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adamwatchesmovies · 5 months

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Chocolate (2008)

Chocolate would be a better film if it was more comedic, if its prelude was shorter, and if Taphon Phopwandee played a bigger role during the conclusion. Will that matter to you so much as you watch Yanin Vismitananda demolishing opponents with her hands and feet? Not if you came to this martial arts film for the action.

A forbidden romance between Thai gangster Zin (Ammara Siripong) and Yakuza boss Masashi (Hiroshi Abe) puts both their lives at risk. He leaves for Japan while she gives birth to their daughter, Zen (Vismitananda). Raised by her single mother, Zen proves herself a gifted martial artist - easily replicating the moves she sees performed at the Muay Thai Kickboxing school next door or in Bruce Lee and Tony Jaa’s films despite her autism. When Zin develops cancer and cannot afford the chemotherapy, Zen’s friend Moom (Taphon Phopwandee) discovers an old book of unsettled debts owed to the former gangster. If that money were collected, Zin could afford the treatment she needs, which prompts her daughter to start checking the names on the pages.

There’s a lot about this film that’s goofy. Zen’s autism essentially gives her a superpower and she manages to learn moves that easily best opponents twice her size. Whether that’s more or less believable than the Romeo and Juliet romance between two gangsters who we see casually shooting people, I’ll leave it up to you. The thing is, it kind of works as a story happening in its own universe with its own rules. You buy it because you believe Yanin Vismitananda. As a martial artist, she’s incredible. So is the stunt choreography by Panna Rittikrai. There’s great escalation as the debtors Zen collects from become increasingly determined not to give her the money that’s owed. Think it doesn’t get any scarier than a meat manufacturing plant where everyone has cleavers and knives? That’s the third fight (second if you don’t count the scene where she beats up a bunch of teenage punks). You wonder how director Prachy Pinkaew could top themselves when we just saw a battle that had katanas and guns but you haven’t seen anything yet. Even without the end-credit bloopers showing the on-set injuries, you can tell life in Thailand must be really cheap for the stunt men and women to get themselves tossed around like this and fall from that high up. Over and over you’ll threaten to wake up the neighbors as you yell “DAMN!” and “That HAD to hurt!”.

Action-wise, Chocolate is a delight. If at first you’re looking at Vismitananda and wondering “Would she really be able to take down that guy with a single kick to the face?”, you’ll believe it completely by the end. The choreography is excellent but this movie gives you a little something more. Zen’s fighting style has a different flavour, a different personality than other people’s. You often see her feigning blows and then striking in a different way than expected to take down her opponents. It smoothly blends into several comedic take-downs that would make Jackie Chan proud. That said, the film gets awfully grim at points. It is towards the end when the tension is due to ramp up but it feels a bit like the movie didn’t quite know if it wanted to be serious or not. The bad guys leave a trail of slime. The parents are very serious in their roles. Zen is portraying a movie version of a mental disorder. Moom - as the one person who doesn’t know anything about fighting - makes you laugh, which makes you appreciate him that much more than you normally would. His friendship with Zen is sweet, particularly when he comes to her rescue in a way only he could. Stunt-wise, Vismistananda is the stand-out. Seeing her convincingly plays a teen despite being 24 at the time and performing all those stunts you'd think she'd be the one giving the best performance, but I say that award belongs to Phopwandee.

You have to forgive some story-related flaws to appreciate Chocolate but it shouldn’t be too hard, not when the movie delivers the “whacks!” and “pows!” the way it does. You’ll want to see it again so you can test whether watching a martial arts film like this one can make you learn the on-screen moves through osmosis. (International version with English subtitles, July 30, 2021)

#Chocolate #movies #films #movie reviews #film reviews #Prachya Pinkaew #Chookiat Sakveerakul #Yanin Vismitananda #Hiroshi Abe #Pongpat Wachirabunjong #2008 movies #2008 films

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preciousthingsdotnet · 11 months

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#chocolate #fingers #human #food #cooking #2008

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metoidionasty · 1 year

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7/4/2008

#content #food cw #cupcakes #chocolate cupcakes #birthday #2008

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savage-kult-of-gorthaur · 1 year

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"DRIP, DRIP, DRIP" GOES THE CHERRY LIQUID-CENTERED FILLING.

PIC INFO: Spotlight on an airbrushed poster design titled "This is Why You're Overweight," artwork by Californian designer/illustrator Peter Palombi, c. 1976.

PIC #2: Cover art to "Overspray: Riding High with the Kings of California Airbrush Art" (2008) deluxe art book, edited by Norman Hathaway, Dan Nadel. Text by Mike Salisbury. Cover image based on the "This is Why You're Overweight" (1976) airbrush piece By Peter Palombi.

BOOK OVERVIEW: ""Overspray" is the conclusive account of the rise of airbrush art, and of the equally bright and glossy Los Angeles culture alongside which it came to prominence in the 1970s. Inspired by surf graphics, psychadelia and the slick shine of Hollywood, a generation of young artists began to make every lip and palm tree glisten, and every record cover shine.

Fueled by a combination of intense demand, sleepless nights and brutal competition, the four men at the center of L.A.'s airbrush art market -- Charles E. White III, Peter Palombi, Dave Willardson and Peter Lloyd -- embarked on careers encompassing work for "Playboy," Levi's, the Rolling Stones, Rod Stewart and major studio films including "American Graffiti" and "Tron."

Together, their work came to define the look of illustrative graphics for a generation of viewers. This book tells the story of these four artists for the first time through hundreds of images of the artists' best and best-known work, unseen production roughs, documentary photographs and other ephemera.

Viewed now, their surreal, funny and utterly slick imagery seems all the more fantastic -- combining technical precision with wild flights of imagination that bring to mind the work of some of today's top artists, from Takashi Murakami to Matthew Barney. Essay by Mike Salisbury, acclaimed designer of everything from Disney logos to "Jurassic Park" ad campaigns to "Sassy" magazine."

-- ARTBOOK on "Overspray: Riding High with the Kings of California Airbrush Art"

Sources: https://kathykavan.posthaven.com/airbrush-art-of-the-1970s-1980s & www.artbook.com/9780979415302.html.

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martyrbat · 1 year

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batgirl #1 (2008)

[ID: two long, horizontal panels of Dick Grayson and Cassandra Cain squinting angrily at each other. Only their eyes are shown and Dick has his Nightwing mask on. END ID]

#rip to dick grayson but if i saw cass on the batcomputer i would give her a hot chocolate & remind her to not sit too closely to the screen #yes i understand why he's paranoid and yes i dont care #nightwing #cassandra cain #crypt's panels #c: batgirl (2008) | i: 1

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menubot · 5 months

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Why not enjoy some Chocolate Truffles at Benoit? http://menus.nypl.org/menus/26698

#menubot #What's On The Menu?#NYPL #2008 #Benoit #Chocolate Truffles

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thelibrarbrian · 1 year

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I don’t know why but my body has been behaving as if I’ve been snorting pure caffeine. Watching Ponyo was a terrible idea because it felt like my chest was about to explode every time Fujimoto was on screen

#ocean wizard money gang #we love casting spells #is this anxiety?#am I just finally metabolizing the obscene amount of chocolate I ate days ago #or is this what I feel like when I get enough sleep #draft #ghibli films #ponyo (2008)

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prfm-multiverse · 2 years

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2008.09.14 Perfume - SUMMER SONIC 2008 (M-ON!)

Google Drive

#2008 #SD #M-ON #SUMMER SONIC #prfm #perfume #digest #Polyrhythm #chocolate disco

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nonsensology · 1 month

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This was supposed to just be a rough sketch, but then I started getting really invested in it.

I hadn't initially intended to include so many picture book characters, but the nostalgia was overwhelming. Does anyone remember the animated short films produced by Weston Woods? My local library used to have a bunch of them on the Scholastic VHS tapes from the late 90s. (I know some shorts were released on the Children's Circle VHS tapes back in the 80s (🎶 Come on along! Come on along! Join the caravan!), and some were packaged in Sammy's Story Shop in 2008.)

Characters:

Max, from Where the Wild Things Are, written and illustrated by Maurice Sendak

Peter, from The Snowy Day, written and illustrated by Ezra Jack Keats

Brother Bear and Sister Bear, from The Berenstain Bears series, written and illustrated by Stan and Jan Berenstain

Pooh and Piglet, from the Winnie-the-Pooh books, by A. A. Milne, illustrated by E. H. Shepard

Owen, from Owen, written and illustrated by Kevin Henkes.

Mouse, from If You Give a Mouse a Cookie, by Laura Joffe Numeroff, illustrated by Felicia Bond

Louis, from The Trumpet of the Swan, by E. B. White

Mr. Toad, from The Wind in the Willows, by Kenneth Grahame, based on the illustrations by E. H. Shepard

Mr. Tumnus, from The Chronicles of Narnia series, by C. S. Lewis

Pippi and Mr. Nilsson, from the Pippi Longstocking books, by Astrid Lindgren

Willy Wonka, from Charlie and the Chocolate Factory, by Roald Dahl, based on the illustrations by Quentin Blake

Matilda, from Matilda, by Roald Dahl, based on the illustrations by Quentin Blake (with an homage to the Mara Wilson movie)

Peter Pan and Tinker Bell, from Peter Pan, by J. M. Barrie

Merlin and Archimedes, from The Sword in the Stone, by T. H. White, based on the illustrations by Dennis Nolan

Pinocchio, from Pinocchio, by Carlo Collodi, based on the illustrations by Enrico Mazzanti

Alice, White Rabbit, and Cheshire Cat, from Alice's Adventures in Wonderland, by Lewis Carroll, illustrated by John Tenniel

Rupert Bear, from the Rupert stories, created by Mary Tourtel and continued by Alfred Bestall, John Harrold, Stuart Trotter, and others.

Arthur Read, from the Arthur series, written and illustrated by Marc Brown

Tin Woodman and Scarecrow, from the Land of Oz series, by L. Frank Baum, based on the illustrations by W. W. Denslow and John R. Neill

The Cat in the Hat, from The Cat in the Hat, written and illustrated by Dr. Seuss

a frog on a flying lily pad, from Tuesday, written and illustrated by David Wiesner

Charlotte, from Charlotte's Web, by E. B. White

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vidavalor · 5 months

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Why do you think Crowley didn't just get another apartment?

Hi! Thanks for the ask. I have French buttercream chocolate cake tonight. I know, right? It's amazing. *cuts you a slice*

To answer your question, I think we have to look at the whole thing with where Crowley parks The Bentley and when (in both seasons) and, also, the scenes that emphasize Crowley and Aziraphale avoiding being seen together anywhere in the mornings and what all this has to do with what he says is his living situation in S2.

Meta on Crowley "living in his car" in S2 under the cut.

For Crowley and Aziraphale, what has always been what *absolutely cannot happen* is Heaven/Hell figuring out that Crowley will stay in the bookshop until very, very late into the evening, as that is the one thing they'd have trouble justifying. If Crowley parked The Bentley in front of the bookshop in the afternoon/evening and it was still there at 7am the next morning, it would send a message to anyone watching that their relationship isn't just intelligence business, it's not just friendship...and it's not even really just sex. If Heaven/Hell saw The Bentley outside the bookshop all night often enough, they would assume that Crowley and Aziraphale are in a romantic relationship and this is the one thing that Crowley and Aziraphale do not want them to figure out. They can hatch a wild plan if they get caught to justify any of the rest of it and maybe get away with it but there's no way out if they get caught out being in love when they're supposed to be sworn enemies... so, if they want to spend time alone together in the privacy of the bookshop, how do they work around the problem of potentially being noticed? The show actually showed us subtly in S1 before a little more overtly in S2.

When Crowley is going to come over for awhile-- and especially when it's going to mean that he's there into the evening-- he doesn't park The Bentley in front of the bookshop. He parks it in the vicinity but not too close-- around where it was when Aziraphale called him in 2.01. Two or so minutes' drive out, on a side street. (A two minute drive is a 15 or so minute walk so not that far but a bit away.) If he's coming to the shop alone, he'll probably use the side entrance to the bookshop but if he's been out with Aziraphale-- like he was in their 'fuck everything, the world is ending' lunch at The Ritz in 2008-- they'll walk back to the bookshop. If anyone notices Crowley entering it, it'll be during the day, right? While not ideal, it's innocuous enough. Aziraphale's bookshop is theoretically a business and is also an angelic embassy and Aziraphale could say that he's trying to turn Crowley to the light and make him into an informant if they were caught. Conversely, it couldn't hurt Crowley-- whose job, like Aziraphale's, is to spy on his counterpart-- to seem like he's gaming the corruptible angel and getting intel to further the demonic goals of Hell so he could say he's luring the angel to trusting him. Being in the bookshop during the day, during what are (for normal businesses lol) business hours, when the business is also an embassy, is one thing. It's the evening that's the problem for them. At that time of day, the bookshop is nothing but Aziraphale's residence and Crowley's presence during those hours becomes much riskier. So, how to get around that?

Here's them walking back to the bookshop from wherever Crowley's parked The Bentley on a side street after lunch in 2008/Eleven Years Ago in S1:

During lunch in 2008, they already planned for Crowley to come back to the bookshop with Aziraphale and since there's no plan for him to leave in any hurry, Crowley is already not parked in front of the bookshop so no one can recognize his car there late at night. This is practiced between them; they've been doing it for awhile by this point. They still are in S2, when we have several scenes of Crowley in The Bentley parked on a side street near the bookshop.

Since Crowley can't be seen then leaving the bookshop once the sun is up or it'd defeat the purpose of the car not being parked in front of it, whenever he comes over, he leaves the bookshop through the side door at some ungodly pre-dawn hour, walks to his car a few streets over (apparating into it would be suspicious to anyone who might have found it so he usually walks, looking like he was just out late causing demonic trouble), and then, in the past, would drive back to his apartment in Mayfair. That way, when the sun came up, anyone who might be watching his place would see The Bentley parked in front of it. Didn't see Crowley leave the bookshop from the afternoon? You must have missed him in a crowd on the sidewalk somewhere because there's his gorgeous, old, very recognizable car, parked in front of his place in Mayfair, gleaming in that early morning sun.

No one was ever the wiser to the fact that on some of these nights, Crowley was not home in his apartment or out raising hell all night but was actually in the bookshop nearly until dawn.

Is it kind of miserable for Crowley to have to leave every time in the middle of the night and for him and Aziraphale to never really know what it's like to wake up together? To never get to have breakfast and mornings together? Of course. But it keeps them safe so they deal with it. As a result, though, they have a thing about mornings.

In 1.01, when Crowley calls Aziraphale in the middle of the night and they both have separately learned of Armageddon, he tells Aziraphale that they "need to talk" and then they both, without further discussion, are at their bench in St. James' Park the next day. During their talk, they decide to go to lunch and go directly there, which means that they met up sometime around 11am-12pm. So even Crowley calling in the middle of the night and setting up the meeting in the park with their code phrase means that the time of the meeting is always predetermined to be at least 11am, no matter what they need to discuss. Even after learning of Armageddon beginning, they waited until almost lunch the next day to meet up and talk about it because they never want to be seen in public together in the earlier mornings. They're afraid of someone seeing them going for a walk or getting a coffee together before midday and thinking they spent the previous night together. Crowley is always gone from the bookshop before the sun starts to come up and they never meet before 11am in an effort to keep anyone from figuring out that they are often in the bookshop-- and Aziraphale's bed-- together through the early morning hours.

Which tends to make this, their first time getting breakfast even if Crowley knew it wasn't really that because Aziraphale's "problem voice" was on, even more hilarious...

Crowley's like I left you blissed out and half-asleep in your bed *four hours ago*, angel... how on Earth is there a 'naked man friend' in your bookshop right now? He knows that Shax told him there's something going on and that Aziraphale called with a problem but this is the only time of day they usually spend apart and they always do so if Aziraphale is going to cheat on him-- which he's not lol-- this is when he would and based on the fact that Aziraphale panics at Crowley thinking there's another guy in the bookshop and based on Crowley's wtf? face at hearing there is, these two aren't sleeping with anyone else anymore and have a monogamous thing, even if they probably sort of forgot to have a discussion about it. Crowley can tell from Aziraphale's reaction that there's some misunderstanding here and then just gets bemused about it but also about ready to kill whatever guy, naked or not, is causing Aziraphale problems, only to find out that it's, well, the guy who tried to kill them.

In 2.01, when Gabriel makes his rather noticeable arrival on Aziraphale's doorstep, it is the mid-part of the morning-- probably somewhere around 9am as Maggie was just getting ready to open her store for the day, Nina was still busy but her more immediate pre-work coffee rush seemed to be winding down, and Aziraphale was having his breakfast tea on yet another day that his shop was not opening lol. The most major character to miss Gabriel's arrival is, of course, Crowley. Crowley's meeting with Shax is just before/happening in tandem with Aziraphale at Maggie's shop and then Gabriel's arrival and actually opens the storyline in the present in S2. The point is that Crowley misses Gabriel's arrival because he is not in the bookshop in the early mornings, which is then something that is heavily emphasized through Crowley and Aziraphale's first scene of the season via Nina to not just be about this particular early morning but all mornings.

When Aziraphale calls Crowley and has him meet him in Give Me Coffee, Nina has never met Crowley before. Give Me Coffee is fifteen steps across the street from the bookshop and sells coffee, tea and baked goods and Nina doesn't know Crowley. Nina has been there running it since post-S1. She knows Aziraphale though and, until the morning of 2.01, she thought the old bookseller a confirmed bachelor. In the span of 20 minutes, he gets a naked man possible deliveroo strippergram on his doorstep in front of the whole neighborhood and then then this other hot-- and surprisingly clothed-- Ginger Goth guy shows up to meet him for coffee. Nina's best guess for why the bookseller and his Crowley have never come across the street to her shop before and seem like they've literally never gotten breakfast together while they also "go way back" and have chemistry and affection for one another for days is that they're having an affair. Nina correctly guesses that their relationship is a secret and applies the most logical presumption that a human without knowledge of Heaven/Hell could-- that it's infidelity, not that they could be murdered if they were found out-- because these two live in London Soho in the year 2023 but are still afraid of being found out.

So, all of this shows how there's no Crowley in the bookshop in the morning. Neither of them have ever slipped across the street to bring back coffee and croissants for two at 7am or gone over to Nina's together. Aziraphale has been to Give Me Coffee alone before. Crowley and The Bentley are always nowhere to be found near the bookshop at this hour, which is how Crowley missed Gabriel's arrival.

So what does this all have to do with why Crowley doesn't just get a new apartment ahead of S2?

When Hell showed up in the form of Shax to reclaim the place in Mayfair in which Crowley was living, it really left Crowley with two choices. He wasn't about to tell Aziraphale because Aziraphale would feel like he had to ask him to move in with him for real and it was too dangerous. They can't have that so why bring it up and hurt them more? The two choices Crowley felt he had were to either get a new apartment or to just keep on as he's been living because the truth is... he hadn't been home to Mayfair that much lately anyway.

Before, Crowley and Aziraphale would try to go some amount of time between seeing each other but after S1, maybe with some exceptions around the Covid lockdowns but definitely not since they were lifted, they just stopped bothering that much. They were already together on borrowed time with no idea how much time they had until Armageddon: Round Two would start and they just wanted to be together so they kept up their whole routine of Crowley out before dawn and no mornings but Crowley had been more or less living in the bookshop for awhile ahead of S2.

As Aziraphale says here:

Meaning: they live together. Crowley's there all the time. Aziraphale does not mind. It's been months of Crowley in the bookshop every night. Aziraphale loves it. He hates him having to leave in the middle of the night as he always does but they've settled into a little domestic thing the best they can with the situation they have. The line is also laden with innuendo, suggesting they're not always just up talking and listening to old records until 4am but are regularly, ya know, setting off some alarm bells in Heaven together. (Couple Aziraphale's innuendo in the "plenty of use" scene with why Crowley says Muriel needs to leave the bookshop when he says he wants to take Aziraphale to breakfast at The Ritz. "We need a little 'us time'" meant all amnesiac angels and assorted representatives of Heaven and Hell need to get the Someplace out of this bookshop right now so I can finally watch that angel eat some pancakes and then take him to bed in our bed without worrying about someone needing a hot chocolate in the middle of the night.)

Their level of domesticity is actually shown to be pretty cute with this bit:

This is the most living together thing ever because it's saying that Crowley is just frequently in the bookshop while Aziraphale is out now. He's not even just there to see him but he spends time there alone while Aziraphale goes to the bank for change for the four books he sells a month and to his appointment with his barber and all his other little errands. You know Crowley likes waiting inside because he likes having a little time alone in a place where he's safe and won't be disturbed but also really the whole little domestic bliss of Aziraphale coming back and being all "Crowley? There you are" and showing him what he got at the shops and such. It's the most normal married thing imaginable and feels like they really live together and Crowley loves every minute of it.

So Hell taking his place in Mayfair back leaves Crowley with two options because it's still too risky for him and Aziraphale to just full on live together entirely: he can get a new apartment or he can basically just keep living with Aziraphale for most of the day and then spend the mornings in The Bentley/out.

If he gets a new apartment, he'd have to actually go there sometimes. He'd have to be seen moving his stuff into it and he'd have to get a new bed and he'd have to spend nights there sometimes to prove he's living there. It couldn't be suspiciously close to Aziraphale's place, so now he's got to drive more in the early morning hours. He's been spending so much time with Aziraphale, the thought of sleeping alone and spending the evenings alone again, even for a few nights now and then, is depressing. It was miserable before and now he can't to back to it again and he doesn't think Aziraphale would want to, either. He also doesn't exactly know how to tell him he'd have to be away some nights again without hurting him. They've both been alone more often than not for most of their existences and Crowley can't do it anymore. There's also, though, that getting another apartment also doesn't do much to help keep Heaven & Hell from thinking he and Aziraphale are involved... but pretending he's living in his car just might.

The only being of Heaven or Hell still talking to either him or Aziraphale is Shax and Crowley has to keep meeting up with her to get information on what's going on there and try to get a sense of how much time he and Aziraphale might have before Round Two. If he tells Shax that he's living in his car, then it makes him look less close to Aziraphale. Everyone knows Aziraphale has a private residence upstairs in the bookshop and that, if he and Crowley were really close, he'd have offered for Crowley to stay with him if he lost his apartment... so what if Crowley can make Heaven & Hell think they aren't that close, they just teamed up to stop Armageddon? He's even homeless now and the angel won't give him a place to stay. He tells Shax to tell Hell's Finance Office to send his bills to his car and Shax actually bought it and said she tried. Shax has been reporting back to Hell that Crowley is living in his car, which is what Crowley wanted her to think was the case.

Let Hell think they've won over him and taken his place and left him living in his car on a side street, let Shax keep meeting him in the early morning hours in his car on that side street... so that none of them figure out that he's actually living in the bookshop with Aziraphale.

In the meantime, no new apartment means no more nights away from Aziraphale. No commute back to it after picking up The Bentley on the side street means more time he can be with Aziraphale before he has to slip away in the early morning. He can just keep going from the bookshop to his car a few streets away each morning like he has been and that's the funniest part of it to him. Hell thinks they left him homeless and abandoned him and, really, they just made it easier for him to hide from them the fact that he's living with the angel he loves. All he has to do is bullshit them and he's good at that.

Crowley talking about living in his car is basically this in attitude, on steroids:

His pre-S2 conversations with Shax were like... Fuck, Shax, the crick in my neck from *sleeping in my car*... if Hell's Finance Office wants to find me, they can send the bills *to my car*... Bastard angel owns half of Soho, probably why I can't find a place... tell Lord Beezlebub if they're looking for me, they can go fuck themselves but if they absolutely have to contact me, they can find me *in my car*...

...and three hours or so earlier from every one of those conversations, Crowley was actually curled up in bed with Aziraphale in the bookshop.

#ineffable husbands #good omens #good omens 2 #crowley #aziraphale #good omens meta #aziracrow #shax good omens #the bentley

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itsmealaiah · 2 months

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Kitchen talk

TW: kinky shit, unprotected sex, kitchen sex, bill and y/n are 18, dirty talk, some degrading

rating: 18+, minors do not interact

request: 2008 bill x female reader; Bill comes over to yn for the first time and they bake a cake together, but since he's dirty minded he can't help but have dirty scenarios playing in his head [fucking her on tbe counter or table for example) the thing is that yn is dirty minded as well so she teases Bill by "accidentally" smudging some chocolate on the corner of his lip to then sensually licking it off

word count: 1.3k

Comments, like, and reblogs are never required but are very much appreciated ❤️

As the warm air of the kitchen surrounded him, Bill stepped inside, a smile tugging at the corners of his lips as he took in the sight of you, looking even more beautiful than he remembered. You glanced up at him over your shoulder, a playful grin on your lips, and he felt his heart skip a beat. "hi baby," you murmured, setting the mixing bowl down on the counter.

He closed the distance between them, wrapping his arms around your waist and pulling you close. Your soft curves fit perfectly against his hard body, and he couldn't help but wonder what it would be like to have you right there on the counter. The image of you, spread out beneath him, legs wrapped around his waist, hips moving in time with his thrusts, flashed through his mind. He could feel the heat rising in his cheeks as he struggled to keep his dirty thoughts at bay.

You seemed to sense his arousal, and a mischievous glint came into your eyes. With a slow, deliberate motion, you reached up and smudged some chocolate from the tip of your finger onto the corner of his lip. He tensed, unsure of what you were doing, but then you leaned in closer, your breath hot against his skin as you gently licked the chocolate away. His eyes widened as he felt your tongue on his skin, and a shiver ran down his spine.

You smiled, satisfied with the effect you'd had on him. "I guess I'll have to clean you up later," you teased, moving away from him to finish preparing the ingredients. The way your ass swayed as you walked only served to heighten his arousal, and he struggled to focus on anything other than the thought of being inside you. He couldn't help but wonder how much longer he could keep his hands to himself before he gave in to temptation.

As you worked, Bill stood nearby, trying to keep his eyes off of you. The way you moved was hypnotic, and every time you turned around, he found himself unable to look away. He could feel his cock growing harder by the second, straining against his pants. He wanted nothing more than to push you up against the counter and take you right there, but he knew he had to be patient.

Finally, you turned to face him, a playful grin on your lips. "Okay, are you ready to start mixing?" you asked, gesturing to the bowl of batter. He nodded, trying to regain his composure as he moved toward you. As he reached out to take the mixing spoon from you, their fingers brushed against each other, sending a jolt of electricity through his body.

"You know," you began, your voice low and seductive, "I've been thinking… we could always try a different kind of frosting." You glanced at the bowl of batter in his hands, then back up at him through your lashes. The way you bit your bottom lip made his heart race. "Maybe we could put some chocolate frosting on the counter… and lick it off each other?" You reached out, running your fingers through his hair, and Bill felt his control slipping away.

His gaze flickered down to the countertop, imagining the two of you there, your bodies pressed close together, his hands on your hips, your lips on his skin. The image was enough to make him ache with desire. "I think that sounds like a wonderful idea," he managed to say, his voice rough with need. He set the mixing spoon down on the counter, moving slowly towards you, his eyes never leaving yours.

As he drew near, you backed up against the counter, giving him room to stand between your legs. His hands found their way to your hips, pulling you even closer, so that your bodies were aligned from chest to thigh. He lowered his head, taking your bottom lip between his teeth, and you let out a soft moan. You reached up, tangling your fingers in his hair, guiding his mouth to yours.

The kiss deepened, tongues dancing together in a heated exchange. Bill felt the heat rising in his body, and with one swift movement, he lifted you up, wrapping your legs around his waist. Your breasts pressed against his chest, and he could feel your hardened nipples through your shirt. He moved forward, pushing you against the cool surface of the counter, hips grinding together in time with desire.

His hands left your hips, roaming up your sides, cupping your breasts through your shirt. You moaned into his mouth, arching your back, giving him better access. He palmed one of your breasts, kneading the soft flesh, rolling your nipple between his thumb and forefinger. You gripped his hair tighter, pulling him closer, your breath hot against his ear as you whispered, "More."

He growled in response, leaning down to suckle at your neck, his fingers working at the buttons of your blouse. He peeled it open, revealing your lace bra, and you gasped as he brushed his thumb across your nipple, eliciting a shudder of pleasure through your body. You pressed yourself even closer against him, grinding harder, and he could feel the heat building between you both.

With a swift motion, he undid the clasp of your bra, freeing your breasts from their confinement. You both gasped as they were finally freed, and the cool air hit your sensitive skin. He cupped them both in his hands, marveling at their perfection. His thumbs circled your nipples, rolling and teasing them until they hardened into peaks.

You arched your back, pressing your breasts further into his hands, begging for more. He obliged, lowering his head to take one of your nipples into his mouth, sucking and nipping until you were moaning uncontrollably. His other hand moved lower, tracing circles around your navel before slipping down to the waistband of your skirt.

"Take it off," you whispered, your voice husky with desire. He didn't need to be told twice. With gentle fingers, he slid your skirt up over your hips, revealing your lace-trimmed panties. His thumbs hooked into the waistband, and he slowly pulled them down your legs, slowly revealing your wetness. You were already soaking through your underwear, and the sight of you, so beautiful and aroused, drove him over the edge.

He groaned, his cock throbbing against your leg, and without further hesitation, he pushed you gently away from the counter. You stumbled forward, but he was there to catch you, lowering you down onto the kitchen island. Your legs were spread wide, revealing your wetness to him. He moved closer, positioning himself between your legs, his hardness pressing against your entrance.

With a swift motion, he thrust forward, entering you in one deep stroke. You gasped, arching your back in pleasure as he filled you. His hands found their way to your hips, holding you close as he began to move, his hips rocking against yours in a rhythm that was almost painful in its intensity.

The countertop dug into your back, but you barely registered the discomfort as your senses were overwhelmed by the feel of him inside you, the smell of him, the taste of his skin on your tongue. Your nails dug into his shoulders, urging him to go faster, harder, deeper. He obliged, his breath coming in ragged gasps as he lost himself in the sensation of being joined with you.

Your orgasm built slowly at first, a tightening deep in your core, but then it exploded, washing over you in waves of pleasure. You cried out, your fingernails digging into Bill's shoulders as you arched your back off the counter. He groaned, the sound vibrating against your skin as he thrust harder, faster, his hips meeting yours in perfect synchrony. His breath came in ragged gasps, and his body tensed as he released himself inside you, his muscles clenching and pulsing.

As the wave of your orgasm subsided, you collapsed forward onto the counter, panting heavily. Bill moved to kneel between your spread legs, his hands cupping your breasts as he looked down at you. "That was amazing," he whispered, kissing your neck. "I've always wanted to do it like that."

feeling better, my fever is gone! thank you to @kieransskin for the ice bath recommendation ❤️ 💅

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