my thought exactly when this scene playing

Winning

It’s NBA Finals time, my man’s favorite time of year. Well, it’s his favorite because his team had a great season and locked their position in the Finals. Lucky for him, I love the game so instead of a nagging voice, he gets someone to cheer with. Tonight is game two and I, unfortunately, have to stay late and work on this project. Trust me, not my idea. I haven’t told him yet but I already have a plan to make it up to him by the time I get home.

“Hey beautiful, how’s your day going?”

“Hey babe, it’s going ok, I got some bad news for you though.”

“What’s up?”

“I have to work late so, you’ll be watching the game without me.”

“Aw man. Damn, so no half time games?”

“No, not tonight. However, I thought of something to make up for it.”

“What’s that?”

“In the spirit of our halftime games, at the end of each quarter, as long as the team is winning, I’ll text you a picture. By the time the game is over, you’ll hopefully have 4 pictures. And, if I know you like I think I know you, you will have put them to good use by the time I get home.”

“Oh, that sounds like it’s going to be a lot of fun.”

“Put it this way, either way, you will be winning. Anyway, I gotta go. Talk to you later!”

I hang up the phone and let him get back to lunch while I start to figure out exactly what poses I should have for my pictures.

Later on in the day, I check the score of the game while I take a little break from my project. The score is currently 45 - 27. The quarter has about a minute and a half left. “I think it’s time for our first picture,” I say with a devious smile. Let’s see, with or without the shirt? Who am I kidding, without. I rip a piece of paper in half and write “1st Qtr” on it. I turn around in my chair to face the windows, unbutton my shirt, place the piece of paper on my stomach and smile into the camera showing off a black and tan lace pattern bra. I make sure to wait until the quarter is over or before sending him the first picture. “Let the games begin I say to myself.”

“Yeah! That’s how you do it!" Bing! "Damn. Ok, game on.”

As the game continues on, I take breaks to shoot and send you pics of me bent over in my cheeky undies, sitting on my knees with my bra half off only showing one breast and lastly, fully nude in my chair with legs over the arms of it, finger in mouth. Finally it’s time for me to get up out of here. I can’t wait to get home and out of these clothes to peel away the stress of the day. Microphone by Raheem Devaughn starts to play from my playlist. I let the song take my mind to thoughts of what I may see when I get home. By the time I pull up, I’m so aroused and focused. I waste no time making it to the door. I quickly but quietly walk into the living room where you’re staring at your phone, TV still on showing highlights. As I walk closer, the scene is exactly what I expected. You’re staring at one of the pictures and stroking your dick. “Hey,” I say in a soft tone as I stand in front of you. “Hey,” I kiss you and taste the remnants of Scotch whiskey on your lips. “I hope you like this game.” “You sending me naked pics, of course.” I giggle, “Good because it’s not over.”

I start to take off my clothes (you drop your phone) and give you an in-person version of those pictures. By the time I’m sitting on my knees with my bra off, I’m eye level with your dick. My mouth starts to water. You watch me, eyes glazed, crawling over to you. I sit transfixed watching your methodical stroke. I lick my lips before dipping my head down to suck on your balls one at a time. You groan. I give each one some attention before moving your hand and licking up the shaft, swirling my tongue around it before sucking the head a little and slowly slide it in my mouth. I work up a good rhythm and get it nice and wet so it can go down smooth. I moan as I feel you getting harder and moaning as well. It excites me knowing you enjoy it. I ease you down my throat for a few seconds then back out completely. I hold your dick up as I go down to lick and suck your balls again. I wrap my warm, wet lips back around your shaft and suck while moving up and down. You can feel the strokes of my tongue on you as my rhythm gets faster. I twist my head round and round on it then back to up and down. Moaning like I can’t get enough of it, it makes me so wet to please you. I feel your dick starting to throb in my mouth and I salivate more. Your hands are in my hair. I come up closer to your crown and suck nice and easy, back an forth. Soon, I taste your hot cum on my tongue and I moan as I suck out your goodness, flicking my tongue across your head to lap up the last drop. “Mmm, didn’t I say you’d win?”

wishiwould  asked:

5 The Predator

Short opinion: Nothing can make you hate Visser One quite like reading this book. 

Long opinion:

Although he can be loud, and obnoxious, and can take a joke waaaaay too far, Marco also might be the most adult member of the team as of the beginning of the series.  After all, this book opens with its 13-year-old protagonist buying groceries for his family using a budget he balanced himself, with every intention of going home and cooking dinner for both himself and his dad.  Not only does Marco take care of his dad, he treats that caretaking as a fact of life.  He might whine and joke about it, but he also stops in the middle of that process to save some random stranger getting beaten up in an alleyway.  (In the same situation, one could imagine Jake deciding that the risk to the team was too great for it to be worth morphing, Rachel or Tobias planning out some elaborate revenge scheme, and Cassie or Ax waiting for the situation to blow over before offering the victim help.)  Marco might be a little ruthless, and kind of a brat at times, but he also understands how the world works in a way that most kids his age—including his teammates—do not.  

Edna St. Vincent Millay has a poem, “Childhood is the Kingdom Where Nobody Dies,” that makes the point better than ever I could: childhood ends with the first major loss in one’s life.  Adulthood begins with the understanding of death and grief and mortality that can only come from a world-shattering loss of a loved one.  Marco has to assume a lot of very literal and very mundane adult responsibilities at a young age—he is essentially acting as the head of his household in the absence of a competent parent—but he also has a brutally realistic understanding of death in a way that no one else* does.  Right from the first moment that Tobias suggests the Animorphs should get involved in the war, up through Marco’s decision to quit midway through this book, he has asserted the same point over and over: that death is very, very real and will find them if they fight this war.  He’s correct, of course, since by the end of the war they’ve not only lost Rachel but also James and Collette and Jara Hamee and David and hundreds of foot soldiers and loved ones.  

Other people have commented on the skill with which Applegate portrays the horror of the ants, and the ongoing motif of Marco being the weakest morpher (and also the one who stays the closest to human, with the only primate battle morph on the team), but the other moment from this book that I think is really important for the character is when Marco wakes up from a nightmare about The Lobster Incident, and his dad treats it as more or less routine.  Rachel and Cassie and Jake all get some combination of concern and shock from their families when they start showing signs of PTSD, but Marco’s dad doesn’t seem surprised at all.  That suggests to me that Marco is already dealing with a lot of negative mental health experiences as a result of Eva’s loss, well before he ever gets dragged into the bloody life-destroying hell of war.  

Marco can see where they’re all going, well before Jake and Ax lose their idealism or Rachel and Tobias lose their war-hawk tendencies (pun not intended).  He has already spotted the bright, clear line from Point A (six idiot teenagers charging off to save the world) to Point B (two teenagers dead in battle, one totally disengaged from her friends, and three rushing off on a suicide mission to combat depression).  It’s not cowardice that keeps him out of the fight at first, the way Tobias accuses, and it’s not selfishness, the way Rachel says.  It’s the calm, certain awareness that they are definitely in over their heads.  

When Marco does tell Jake he’s quitting—and Jake takes the news with his usual airbender calm—he gives a very specific reason.  He says, “a year from now I don’t want my dad going to leave flowers at two graves,” which is such a gut-punch of a line because it tells us that Marco has already pictured that exact scene (#5).  Marco understands exactly how it would play out if he did, in fact, die in the war.  When Marco says that he refuses to throw his life away because his loss would destroy his dad, he’s making a hugely adult decision with a degree of empathy and horrible pragmatism that none of the others have yet learned by force.  None of the others really seem to give much thought to their own deaths.  Cassie lightly dismisses her parents’ and friends’ concerns when she is (apparently) dead, first in #19 when she and Aftran/Karen disappear into the woods, and again in #44 when she takes an involuntary vacation to Australia.  Rachel struggles to wrap her head around her own death even as she goes into the battle that will cost her her life (#54).  Jake, Tobias, and Ax never really seem to think about it at all, unless Jake is looking to throw himself heroically between Crayak’s Hessian bullet and his friends.  Marco has calculated the possibility of his own death, played out scenarios in his mind, and concluded that that outcome is unacceptable based on a very personal degree of experience with exactly what death means for those left behind.  

And then, of course, we get to the final sequence of the book.  And Marco gets this enormous heap of revelation dumped on his head: all of his own grief, all of his father’s devastation, all of the myriad ways that Eva’s loss destroyed his life… is all a lie.  Marco’s entire existence—suburban house, brilliant engineer dad, gruffly affectionate mom, best friend two doors down, comfortable certainty in his universe, clear role among his friends and classmates—exploded into nothingness the day that the Coast Guard pulled an empty sailboat onto the local pier.  And it wasn’t horrible happenstance, it wasn’t a cosmic accident, it wasn’t a disaster at all.  It was a deliberate decision on the part of a yeerk who couldn’t be bothered to play the role of an ordinary mom anymore when she could instead move on to better things.  Visser One lived in their house, ate at their table, kissed Marco goodnight, and chose to destroy that all.  Marco doesn’t even know for sure anymore—not for a long time—how many of his memories are actually of his mother, and how many are of the imposter.  

But Eva’s mere existence, there on the Blade ship as a convenient tool in the middle of an arms race between Visser Three and Visser One, means that Marco also has the chance to go back.  Once he knows she’s out there, he knows that he has the chance to undo that terrible life-shattering event.  There is a chance that he can bring her home.  That he can give his dad new life.  And so Marco embraces that chance, even though he still knows perfectly well that the war will probably cost him his life.  

*I’ll save my rant about how we get such beautifully terrible depictions of Jake’s grief for Tom and Rachel, and Marco’s grief for Eva, but almost nothing on what it felt like for Ax to lose Elfangor, for another time.  

Remember

Listening to commentaries on TWD DVDs and sometimes I learn things and/or they are just funny. Listening to the one for the episode “Remember” I found out that when Michonne smiles all big when she see Rick without his beard was the very first take that they did on that scene.

Danai is on this commentary and she (along with the director/zombie dude Greg whose last name I can’t spell at the moment lol) were talking bout how they had different views on how that scene should go. He thought the first take was too flirtatious and asked her to dial it down. After awhile she got frustrated and so did he because it didn’t seem to be coming out right. So he said when he went to go edit it or something, he was looking over the takes and ultimately chose the first one.

So my take away from this: Danai knows exactly how Michonne would react to Rick. She has stated that she had a feeling something was going on between Rick and Michonne so I think she decided to use that and play on it.

(This may or may not make sense lol I’m trying to get better at expressing myself through writing so just bare with me plz 😬)

anonymous asked:

THANK YOU FOR THE NEW CHAPTER TRANSLATIONS. TANIZAKI IS SO GOOD THIS EPISODE I WANT TO DIE SO SAVAGE LOOKS LIKE HE COULD BE IN PORT MAFFY " Tanizaki Genjutsu" i am calling his ability that now thanks i love tanizaki i am so happy to see other characters shine as dazchan is (in coma for a few monthly chapters) in the hospital. Anyways thanks for the hard work!!!

I FEEL YOU!! I have always thought Tanizaki has a great ability, but a bit wasted since he doesn’t gets that many scenes focused on him. But this chapter really blew my mind away, because this is exactly the kind of potential his ability has. If it’s just about illusions, he literally could trick people all the time. He doesn’t just disappears. It’s exactly like when he hid the truck (that was going to crash Lovecraft and Steinbeck). He can play with everybody’s minds if he wanted to, just like Q’s ability.
Tanizaki has always been such an interesting character and I wish I could see more of him in the future.

((Liz is annoying: just to clarify in case there is any confusion! He didn’t exactly hide the truck - he changed the road the truck saw - but to the driver, he did basically hide Lovecraft and Steinbeck~ XD))