#this is his whole reaction from begging the enemy to tell him if the heroine is alive to this 180 degree flip!!!! i dig it

[qserasera]

why don't I tell you your signature line ---

what is it you're afraid of?

[simplyholl]

Can you recommend any fics?

These are just some of my favorites!

By @mochie85

Pheremones

This is the best sex pollen fic I’ve ever read. You’re going to need a few cold showers after this one.

By @coldnique

Carrera Marble

Anniversary smut! The descriptions are beautiful.

By @chantsdemarins

Frost Secrets From The Other Son

The heroine, Lillian is so fierce. This story had me hooked the whole time.

By @wheredafandomat

The Chambermaid

Bite marks on the headboard! This fic had me reading it one handed no joke!

By @gigglingtigger

Action and Reaction

This has quickly became a top five pick for me. I’ve been giggling and kicking my feet throughout.

By @fictive-sl0th

Wicked Desires

The multiverse and cowboy Loki - need I say more?

Fire & Ice

This is extremely hot. I find myself going back to read it!

By @sarahscribbles

Afterglow

A ball, enemies to lovers, the dirty talk is top tier, Loki being a mischievous little shit. This fic had me hooping and hollering!

Warming Him

Cockwarming Loki - I don’t think I need to explain. Loki makes you cum 3 times in 10 minutes!! The praise!!

For All to See

He makes you beg him! And you do to be fucked against the window!! There’s mention of punishment!! Also one of my top five fics!

By @muddyorbsblr

Relinquish the Crown

This ongoing series is full of hot moments. It will make you want to grab them and shake them and say what are you thinking!! I always look forward to the next installment.

By @lokisgoodgirl

Clandestine Fucks Collection

Forbidden love and forbidden places this series will have you on a rollercoaster of emotions in the best way!

Hostile Fucks Collection

The Loki in this is my favorite Loki ever. Super cocky with every right to be. From wetsuits to dick piercings to kilts and everything in between this is my favorite series.

Size Queen

This one snatched my size kink up and smacked her on the bottom. This is one of my favorite fics ever, and I’m not just saying that because it was written for my birthday. Imagine Loki’s long fingers wrapped around your wrists while he tells you how breakable you are. Break out the vibrator!

Hail, Commander

Dirty, bloody Loki taking you against the balustrade while telling you about his enemies falling at his feet.

The Legend of Long-Dong Laufeyson

Pirate Loki with a crew of duplicates. He does in fact fuck you mad.

[lordmartiya]

lord Martiya’s Lilanette Week 2018/2019 Day 1

Hey, everybody, lord Martiya here with the newest edition of the Lilanette Week. This time I’ll be a bit more ambitious, as six of the stories will form a coherent plot just for you guys. Hope you’ll like it.

Anyway, I’ll start with one certain scene from “Chameleon”, and go from what my personal experience tells me about Marinette and Lila’s characters.

Day 1: Canon Machine Broke

Marinette had to admit she wasn’t exactly rational whenever Lila was involved. In fact, even if she wouldn’t admit out loud to anyone but Tikki, there was something in the Italian girl that scared her, and it had been there even before Volpina. Hence why she had been trying to expose her so stubbornly, why she had confronted her in the bathrooms… And why she had just let herself being physically intimidated by the girl who now had her backed to the wall with her hands at the side.

“You seem less dumb than the others, so I will give you one last chance: you are either with me, or against me.” Lila threatened, almost casually.

“What’s wrong with you?” Marinette let out.

And that got an unexpected reaction from the girl, who gave her a terrifyingly familiar glare and slipped for a moment in some dialect: “Nun facevo la bella vita. O cerchi ‘a filastrocca?”

“Uh?” Marinette said as she translated the phrase.

“Well, I suppose I could give it. Not that you’d understand, what with having your little place in the world to feel safe, the parents you can trust, bullies that are easily deammolla! Ma che cazzo?!”

Much to both girls’ (and Tikki’s) surprise, Marinette had hugged Lila, and had no intention to let go for a while. For she had now realized what scared her so much: Lila had lost all, or almost, all trust in other people, exactly what had almost happened to her because of Chloe’s bullying. And if it killed her, she’d make sure she could trust at least one person.

____________________________________________

Alya following an Akuma villain around was something rather common. That she had almost the entire class with her, however, was not, nor was the fact they had collectively caused it.

It had started with Chloe’s little comment as they returned to class after the lunch break. “I would have never expected to see Marinette sitting alone again”, she had said. Reminding everyone, including their teacher, that Marinette had a very different reason than jealousy for reacting as she had to what they had done to help with Lila’s tinnitus: they had volunteered the desk of a former bullying victim. Then, as they discussed how to resettle the seats, they had noticed Marinette and Lila were missing, and started fearing the worst: one of the two, most likely Marinette, had been Akumatized, and was now attacking the other.

As Alya metaphorically kicked herself for what she had done to the one who was supposed to be her best friend she had also remembered that Marinette had a very good reason for not trusting Lila in general: the day she had first come there she had been late, arriving in the nick of time, and had spent the entire lunch break working on homework that was due for that afternoon, so she had missed Rose vocally identifying Lila as prince Ali’s girlfriend before anyone else but Chloe could even hear her voice, much to the Italian girl’s bemusement (“For hopefully the last time, we’re friends” she had said in a dangerously low voice after slapping her face), not noticed the newcomer at all during the lessons, and couldn’t see her as she tried to downplay her relationships with famous people during the lunch break, and by the time she finally discovered Lila she only had a good-looking girl who had made a number of unlikely claims making moves on Adrien-the only way she could have got a worst first impression would have been seeing Ladybug’s reaction at Lila endangering herself at revealing their closeness (what had reportedly caused Volpina) but not hearing what the heroine had said, something that could have well happened considering Marinette lived by the very park it had happened. Seriously, it was like some kind of demigod had decreed Marinette and Lila were to be mortal enemies.

The fear of one of the two having been Akumatized was quelled when Mme Bustier’s phone, that she had produced to give the Akuma alert, was promptly infected by an Akuma (purple, meaning that Papillon hadn’t managed to reproduce the trick for multiple Akuma at a time yet)… And replaced by the one coming from the realization Marinette and Lila were missing together. Marinette, who was the fittest girl and either the second or third strongest female student of the school, with the only one who clearly surpassed her being an older Savate practitioner, rather short-tempered, and alone with the one girl that irked her as much as Chloe. And Lila, Marinette’s rival for the spot of second strongest girl who, for all her attempts to hide it, was a good amateur boxer, with a reputation in the relatively small female amateur boxing community because, when in London, she had won by knock-out against an older and larger girl. And of course Marinette was once again the one who didn’t know: they knew because Nora, having just realized her sister’s world-traveling classmate was that Lila Rossi, had barged in the class right after one of her calls to try and recruit her for her gym and revealed it, but Marinette had already left to calm down. And so she didn’t know why they hadn’t called Lila out when she had claimed her tinnitus was from saving Jagged Stone’s kitten (as if he’d be able to keep one alongside the crocodile!) rather than a training accident like the sprained wrist, or her reflexes had made her catch the thrown napkin and she had said it was to protect Max’ eyes from being gouged. God, the moment she thought back to those Lila was sure to convince herself everyone but Marinette was stupid.

So here they were, following Madame Poppins and her teen-tracking cellphone to find the missing girls, hoping they hadn’t been trying to kill each other.

“The second row?! Really?!”

“Really. I think Mr Agreste did that on purpose to get revenge for what she had put him through in the past and hadn’t thought about the possible consequences…”

Everyone stopped at the voices of Lila and Marinette coming from the bathroom… And not shouting at each other. Then Kim, reckless as usual, opened the door, and saw that, somehow, Marinette and Lila had become friends while everyone was worried they were trying to kill each other.

“Girls… Lunch break is over, and Mme Bustier’s phone got Akumatized.” Alya said.

Not even five seconds later, Marinette was running away with the Akumatized phone, with Madame Poppins giving chase after being apparently called out of her shock by Papillon. And Alya, having enough of that madness, decided to do as her older sister would have done and went to the Italian girl:

“Look, Lila, we already know of the boxing thing, my sister’s the Nora Césaire and told everyone when she tried to get you on the phone and have you enroll at her same gym, and nobody in Paris would say anything when Ladybug is doing her thing, so you can stop with those attempts at covering up.”

“Oh. And I who was starting doubting of your intelligence…” Lila admitted. “Say, Marinette’s a strong girl, isn’t she? In her heart, I mean.”

“The strongest.”

For a moment, Lila said nothing. Then, looking at Adrien that for some reason was running after Madame Poppins, she added: “S’er bionno nun move’r culo, Marinette me la fotto io.”

Alya didn’t understand Italian, let alone what was likely a dialect, but what she had just heard, and Lila “did I just make that pun?” snicker after she spoke, made her wonder if her fellow exchange student and Marinette becoming friends had been a good thing after all.

Note

When it comes to the class I work on a simple assumption: they aren’t stupid. That of course begs the question, how did they believe her? And my answer is easy: she had been at Le Grand Paris to speak with prince Ali for whatever reason (are they friend-friend, or just friend as two teens in the diplomatic world from nations in good relationship are? That is for you to decide), and Rose, sweet romantic soul she is, took the utterly wrong conclusion and loudly announced it to the whole class, resulting in her being established as “Prince Ali’s friend/star-crossed lover”, and pretty much everything else sparked from there, convincing the girl from the very cunning-dependant diplomatic world she was surrounded by idiots and not normal teenagers. As for the boxing thing, her general nimbleness and the way she caught the napkin hint at that or another martial art/combat sport with a heavy emphasis on footwork and parrying, and I’m of the idea she had said the very transparent lies about Jagged Stone’s kitten and the eye-gouging napkin planning to get caught and being “forced” to admit it… Except everyone but Marinette knew already, guessed she was trying to hide the boyish interest and was gentle enough to get along, further convincing Lila everyone but Marinette and Adrien were dumb.

What Does Lila Say

As you may know from my other stories, I imagine Lila as being from Rome, and her first language being not standard Italian but Romanesco, the local “colorful” dialect, for the simple fact I find amusing to have a classy girl suddenly speak in a way that outside Rome would be extremely crass. Marinette, given her grandmother, can understand it (it helps that in the end Romanesco isn’t too different from standard Italian), but not all of you readers can, so, let me translate: the first phrase translates literally as “I didn’t live the good life. Or do you want then list?”; the second is a demand that Marinette lets her go, with the general purpose Italian curse “cazzo” used as emphasis; the third, finally, translates as “If that blond doesn’t get his ass moving, I’ll steal Marinette”, with the verb used here for “steal” actually meaning “have sex” (Lila didn’t actually mean that double meaning).

[caveartfair]

Did We Miss the Point of One of the World’s Most Famous Sculptures?

Donatello, David, 1428–1432. Photo via Wikimedia Commons.

Donatello, David, 1428–1432. Photo © Arte & Immagini srl/CORBIS/Corbis via Getty Images.

Any thought of the biblical King David is bound to conjure Michelangelo’s 17-foot-tall marble masterwork. Although the sculpture, created between 1501 and 1504, has become one of the most famous artworks in the world, the iconic symbol of the Florentine Republic would not have been possible without Donatello’s earlier work on the same theme, which remains one of the most beautiful, enigmatic, and radical sculptures ever made.

Composed sometime between the 1430s and 1450s, Donatello’s bronze David represents a series of firsts in art history. It constitutes the first bronze male nude and the first free-standing statue—unsupported by or unattached to a support—since antiquity. At the time Donatello made the sculpture, the character of David represented how Florence saw itself: a small, mercantile city-state without a duke, and with a history of defending itself against more powerful enemies. But while the David and Goliath story became a popular motif in Florentine art, there is a subversive, queer side to this particular version.

Just a shepherd boy when he fought Goliath, David’s disadvantage is demonstrated here by his prepubescent physique. Naked except for a helmet, sandals, and shin guards, David’s androgynous body is smooth and unmuscular. He shifts his weight onto one foot in naturalistic contrapposto—rather than an idealized, heroic pose—with his hand resting on his provocatively jutting hip as he triumphantly steps his foot on the Philistine conqueror’s head. When viewed from behind, it’s almost impossible to tell what gender or sex the figure is. His hair is long and luxurious, and, judging by the traces of gilding, was originally presented as gold. In one hand, he holds a rock from his sling; in the other, the oversized sword of his enemy.

David, 1428-1432. Donatello Museo Nazionale del Bargello, Florence

Donato di Niccolò di Betto Bardi, known simply as Donatello, revolutionized art in Florence during the early Renaissance. His pioneering sculptures helped to transform the perception of the medium from a medieval craft into an expression of individual genius. In his Lives of the Artists, Giorgio Vasari, the father of art history, tells a tale of the artist, Pygmalion-like, begging his lifelike sculptures to speak back to him. Vasari also credits Donatello as the artist most aligned with classical values, who restored the art of sculpture to ancient Greco-Roman standards.

Donatello’s David represents a union of classical and humanist concepts in alignment with Christian iconography. The David and Goliath story here manifests both the humanist belief that the will can triumph over strength, as well as the Christian conviction that faith in God can overcome any obstacle—exemplified by this skinny youth standing victorious over his far stronger foe. David’s beauty also denotes ancient ideals revived in the Renaissance: the value of physical perfection as a virtue and a celebration of sexual relationships between men and beautiful male youths. Donatello modeled the heads of many of his sculptures and statues from Roman busts, and art historians now generally believe that David’s was based on Antinous, Emperor Hadrian’s gay lover.

Appraising the sculpture today, one gets the impression that there is a bond beyond violence between the victorious and conquered. The suggestive nature of the sculpture seems to hint that David may have defeated Goliath through seduction. (Indeed, Donatello’s later sculpture of the Israelite heroine Judith with the head of Holofernes is often compared to this David.) One of the wings of Goliath’s helmet seems to be climbing up David’s leg, sensually caressing his inner thigh. While this ornament would have been useful in hiding some support work, Donatello was also playing a formal trick: In its original display on a high pedestal in the courtyard of the Medici’s Palazzo Vecchio, onlookers would have peered up at the sculpture, the feather leading the eye to its behind. Curiously, Goliath’s helmet also shows a relief of cupids pulling a chariot in which another cupid is riding, an illustration of the “Triumph of Love.”

Detail of Donatello, David, 1428–1432. Photo © Arte & Immagini srl/CORBIS/Corbis via Getty Images.

Were early Renaissance audiences similarly seduced by David? It’s not clear exactly how viewers responded to this work. In 1504, Francesco di Lorenzo Filarete, a poet and herald in the Florentine government, advised that Michelangelo’s new David might replace Donatello’s in the the Palazzo Vecchio, and the latter be moved elsewhere. Donatello’s sculpture, he said, was “imperfect”: Its leg looked schiocha—meaning silly or awkward—from behind. In the poetry of the day, schiocha was also a colloquial term for a male lover or object of desire. Filarete implied that viewers might have felt it was inappropriate for the biblical king to be depicted in such a sexualized way, even though the much-discussed love between David and Saul’s son Jonathan serves as one of the closest bonds between two men in the bible. Perhaps this aspect of David’s story influenced Donatello’s depiction; it may have also appealed to the artist directly.

Art historian H.W. Janson first posited that the artist himself was gay (or at least rumored to be) in 1957, and that Donatello’s personal biography drove his homoerotic depiction of David. Janson quoted stories about the artist that had been collected and published anonymously in a gossipy 1548 book about the Florentine circle of Cosimo de’ Medici—the artist’s great patron and friend, and the most likely commissioner of David. According to the anecdotes in the volume, Donatello was notorious for falling for his male models and apprentices, pursuing them around Italy in a rage if they left him. Janson’s allusion to Donatello’s homosexuality, and his suggestion that the artist’s identity might have played a part in this masterpiece, put critical noses out of joint. Yet this reaction was particularly rash, considering that 15th-century Florence was considered a gay mecca.

Florence had such a reputation for being accepting of homosexuality that the French called gay sex the “Florentine Vice,” and in Germany, Florenzer was slang for a sodomite. Still, same-sex relations weren’t exactly legal; records show that a huge proportion of men in the city were accused of or charged with the crime of sodomy (including the eminent Leonardo da Vinci, who was working as an apprentice in Florence when he was accused). Conservative monks railed against this acceptance for more than moral reasons, worrying that the growing trend of homosexual relations between unmarried men would lead to a city-wide population decline. Recent studies have also revealed that politicians of the day attempted to combat the issue by opening up brothels to lure them back into the arms of women. Yet relationships between men remained generally accepted, especially in the city’s artistic circles.

When viewed in this context, it seems plausible that Donatello’s David could both symbolize the resilient city-state and openly celebrate Florence’s queer culture. The academic Michael Rocke has even suggested that David’s floppy hat might have been a coded reference to the “hat game,” a seduction ploy where Florentine men would steal the hats of boys they fancied on the street, refusing to give them back until the object of their desire agreed to gratify them.

Andrea del Verrocchio, David, ca. 1466-69, Museo del Bargello, Florence. Image via Wikimedia Commons.

David, 1501-1504. Michelangelo Buonarroti Galleria dell'Accademia

Donatello’s David inspired subsequent sculptors with ambition, and it became fashionable to attempt the subject. Andrea del Verrocchio’s David (1473–75), also commissioned by the Medici family, seems almost a correction to Donatello’s. Verrocchio’s version likewise features a skinny, idealized youth, but a more capable one, wearing slightly more practical armor. Michelangelo’s massive David, by contrast, shows the hero as a man, not a boy, right before the battle. Lean and perfectly muscled, this David looks as if he’s spent his whole life training for this moment. Later still, Gian Lorenzo Bernini’s take on the subject, from 1623–24, depicts the hero in action; he twists his nude body, caught in the moment of pulling back his sling to discharge the stone that will fell Goliath. Bernini modeled his David’s fearsome grimace on himself, distorting his own face in a mirror.

All of these Davids depict strong, determined, resolutely chaste figures prepared for the task at hand or contented with their victory. But Donatello’s masterpiece also possesses a unique swagger. None of the later Davids seem to notice or care about how good-looking they are (even if, like Michaelangelo’s, they are clearly designed as ideal beauties). Donatello’s statue, though, has a self-possessed sense of beauty. Just as Vasari recorded Donatello urging his naturalistic sculptures to come to life, the artist created this work with the express purpose of being beautiful, almost willing his David to respond to his own desire, as well as the viewer’s. This ambiguous masterpiece has, in the past, seemed to pose questions whose answers are lost to history. Perhaps it is only now that we can fully appreciate David in all his complexity.

from Artsy News