Daddy says I'm not protected with you, I'd be better off with Batgirl. They capture you easily and you seem to enjoy it. Don't listen to those stories Miss Gordon.
Eric Clapton
Slowhand
1977 RSO
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Tracks:
1. Cocaine
2. Wonderful Tonight
3. Lay down Sally
4. Next Time You See Her
5. We’re All the Way
6. The Core
7. We’re All the Way
8. Mean Old Frisco
9. Peaches and Diesel
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Hey idk if your requests are still open, if not then please disregard this, but can I request a dark fic where older dilf cillian is tied to a chair and the reader uses his dick (noncon) to “milk him of his babies” to get themselves pregnant, and he is like nono please don’t get pregnant but he can’t do anything about it? Thank you 🫶🏻🫶🏻🫶🏻😫😫😫😮💨
i creamed my pants reading this
Drabble: You milk Cillian of his babies
Pairing -> sub!cillian murphy x dark!reader
Warnings: NON-CON, DARK!, sub!cillian, breeding kink, dark!reader, age-gap (cillian's early fourties, reader's early twenties), next door neighbor!cillian, drugging, implied they met when reader was underage, use of little girl and good boy, slapping, hair pulling, biting
Disclaimer: This is not a reflection of Cillian Murphy's actual life. This is completely separate and is not intended to harm him or his family in any way. DNI if you're a Yvonne hater. This is only fanfiction and this is just for fun.
Cillian Murphy didn't think that you were capable of this—his sweet next door neighbor, that innocent little girl who used to cling to him like a shadow, the one that asked for help with homework, the one that had now drugged and tied him to a chair, hands and legs bound, as you rode him to no end.
"You're getting older," you mused as Cillian cried. "Gotta do it now."
The sensation was too much for him to handle. He’d thought about it before, much to his shame, but not like this. Not you stealing orgasm after orgasm out of him, biting his neck and pulling his hair, with a wicked smile that made him feel like he was being tortured by the devil herself.
“Please,” Cillian whined, trying to squirm away from the pain and pleasure. “Please don’t do this, I can’t get you pregnant—fuck!—you’re too young.”
He could feel another orgasm coming. He was secretly hoping that you were on birth control this entire time, that this was all a cruel prank, but he knew deep down that you were serious.
You were raping him. You wanted him to breed you.
"I only did it cause you want it," you snapped, giving Cillian a light slap. “Mmm,” you tossed your head back as you bounced, “saw the way you looked at me. Dirty old man. Wonder what people will think when they see me carrying your child.”
Cillian shook his head. “No, no, no. You have to get off. I can’t. I can’t.”
“You can. I’m probably pregnant already.”
“Then stop,” he begged. “Stop it. Take—take the ropes off. I won’t be mad, I promise.”
“We’re not done yet,” you moaned. “Oh, Cilly! Need’a take your cum, every last fucking drop.”
"P-please, I can't take it anymore.” He felt like he was about to collapse. He couldn’t keep up with your stamina. “Jus' a little break,” he pleaded.
“Tired?” you teased.
“Yes.”
“I guess I’m too much for you.” You laughed. “You better get used to this.”
Your face fell once you noticed tears streaming down his cheeks. “No, don’t cry.” You wiped them away. “Don’t you love me?”
Cillian felt like he was backed into a corner. Why was he still feeling soft towards you? He should be angry—livid, even. But he couldn’t, not towards his little girl.
“I do.”
“And you’ll be there for our child? You’ll marry me, right?”
"Yeah," Cillian whimpered, feeling his cock twitch inside of you. "You know I will. I'll always take care of you.” Even as you hurt him, took advantage of him, he couldn’t help his feelings.
"Good boy,” you said, a pleased look on your face. “I’m so lucky you’re mine. Now—stay still, stop wiggling, and let me milk your cock.”
July–August 1969. Although it's a reasonable inference, the idea that Bruce Wayne was legally unable to formally adopt Dick Grayson was actually a Silver Age retcon, added by E. Nelson Bridwell in a recap of Robin's origin in BATMAN #213. (Bridwell also makes a point of excising the various of Boss Zucco's men that Robin apparently kills in the first version of the story — which by my count may have been as many as five — but we won't dwell on that.)
The reference to obtaining "the consent of his nearest relatives" brings to mind the very interesting alternate version of Robin's origin that appeared on the ADVENTURES OF SUPERMAN radio show in the fall of 1946. (It's recounted in the latter part of the episode for September 25, 1946, kicking off a serial called "The Dead Voice" that ran from September 26 through October 16, 1946.)
In the radio version, Bruce Wayne had been friends with Dick's parents (who in this version were named John and Yvonne), and knew Dick prior to his parents' murders, since Bruce would hang around with the circus acrobats to practice his own acrobatic skills. After the Flying Graysons' fatal fall, John survived long enough to ask Bruce to take care of Dick — Yvonne's family was at that time trapped in occupied France, and as the storyline subsequently reveals, John was estranged from his own family for joining the circus (and I guess for marrying Yvonne, although I don't think that's stated outright).
So, in the radio version, Bruce taking custody of Dick is not a matter of his arbitrarily scooping up a random orphan, but rather Bruce taking charge of the son of his dead friends at their express request, as a kind of godfather. This is so much more logical, and so much more reasonable, than the comics version that I'm mildly surprised that it's never been picked up by the comics or other media, particularly since post-Crisis Batman stories made such a big deal out of Bruce's odyssey to develop the various skills needed to become Batman; his having befriended some circus acrobats during that journey would fit in pretty seamlessly, I think.
Concert pianist Orlac (Conrad Veidt) is excited to return from touring to the arms of his loving wife Yvonne (Alexandra Sorina) right before he suffers injuries in a train crash. While the accident does not kill him, it destroys his hands. His hands being key to his livelihood, Orlac despairs, but the doctors are able to graft new ones onto his wrists. All well and good, with one problem: the hands were taken from the corpse of a guillotined murderer, Orlac is uncomfortable with them from the outset, and once he learns of their origins, Orlac is becoming paranoid that the hands will influence him to kill. Driven to madness by his fears, will Orlac resort to violence?
The Hands of Orlac has a great premise and a great lead actor in the compelling, expressive Conrad Veidt. The atmosphere, though not as surreal as Wiene's The Cabinet of Dr. Caligari, is decidedly nightmarish and suffocating as the protagonist's paranoia consumes him.
If only the pacing wasn't the worst.
Like, there's slow pacing and then there's submerging your movie in molasses. Orlac runs almost two hours long and much of it is just dedicated to Veidt's very deliberated mannerisms and reactions. I love Veidt-- he was one of the greatest actors of the silent era-- but the scenes of him staring in horror at his hands and whatnot just go on forever and to no real benefit to the story.
And that's unfortunate because this is a very mature, subdued psychological horror film, more about inner conflict than external monsters or psychopaths (though the movie does ultimately have a villain). In some ways, it's ahead of its time: the urban gloom on display here foreshadows the film noir movies of the 1940s and 1950s. However, it's so slow that I had a hard time getting into it.
The Island of Lost Souls (dir. Erle C. Kenton, 1932)
Edward Parker (Richard Arlen) is having a bad week: his ship sank, the captain of the ship that rescued him doesn't like him, and now because of that he's been marooned on the Island of Dr. Moreau, a small bit of land not present on any sea chart. Dr. Moreau (Charles Laughton) seems an amiable, jovial fellow, but what is to be made of the tortured screams in the night or the cowering, abused "natives" who seem to view Moreau as a god? Turns out, Moreau is trying to speed up evolution with his experiments on animals and he hopes to prove his creations can mate with humans by offering Parker his sole female subject, Lota (Kathleen Burke).
The Island of Lost Souls is quintessential pre-code horror, right there with The Most Dangerous Game and the 1932 Dr. Jekyll and Mr. Hyde. It's gruesome for 1932, dealing with vivisection, inter-species sex, and animal cruelty. Imagine any of THAT flying come the enforcement of the Code.
This is one of very few older horror movies I find genuinely unpleasant even if it doesn't outright show Dr. Moreau cutting up his experiments while they're still very much conscious. Screams are ever present on the soundtrack and they aren't cheesy horror movie yelps. The moans and screaming in this thing are chilling. The humid jungle atmosphere is also palpable, creating a sense of suffocating entrapment. As much as I love many of the classic Universal horror movies, they don't have that same sense of dread and evil this one still possesses.
The Penthouse (dir. Peter Collinson, 1967)
Crooked businessman Bruce (Terence Morgan) and his shopgirl mistress Barbara (Suzy Kendall) find themselves at the mercy of two thugs who break into the penthouse apartment they use for their adulterous liaisons. Tom (Tony Beckley) and Dick (Norman Rodway) are childlike yet ruthless, getting Barbara intoxicated while they tie Bruce up and make him watch. Or rather listen, because boy do these fellas love monologuing.... lots and lots and lots of monologuing.
Yes, the guy who directed The Italian Job made a home invasion movie. It also sucks. Like, oh my GOD, this was designed to torture me, I swear, and not in the way the filmmakers intended. It feels like a college assignment turned into a movie.
Okay, let me be nice first. Visually, this is of interest. Not the quality of the image-- the YouTube upload looks like it was dragged up from VHS hell-- but from what I can see of the compositions and the camerawork, this is a visually dynamic movie doing its hardest to make you forget the script is based on a stage play.
But that's impossible because this is one of those movies where the characters never shut the hell up. They monologue endlessly about Societal Ills and Important Class Themes, occasionally breaking up the lecturing with oddball criminal antics, pot smoking, and violence. It's like an attempt at a "hipper" (for 1967) and more intellectual version of The Desperate Hours, where an ordinary middle-class family is held hostage by criminals as motivated by class-based bitterness as they are by money or freedom. But holy crap, does. It. Drag. 100 minutes of dragging.
Admittedly, the dynamic between Tom and Dick is a little interesting. They're the types who finish each other's sentences and genuinely seem to relish each other's company as they bond over doing these terrible things. They were fascinating to watch when not burdened with pretentious monologues about how baby alligators being flushed down toilets represent society's outliers.
Martine Beswick shows up in the last section as the third accomplice "Harry." Other reviewers claim she brightens up the film, but her appearance is so brief and much ado about nothing at all that she didn't make watching this any more entertaining for me.
The Penthouse feels like a parody of the worst kind of "elevated horror," boring nonsense masquerading as a social statement. Parts of it are memorably bizarre, but there's not enough of that for me to recommend it.
Lily gives you a glare as she protectively guides your cock into Yvonne. Who gasps as your dick slowly pushes into her slick, dripping pussy. Your thrusting is carefully controlled by Lily, making sure that you dont go wild fucking her friend. Yvonne needs to get used to fucking guys again! 😤
without being an expert on how theyre mishandling barbara Gordon these days (understatement) but *having* heard that like "yeah shes still disabled, sometimes she even has a cane or chair in her inaccessible-ass hideout!" ... so fucking frustrating
bc like making the choice to make barbaras disability invisible, to make her use mobility aids less often instead of that being her default... not only is that still erasure it fundamentally changes the relationship the character has *to* her disability
and considering how interesting it had been for barbara and cass to navigate being two undeniably disabled heroes with massively different disabilities and the tension that sometimes brought to their relationship...
and its so so so frustrating bc ppl use it as like a gotcha. like oh actually not everyone who uses mobility aids uses them all the time. like yes bitch i know that. but some people do. and youre just playing dumb so you dont have to acknowledge that the reason for this change was so barbara could be regressed into dick graysons ~hot fun same aged girlfriend~ who can kick her leg over her head. (hmmm i wonder why perpetually cheerful yvonne craig look alike batgirl is the only way barbara can be a hot and fun love interest and mean older scully haircut librarian chair user barbara somehow isnt!) (except i dont wonder i know why.) (and barbara being *just* a love interest would still be The Worst to be clear but you know what im fucking saying) (god im so annoyed i just remembered seeing fucking someone in nightwing call *batgirl* "girl nightwing" as if nightwing isnt fucking boy batgirl if anything?? im going to kill tom taylor with my own two hands) (also just fucking remembered he wrote a callback to barbara becoming a licensed attorney and then immediately ruined it by having dick be like yeah me too ..... worst. fuckingggggg worst)
also really frustrating bc like... Did yall know once upon a time dickbabs was actually interesting and compelling. i wouldnt ever say i really ~ship it for a multitude of reasons but their relationship actually brought out interesting things in both characters in part *because of* their extremely different ways of navigating the world, both physically and emotionally
anyway. we all know this this isnt new shit. i could go on but im done for now. whotever.
El Acertijo/Enigma (The Riddler) (Frank Gorshin y John Astin)
El Pingüino (Burgess Meredith)
Gatubela (Julie Newmar en la 1 ª y 2 ª temporada, por Eartha Kitt en la 3ª temporada y por Lee Meriwether en la película de 1966)
La serie giraba en torno a las aventuras de que viven Batman (interpretado por Adam West) y su ayudante Robin (interpretado por Burt Ward) en su lucha contra el crimen en Gotham City. La identidad secreta de Batman es la del elegante «filántropo millonario» Bruce Wayne, quien vivía en la Mansión Wayne, en las afueras de la ciudad, con su joven entrenado Dick Grayson, el que secretamente era Robin, su fiel mayordomo Alfred (Alan Napier), y la tía Harriet Cooper (Madge Blake). Ayudaban a Batman: Batgirl (Yvonne Craig), el comisario de policía Gordon (Neil Hamilton) y el jefe de policía O'Hara (Stafford Repp).