#third window films

[gokaiju]

ラブホテル - Love Hotel (Shinji Somai, 1985) | Directors Company Blu-Ray by Third Window Films | Cover by Gokaiju

[genkinahito]

Typhoon Club 台風クラブ (1987) Director: Shinji Somai

Typhoon Club    台風クラブ 「Taifuu Kurabu」 Release Date: August 31st, 1985 Duration: 115 mins. Director: Shinji Somai Writer: Yuji Kato (Screenplay),  Starring: Yuki Kudo, Tomokazu Miura, Tomoko Ishii, Yuka Ohnishi, Yuriko Fuchizaki, Kaori Kobayashi, Saburo Date, Yuichi Mikami, Shigeru Benibayashi, Toshiyuki Matsunaga, Ryuko Tendoh, Tomoko Aizawa, Website  IMDB Shinji Somai’s coming-of-age drama…

[ogradyfilm]

Recently Viewed: River (2023)

[The following review contains MINOR SPOILERS; YOU HAVE BEEN WARNED!]

In many ways, River is less artistically ambitious than Beyond the Infinite Two Minutes, its spiritual predecessor (with which it shares the same writer and director, as well as several actors).

For one thing, the mechanics governing the temporal paradox around which its plot revolves are much more conventional. Unlike the earlier movie’s bold, novel, innovative experimentation with “the Droste effect/mise en abyme,” River features a relatively traditional time loop; every few minutes, the characters are abruptly teleported back to the beginning of the cycle—a phenomenon akin to rewinding a VHS tape or reloading a save file in a video game. Consequently, its visual style is comparatively modest. Whereas the previous film is presented in a single, seamless, uninterrupted shot (or rather a reasonable facsimile thereof), for example, the anachronic structural framework here allows the editors to dispense with such elaborate illusions; whenever the action “resets,” the transition between each repetition is easily “hidden” in plain sight via a blatant match cut—an obvious yet elegant solution to an inherently challenging (and extremely popular) gimmick.

Despite these superficial differences, River manages to rival its companion piece where it really matters—in sheer unpredictability. As the narrative unfolds, the initially comedic conflict gradually evolves, veering into delightfully unexpected dramatic territory. Indeed, the story eventually develops into a genuinely compelling meditation on the self-destructive nature of anticipatory anxiety—how an irrational fear of the future can halt a person in their tracks, preventing them from moving forward, making progress, pursuing their dreams, living—with the eponymous body of water (constant, ceaseless, relentlessly flowing) serving as a brilliant central metaphor.

While River owes its greatest emotional resonance to its imaginative premise, deft tonal shifts, and rich thematic subtext, however, its true appeal lies in its simpler moment-to-moment pleasures—ultimately, it excels because it’s just cute, charming, and a whole lot of fun. What more could you ask for from a cinematic experience?

[thepeoplesmovies]

Third Window Films To Release Shadow Of Fire & Vital

Later this month Third Window Films are set to release Shadow Of Fire and Vital Two films from legendary Japanese filmmaker Shinya Tsukamoto (Tetsuo: The Iron Man) heading onto blu-ray and digital. Shadow Of Fire (2023)  Shinya Tsukamoto’s latest examines the desperate lives of Japanese citizens in the immediate post–World War II period through the story of a child dealing with unimaginable…

[kitausuret]

Source material: children and babies are not inherently afraid of the Venom Symbiote 99% of the time and in fact have been shown to be quite fond of it

(Amazing Spider-Man #362, Venom: Funeral Pyre #1, Venom: Space Knight #1 & #10)

Every adaptation:

[michyeosseo]

I do not care what other people do with their lives– I want you to live.

Li Bing Bing and Zhou Xun as LI NINGYU & GU XIAOMENG THE MESSAGE (2009) dir. Chen Kuo-fu, Gao Qunshu

[tooomuchtofu]

`

Part 13-1 | Part 13-2 | Comic Archive

Posting these pages a bit earlier than I’m supposed to but I’m in mourning. my car died today :( i loved her very much.

[justsayilovedyou]

Thinking about third person perspective in TTPD

[abluehappyface]

WHAT IS WITH PEOPLE AND FUCKING STARING AT ME FOR EXISTING!?

[alex51324]

So, the NDA signed by producers of The Apprentice just expired, and one of them has published a tell-all article. Most of the article is about how they used standard reality-TV tricks to portray Trump as being wealthy and intelligent, when in reality he was, and is, a deeply indebted buffoon.

The money shot, however, comes when Trump and the producers are preparing for climax of the final episode, when the winner will be decided.

Per the FCC's rules for game shows, producers could not be involved in deciding who would be fired each week, or who would ultimately win: it had to be Trump's decision alone, like contestants and viewers were told it was. The producers could, and did, give him a presentation about the strengths and weaknesses of the contestants each time he had to make a decision. These were recorded, in case questions ever arose about whether the producers had crossed the line.

So, for the final episode, there were two contestants remaining. Both were men, one white, the other Black. They'd both done well in the final challenge of the competition. As the producers were summarizing the points for an against each candidate, this happened:

“Yeah,” he says to no one in particular, “but, I mean, would America buy a n— winning?” Kepcher’s pale skin goes bright red. I turn my gaze toward Trump. He continues to wince. He is serious, and he is adamant about not hiring Jackson.

In the finished program, Trump chose the white contestant as the winner.

(Four years later, Trump would propagate the baseless conspiracy theory that Barack Obama was not a native-born US citizen and therefore had not legitimately won the presidency.)

The article also describes how women working on the production faced discrimination based on whether or not Trump wanted to look at them while they did their jobs:

While leering at a female camera assistant or assessing the physical attributes of a female contestant for whoever is listening, he orders a female camera operator off an elevator on which she is about to film him. “She’s too heavy,” I hear him say. Another female camera operator, who happens to have blond hair and blue eyes, draws from Trump comparisons to his own Ivanka Trump. “There’s a beautiful woman behind that camera,” he says toward a line of 10 different operators set up in the foyer of Trump Tower one day. “That’s all I want to look at.”

And there's a third anecdote where he pressures a woman producer to break the FCC rules, while being casually misogynistic toward a contestant:

Trump corners a female producer and asks her whom he should fire. She demurs, saying something about how one of the contestants blamed another for their team losing. Trump then raises his hands, cupping them to his chest: “You mean the one with the …?” He doesn’t know the contestant’s name. Trump eventually fires her.

This information is pretty unlikely to persuade anyone who wasn't already persuaded by any of the other things Trump has done and said, which would for anyone else be a career-defining scandal. But it is a useful reminder of who we're dealing with.

(Link is to Slate, an x-number-of-free-articles-a-month site, but the incognito window trick works.)

[gokaiju]

台風クラブ (Typhoon Club) Shinji Somai, 1985) Directors Company Blu-Ray by Third Window Films / Cover by Gokaiju

[genkinahito]

Join the Typhoon Club 台風クラブ (1987), the Classic from Shinji Somai, with Third Window Film's Release of a Blu-ray

Ask a Japanese person who grew up with 80s films which directors are influential and many will reply with the name Shinji Somai. Underknown in the West, despite a few attempts to making him more well known by programmers, his works are held in high regard in Japan. As part of its quest to help Western film fans experience more of 80s Japanese cinema, Third Window Films will release a Blu-Ray…

[fictionstudent]

How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

And please subscribe if you want more articles like this straight in your inbox!

[thoughtssvt]

O.F. COUPLE

nanami kento x fem! reader

cw: filmed sex, creampies, cunnilingus, vaginal sex (tagged as fem reader because kento refers to you as his wife, but aside from that & genitalia there are no specific fem descriptions), cum eating

It wasn’t like your page blew up over night, but the rise was definitely quick.

Turns out a lot of people were drawn to a couple who played no gimmicks. Didn’t put on a show. Hell, didn’t even do this for money. Nowhere in your eight videos posted to the hub did you splice enough content together to reel in engagement only to direct watchers to another platform hidden behind a paywall.

Not that your viewers wouldn’t use one hand to punch in their credit card information if that was the case.

It was impulsive at first, the filming of it.

A steamy night that started in the living room, lingering touches and hot kisses. Always followed up by grinding that had you both struggling to decide whether or not that’s how you wanted to finish or if those handful of seconds away from each other to undress was worth the high. You two ultimately chose the latter. A trail of clothes leading to the bedroom, Kento fishing his phone out of his pocket before dropping his pants and for some reason it felt oddly heavy in his hands.

He gave you a look, the look. It wasn’t unfamiliar to you, there had been plenty of times in the past where you’d filmed short videos of your intimate moments. Kento’s head between your legs, looking up at you with pussy drunk, half-lidded eyes. Hands flexing around your thighs as he licked his lips. Or awkward overhead angles of a makeout session so hot that it almost left your lips raw. Most videos were the last few seconds of Kento’s orgasm– you already delirious in your high– his breathy grunt cracking through the speakers before the microphone had time to adjust, recording the delicious squelch of your cunt letting him go as he pulled out. A thick glob of cum followed a few seconds after. His thumbnail white as he pulled one of your cheeks to the side to show the camera how you gaped for him.

You didn’t upload those videos, though. Those were a keepsake for your eyes only.

The videos that you posted to your account were always filmed at one of three angles. Atop the dresser that stood right across your bed or propped up on the lamp housed on your bedside table. The third angle was rare. One that was seen in a singular video.

Wife Rides Husband’s Cock, Begging To Be Filled After Two Weeks Apart - Close Up Creampie

The only video that had any cuts in it. Just one cut from the first wide angle, your figures backlit by the window behind you as you sat on his upper thighs, Kento’s head propped up against the headboard. Hot hands smoothing up and down your sides. Just enough light hitting your faces for the viewers to see your whispers, the phone far enough away that the only murmur his phone’s microphone could pick up was the bubbling giggled that had you lurching forward to press a chaste kiss to his lips. There was just something so genuine about you two that drew the readers in. How, besides capturing an inherently intimate moment, they could see how much you cared for each other once the cameras were off.

Half the comments always swooned about how sweet the two of you were no matter how rough or intense the content was. The other half of them comments on this video in particular was songs of praises and gratitude for the second angle.

Filmed from Kento's POV everyone got to see how you bounced and grinded, the way your thighs flexed and your hips wiggled. Everyone commenting the timestamp 21:06 when your fingernails dug into Kento's toned stomach, scratching the expanse as you huffed about how close you were. Kento's hand wrapped around your waist tight enough for your flesh to deliciously spill over the edges. god, did he love that. He would've commented on it if he wasn't more concerned about your comfort, asking if you wanted him to take over. You shook your head wanting to do it to the end, knowing you could. Begging Kento to cum with you because you were so, so close. Dragging him practically by the neck to join you as you whispered dirty pleas for him to fill you up. How you felt so empty while he was away.

This second angle was a godsend. Propelling the video to the top rank of verified couples. The way you fell over the edge together in itself already had most of your viewers making a mess on their own end, but the way you leaned back exposing the creamy ring that adorned the base of Kento's cock. Your glistening cunt so puffy and loved. The way you slowly rose up despite the fatigue in your thighs, previewing the mess between your legs as it streaked down Kento's cock. That had your watchers groaning, kicking themselves as the need for their hand to drift back to their crotches grew. The groan that reverberated from Kento's chest and the soft gasp that left your lips as you rose high enough for his heavy length to slip out of you, slapping his pelvis with a thick squelch was what made most, if not all, of them continue through the overstimulation.

No matter how much time had passed since posting that video, you still had comments coming in every day of people on their knees begging, offering ridiculous sums of money to get just a taste of that third angle. Just one more video where they could watch Kento's cum drip out of you and back onto his cock. Hell, even just a split second of your cum soaked cunt before the screen blackened to reflect their pathetic faces as Kento dropped his phone onto the mattress, unable to hold himself back from licking you clean. A lot of your viewers having confessed that they return to this video just to hear him devour you, sloppy smacks of his lips, heated groans and your weak mewls enough for a quick session.

You had devout watchers. People who never even ventured the amateur category had notifications on for your posts. People who longed for the impromptu videos that came according to no schedule or pretext whatsoever. Most of which who couldn't believe you'd give them this content for free. They could tell how much you loved each other and how much fun you had during these moments. Their hearts aching and fluttering for the whispers and smiles and the soft kisses that never managed to interrupt the flow that would lead to the signature plaps just minutes later.

They'd given and continued to give you so much love, the two of you figured it wouldn't hurt to plan a celebratory milestone video and maybe, just maybe you could convince Kento to film that third angle again.

A/N: i kinda wanna write more of this

nanami kento x reader master list

[scealaiscoite]

setting prompts ˗ˏˋ ꒰ 🕊️ ꒱

¹⁾ a rural gas station in the middle of the night

²⁾ the last room at a drive-in motel in the small hours of the morning

³⁾ a cold, draughty church on a thursday night

⁴⁾ a stranger’s bedroom at noon

⁵⁾ a window seat on a red-eye flight during a storm

⁶⁾ a hospital waiting room with only one other person in it

⁷⁾ a sleeper train eight hours from its destination

⁸⁾ the first night in a new house, alone

⁹⁾ the steps of a wedding chapel in the rain

¹⁰⁾ a dingy truck stop after ten hours on the road

¹¹⁾ a divorce attorney’s office on valentine’s day

¹²⁾ the beach at ten on a monday morning

¹³⁾ a police station in a foreign country

¹⁴⁾ a coffee shop at two in the morning

¹⁵⁾ a concert venue, hours after the band’s set has finished

¹⁶⁾ a boat miles from land in any direction

¹⁷⁾ the third highest floor in a skyscraper

¹⁸⁾ the end of the line at a b-list movie star’s meet-and-greet

¹⁹⁾ a bar an hour after last call

²⁰⁾ an overgrown garden in a heatwave

²¹⁾ a car park lit only by streetlamps

²²⁾ a film set two days from the end of production

²³⁾ a graveyard in spring

²⁴⁾ the lap of someone who’s been gone for too long

²⁵⁾ a kitchen counter whilst dinner’s being made

[endereies]

JUST NEED YOU - CS

No Nut November - Day 3

NNN Masterlist...

-➤ After a long day, Chris goes to you for comfort

Being awake late into the night repeatedly created such a messed-up sleep schedule and it was taking its toll. Ever since the triplets made a new schedule to fit around meetings and events, they found themselves filming into the dark hours of the day so that they could publish a higher quality video.

Chris was always energetic, and he portrayed that during every free opportunity. However, today was slightly different. Him and his brothers planned a stream about midday, along with a late filming session. Nothing he couldn’t handle until his team wanted to have a sudden meeting about his upcoming Fresh Love merch drop. It was early in the day compared to what he was used to.

The meeting wasn’t anything special, but it cut into the hours of rest he hoped would get him through the day. He wasn’t even sure of the meeting wasn’t necessary or a topic that couldn’t be discussed over a few strings of emails.

Then the streaming session followed. So many interactive tasks messed with his brain. Reading out the subs, communicating with the chat, following the requests, playing games while having to make the content engaging with commentary, it was becoming too much. Everything started to blur together, and his brothers could see that. They picked up on the subtle changes of their brother and brought the stream to a close.

“You going to be okay for filming dude?” Matt’s voice caught his attention and dragged it away from the day dream he didn’t even know he was having,

“Yeah, yeah. I’m just a little tired but I’m fine. I’ll grab an energy drink or something.” He shrugs, hiding the mental exhaustion on his face behind a meek smile. His brothers chose not to bring it up again and trust Chris with his words.

“Alright then, see you later.” Chris mumbled a goodbye to Nick, leaving the room to grab a drink from their fridge. The crack of the can giving him some hope that he’d feel more awake. But that’s the opposite of what happened.

The triplets had scheduled a car video for this Friday and if Nick wanted to have it edited by then, they had to film tonight. He was sat in the passenger seat, his third drink laying in the centre console. The filming started promising. Even with no topic, they each found small topics of conversation to entertain. He felt the drinks start to wear off and he couldn’t help but feel more agitated. Bantar turned into insults and left his mouth before he could process. Guilt filled his stomach as more words came out, eventually falling to silence.

When the camera finally stopped showing the red light, Chris sunk into his seat. Overstimulation ran through him by now and he hated it. Every cell in his body practically vibrated and he didn’t feel okay.

“Matt?” He offered a sincere tone to his brother, not opening his eyes while he leant back.

Matt glanced over to his body, evidently full of fatigue. “Yeah buddy?”

“Could you drop me at y/n’s house, please.” His brain felt fuzzy, he needed to just take his mind off his life for a moment. With his own home full of cameras, social media plans and reminders of what he had to do next, he needed a secondary. Your place held sanction to everything that made Chris feel calmer, safer. Away from cameras, away from his job and into your arms. When Matt hummed in response the car grew silent once more. Relief flooded him and a gracious smile twitched at his lips.

Neither Nick nor Matt uttered a word about the situation to Chris. They understood. There had been times where both of them had been in the same boat. The weren’t about to ridicule and tease Chris for that. Chris was just staring out the window at this point, falling silent which allowed the aux’s music to be heard. His eyes traced the painted lines on the road awaiting the moment those lines turned into the gravel of your drive way.

Chris knew you were home, he had been on and off messaging all day. Every few hours he’d receive a text from you just asking about his day. It wasn’t uncommon for Chris to seek your attention after a harsh day, today was no different.

He found himself stood in front of your door for mere moments before pushing the door open. His breathes instantly levelled and a feeling of relief filled his body as he took in the familiar surroundings. “Baby?”

“I’m in my room, Chris!” It didn’t take him long before he wondered into your bedroom.

When he pushed the door open, the scent of your vanilla candles breezed past him, the light casting a soft glow against your skin. You were stood by your closet, organising out piles of clothes freshly washed and dried. He couldn’t help but admire the way the flickered candle lights lit up the room. You feel his eyes baring into yours.

“What’s s’matter babe?” You don’t lock eyes with him briefly as you stretch your body to place a t-shirt away. Chris dawdled towards you, a breathy chuckle leaving his mouth.

“Too fucking much, m’exhausted and stressed.” His arms easily wrapped your waist, the feel of your skin making him sigh softly. You felt the pressure of his face, buried into your neck as he breathes in your scent.

“Would you want to lie down for a bit?” A small giggle passes your lips when Chris’s grip on your waist gets tighter. “Thought you’d never ask…”

Reluctantly, he let go of your body only for his hands to find yours, dragging you both towards your bed. Your bodies align so easily so that you were lying on his chest. Peppered kisses trace your features gently. Chris loves these moments more than anything, the times of the day where he could just be him with no camera or responsibility pushed into his face.

You settle your body in his arms, his heartbeat prominent when you placed your head flat on his chest. Chris’s hand finds his way to your scalp, running his fingers back and forth.

“You want to talk about your day?” You whisper softly, tilting your head to meet his gaze once more. Something in the way you look at him makes his body relax further.

He is quick to shake his head, planting a kiss on your lips. “ Jus’ need you…”

@melliflws @yuhayeee @st7rnioioss @sturn-bugz @bueckerrss @worldlxvlys @raysmayhem-72 @patscorner @y0urm4m @bernardsbendystraws @junnniiieee07 @luverboychris @jnkvivi @rac00ns-are-c00l4 @shorthairchris @colorthecosmos444 @anabethinking @zay-sturns @anyaa23 @emilyfaith2003 @zariyam @imjusthereforthesturniolosmut @sturniolosiphone

© ENDEREIES 2024