bottom lip caught between his teeth as he looked down to see the outline of his cock moving inside you. He was so big, just stretching you open so you could take all of him.

“And this mouth of hers? Fucking unreal,” Nicholas retorted, “she’s so perfect.”

You could feel the coil in your abdomen tighten at their praises, signaling you were close to your release.

Nicholas’ head tipped back as you began gliding your tongue across his shaft. You nipped at the sensitive skin then moved down to his balls, taking them into your mouth and humming in content. Sebastian continued slamming into you, the sight of you sucking Nicholas’ cock, making him dizzy.

“Cum on my cock, slut,” Sebastian demanded. He rubbed your clit faster and your back arched from the bed, a deep moan leaving you as you creamed on his cock. Your body shivered under his touch but his pace was relentless.

“That’s a good girl, but we’re not done with you yet, we’re going to use you until we’re satisfied,” he said, blue eyes somehow, dark.

Sebastian flipped you onto your stomach, pulling your ass up to him and his hands tightened their grip on your thighs. His mouth moving against your pussy in slow, deliberate licks. Every swipe of his tongue sent a jolt of pleasure through your body, making you press harder against his face.

“You taste amazing,” Sebastian muttered, his voice muffled but full of raw desire. “Keep sucking his cock, sweetheart. Don’t stop.”

“God, you’re incredible,” Nicholas groaned, his voice shaking. He tugged lightly on your hair, forcing you to meet his gaze for a moment. “I can’t believe I’m sharing this moment with you and him.”

The praise from both men wrapped around you like a blanket, their words fueling your movements against Sebastian and on Nicholas’ cock. Nicholas’ breath grew ragged, and his hips bucked slightly into your mouth.

Sebastian chuckled behind you, his low laugh vibrating through your body. “You better not be complaining,” he teased, his voice playful but thick with arousal.

Nicholas smirked, his fingers tracing your jawline. “Not a chance.”

The room was filled with the sounds of your moans, the rhythm of your head bobbing on Nicholas’ thick cock syncing with Sebastian’s steady hold and both their breathless gasps.

“You’re so beautiful like this,” Sebastian murmured, his voice reverent as he kissed along your holes. “You were made for us.”

Nicholas’ breathing grew heavier, his fingers tightening in your hair as his hips moved with your rhythm. “Just like that,” he moaned. “You’re so good with that mouth, baby. Taking me so well, look at you, desperate to please.”

Behind you, Sebastian chuckled darkly, his hands kneading your ass and spreading you open as his tongue continued its relentless movements. “She is desperate,” he said, his voice muffled against your pussy. “Can’t get enough of us, can you?”

You moaned around Nicholas, your response muffled but undeniable. The vibration sent a jolt through him, and his grip on you faltered for a moment.

“Fuck,” he hissed, his head tipping back as his chest heaved. “You’re going to make me lose it. You want that, don’t you? Want me to cum for you?”

Sebastian’ grip on your ass tightened, and he paused just long enough to growl, “Answer him.”

You pulled back slightly, your lips brushing his cock as you gasped, “Yes, I want it. Please.”

Nicholas’ smirk turned wicked, his hand caressing your cheek with surprising tenderness. “Good girl,” he murmured. “Such a pretty thing, begging for it.”

His hips bucked one last time as he came down your throat with a shuddering moan, his hand still tangled in your hair. He watched you intently, his eyes dark with satisfaction as you swallowed every bit, your lips glistening when you finally pulled away.

“God, you’re perfect,” Nicholas said, his voice soft now.

Sebastian shifted behind you, pulling you up slightly and turning your face toward him. His thumb brushed against your swollen lips, his blue eyes raking over your face. “So fucking pretty like this,” he murmured, his voice low. “A mess for us. Look at you—our perfect little toy.”

You whimpered as he guided your ass back against him, his hand sliding down to toy with your pussy.

Nicholas chuckled, leaning back as he ran a hand through his hair. “She’s too greedy to stop now,” he said. “Isn’t that right?”

You nodded weakly, your body trembling as Sebastian’ hand moved against your clit as his tongue slurped your holes. “Yes,” you whispered, your voice shaking.

“Say it,” Sebastian commanded, his tone soft but insistent. “Say how much you need us.”

“I need you,” you said breathlessly, your voice breaking as your body tensed under their combined attention. “I need both of you.”

Nicholas leaned forward, his lips brushing against your ear. “That’s right, sweetheart. You need us to ruin you, don’t you? To remind you who you belong to.”

Sebastian’s laugh was low and full of promise. “You’re ours now,” he murmured, his hands steadying you as you cried out, the waves of release washing over you. “Such a good girl, taking everything we give you.”

As you trembled between them, Nicholas pressed a kiss to your temple.

Sebastian’s hand slid up to tilt your chin, his lips brushing yours in a possessive kiss. “She knows she’s ours,” he said, his voice low. “And she loves every second of it.”

His strong hands gripped your waist firmly as he lifted you effortlessly, pressing your back against his broad chest. Nicholas was in front of you, his lips parted, his sharp jawline tense as he drank in the sight of you caught between them.

“Look at you,” Nicholas muttered, his voice thick with desire as he guided your hips to align with him. “So fucking needy, aren’t you? You wanted this, dreamed of being right here.”

Sebastian chuckled darkly behind you, his breath hot against your ear. “And now she’s got it,” he murmured, his tone filled with both mockery and praise. “Two men making her feel exactly how she’s always wanted.”

You gasped as Nicholas thrusted into your pussy, stretching you almost painfully, only to feel Sebastian follow from behind, filling your ass completely. The sensation was overwhelming, their bodies pressing into you from both sides, trapping you in a feeling that left you trembling.

“God, you’re so tight,” Sebastian moaned, his voice rough as his fingers dug into your hips. “Taking us both in your holes like the good little slut you are.”

Nicholas tilted your chin up with his hand, forcing your teary eyed gaze to meet his. “You’re doing so well,” he said, his voice softening slightly, though the smirk never left his lips. “Letting us ruin you like this. Bet you’ll never forget it.”

The rhythm they set was relentless, their powerful thrusts perfectly synced as they moved against you. Every stroke pushed you further towards a powerful orgasm, their muscles rippling around you as they worked together to overwhelm every sense you had.

“You feel so fucking amazing,” Sebastian growled, his teeth grazing the back of your neck. “We’re going to break you, sweetheart, make sure you never look at anyone else the way you look at us.”

Nicholas moaned as his pace quickened, his hands gripping your thighs to steady you. “She’s already ours,” he said, his voice strained but confident. “Look at her, she’s a whore for us. Aren’t you?”

You moaned in response, unable to form words as pleasure wracked your body. Nicholas laughed breathlessly, leaning closer until his lips brushed yours. “That’s what I thought,” he murmured. “Our perfect little slut, taking everything we give her.”

Sebastian’s hand slid around your waist to press against your stomach and pressing against Nicholas’s cock moving in your belly. He held you tightly as his movements became rougher. “You like this, don’t you?” he muttered, his voice dark. “Being filled completely, both of us making sure you know exactly who you belong to.”

Tears pricked the corners of your eyes as the pressure built, your body arching between theirs. “You’re ours,” Nicholas said again, his voice fierce as his hands tangled in your hair. “Say it.”

“I’m yours,” you gasped, your voice breaking as the pleasure became too much. “Both of yours.”

“That’s my girl,” Sebastian rasped, his movements faltering as he abruptly came in your ass. “So good for us.”

Nicholas moaned as he followed, his hips snapping against your pussy one last time before he pulled you into a possessive kiss. “We’ve ruined you for anyone else,” he murmured against your lips.

They held you there for a moment, their muscular bodies pressing into you as your breaths mingled. “Better than any other man ?” Nicholas teased, his lips curving into a sly smile.

Sebastian chuckled low in your ear, his hands still gripping your waist. “She knows we are.”

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whileiamdying · 2 months ago

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Great Books Don’t Make Great Films, but “Nickel Boys” Is a Glorious Exception

RaMell Ross’s first dramatic feature, an adaptation of Colson Whitehead’s novel, gives the bearing of witness an arresting cinematic form.

By Richard Brody December 6, 2024

It’s harder to adapt a great book than an average one. Literary greatness often inhibits directors, who end up paying prudent homage to the source rather than engaging in the bold revisions that successful adaptations require. And even uninhibited directors may lack the stylistic originality of their literary heroes. It’s all the more remarkable, then, that the director RaMell Ross, in his first dramatic feature, “Nickel Boys”—adapted from Colson Whitehead’s Pulitzer-winning 2019 novel, “The Nickel Boys”—avoids both obstacles with a rare blend of daring and ingenuity. Few films have ever rendered a major work of fiction so innovatively yet so faithfully. In a year of audaciously accomplished movies, “Nickel Boys” stands out as different in kind. Ross, who co-wrote the script with Joslyn Barnes, achieves an advance in narrative form, one that singularly befits the movie’s subject—not just dramatically but historically and morally, too.

The movie’s title refers to Black youths (teens and younger) who are inmates of the Nickel Academy, a segregated and abusive “reform school” in rural northern Florida—particularly to two teen-agers, Elwood (Ethan Herisse) and Turner (Brandon Wilson), who become friends while incarcerated there, in the mid-nineteen-sixties. (The institution in Whitehead’s novel is inspired by the notorious Dozier School for Boys, but his characters are fictional.) Elwood, who is sixteen years old when he enters the facility, is being raised by his grandmother Hattie (Aunjanue Ellis-Taylor), who works on the cleaning staff of a hotel. He’s a star student, literary and politically passionate, in a segregated school. One of his teachers, Mr. Hill (Jimmie Fails), is a civil-rights activist, and he plays a Martin Luther King, Jr., speech on a record for his students. Elwood gets his picture in a local newspaper for participating in a civil-rights demonstration, but he’s only holding a sign; he longs to join in civil disobedience, but Hattie seems skeptical about the idea. Hitchhiking to a nearby college for advanced classes, he gets a ride from a flashily dressed, fast-talking Black man (Taraja Ramsess) whose car, unbeknownst to Elwood, is stolen. When the police pull the driver over, the innocent Elwood, too, is punished, resulting in his internment in Nickel.

From the start, Ross throws down a stylistic gauntlet: up until Elwood’s imprisonment, the action is seen entirely from his point of view—literally so, as if the camera were in the place occupied by his head, pivoting and tilting to show his shifting gaze, while his voice is heard offscreen. This device was famously used by Robert Montgomery in his 1947 adaptation of Raymond Chandler’s “The Lady in the Lake,” but it was no more than a gimmick. In Ross’s hands, the device becomes something overwhelmingly expressive: the images, rather than merely recording Elwood’s emotions, register the cause of those emotions and allow the viewer to partake in his inner world.

The results can be puckish, as when Elwood’s reflection appears in the chrome side of the iron that Hattie is sliding across an ironing board. But Ross’s technique is exquisitely responsive to the story’s depth and range of experience. The viewer shares Elwood’s naïve bewilderment when the driver of the stolen car, hearing a police siren, tells him not to turn around; similarly, one feels the anguished anticipation when Elwood awaits transport to Nickel. At this point, an extraordinary scene tears a hole in time, bringing the history of Black American life rushing in to overtake Elwood’s own: Hattie, with an air of unusual formality and seething indignation, recalls in excruciating detail her father’s death in police custody and her husband’s death at the hands of white assailants. But she expects better for Elwood.

Once the police have deposited Elwood in Nickel’s run-down barracks for Black inmates, Ross extends the dramatic force of his method while expanding its intellectual scope. At breakfast, Elwood meets Turner, who’s from Houston and much more streetwise. The impact of this moment is heralded in a coup de cinéma that is a vast amplification of the story: a repetition of the breakfast-table encounter, seen, the second time around, from Turner’s point of view. Once the pair become friends, both of their perspectives share the film, to mighty effect.

Elwood’s wrongful detention is only the first of the Job-like litany of injustices heaped upon him. In Nickel, sucker-punched and knocked out by a bigger kid, Elwood receives the same standard and brutal punishment as his assailant. Nickel’s sadistic supervisor, Mr. Spencer (Hamish Linklater), who is white, administers beatings with a strap in the so-called white house, far from the barracks. An industrial fan is used to drown out the victims’ screams, but it doesn’t quite do so, and Elwood, with his view of the horrors obstructed, hears them in terror while awaiting his turn.

Hospitalized as a result of the beating, Elwood gets a surprise visit from Turner, who’s also a patient (having skillfully feigned illness). Turner warns him that there are still worse punishments menacing the Nickel inmates, ranging from the sweat box—a brutally hot crawl space under a tar roof—to actual murder. (Such deaths were covered up by burial in unmarked graves and an official lie that the child ran away without a trace.) Elwood, inspired by the civil-rights movement and knowing that his grandmother has hired a lawyer, is confident that justice will prevail. He even keeps a notebook in which he records unpaid labor and which he thinks will help get Nickel shut down. Turner has no such confidence, insisting that no one gets out of Nickel alive except by getting himself out. The two teens’ visual perspectives, alternating through the hospital scene, embody their diametrically opposed views of American society, of their prospects, and of the destinies that await them.

Through Elwood’s and Turner’s eyes, in scenes that unfold in long and complex takes, the movie offers a formidable fullness of incident, intimately physical detail, and finely nuanced observations. The corruption of Nickel’s administrators and the legitimized absurdities of their cruel regime come to light as they’re experienced by the two teens, as do Hattie’s struggles to stay connected with Elwood and to seek legal relief. Lyrical snatches of daily life—passing moments of grace on a job outside Nickel’s grounds or during free moments in a rec room—are haunted by traces of past brutality and flickers of menace. Ross stages the action with a choreographic virtuosity that’s all the more astonishing given that this is his first dramatic film. (His previous feature, from 2018, is the documentary “Hale County This Morning, This Evening.”) His teeming visual imagination is matched by the agile physicality of Jomo Fray’s cinematography. As a first dramatic feature, “Nickel Boys” is in the exalted company of such films as Terrence Malick’s “Badlands” and Julie Dash’s “Daughters of the Dust.” Like them, it comprehensively creates a new way of capturing immediate experience cinematically, a new aesthetic for dramatizing history and memory.

Early on, the action is set in historical perspective by means of flash-forwards. Eventually, there are revelations about the atrocities at Nickel; the grounds are excavated, and human remains discovered. One of the friends (played as an adult by Daveed Diggs) gets wind of these investigations, having in the intervening years made his way to New York, found employment as a mover, and started his own business. In this later time frame, Ross continues to rely on point-of-view images, but with a piercing difference. The camera now floats just behind the character’s head, depicting work and home, love stories and painful reunions, fleeting observations and a reckoning with the past, as if from two points of view simultaneously—one visual and one spectral, bringing absence to life along with presence.

The onscreen incarnation of Elwood’s and Turner’s perceptions isn’t only intellectual or theoretical. The moral essence of Ross’s technique is to give cinematic form to the bearing of witness. Where Whitehead’s novel describes his characters’ physical torments in the third person, with psychological discernment and declarative precision, Ross’s movie fuses observation and sensation with its audiovisual style. It suggests a form of testimony beyond language, outside the reach of law and outside the historical record. It is a revelation of inner experience that starts with the body and all too often remains sealed off there and lost to time—except to the extent that the piece of art can conjure it into existence.

The movie’s twin aspects of witness and of point of view have a significance that extends beyond the drama and into cinematic history. There were no Black directors in Hollywood until the late sixties, and no Hollywood films that conveyed then what “Nickel Boys” shows in retrospect: the monstrous abuses of the Jim Crow era and its vestiges. In bringing the historical reckonings of Whitehead’s novel to the screen, Ross hints at an entire history of cinema that doesn’t exist—a bearing of witness that didn’t happen and the lives that were lost in that invisible silence. ♦

Published in the print edition of the December 16, 2024, issue, with the headline “Each Other’s Back.”

Directed by: RaMell Ross Screenplay by RaMell Ross and Joslyn Barnes Based onThe Nickel Boys by Colson Whitehead Produced by Dede Gardner, Jeremy Kleiner, David Levine, Joslyn Barnes Starring: Ethan Herisse, Brandon Wilson, Hamish Linklater, Fred Hechinger, Daveed Diggs, Aunjanue Ellis-Taylor Cinematography: Jomo Fray Edited by Nicholas Monsour Music by Alex Somers and Scott Alario Production: Orion Pictures, Plan B Entertainment, Louverture Films, Anonymous Content Distributed by Amazon MGM Studios Release Dates: August 30, 2024 (Telluride) December 13, 2024 (United States) Running time140 minutes Country: United States Language: English

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