Just thinking about hate sex with Toji and how fucking exhilarating yet unforgiving it would be to experience such a thing with that man.
A/n: (Reuploaded bc I forgot smthn my bad) A little something for y'all so I can whip up something in my drafts to celebrate 50+ followers and getting 1k notes on my daddy toji drabble!! Tysm again for the love!!! :')))
Cw: mean dom! Toji x fem! reader - spanking (1x) - doggy style then switch to missionary position - degradation (Toji calls you a "lil' girl," "bitch," and "ho") - pet names (dollface, baby, baby cakes, sweetheart) - Toji biting your shoulder - slight bondage; the reader has their hands tied behind them - the reader feels humiliated while Toji is his cocky egotistic self - mention of blood.
Wc: 575
Toji's so ruthless with you. Your face's kissing the cold floor, hands tied behind your arched back for Toji to do whatever he wants with your ass on full display.
The pace of his hips is so absurdly harsh your legs feel as if they're about to give way, and you can do nothing but receive his irrational treatment. You can feel his dick use your swollen cunt like a toy, his girth stretching your poor southern lips, and it hurts along with the merciless rhythm.
You try not to cry as tears prickle under your eyelids. The fucker of a man already has you in a humiliating position, and his hands leave crescent markings from his fingers on the side of your hips. Seeing your face in tears is the last thing he needs to see.
Toji bends down to your ear, his body weight pressing down on yours, and it has to take you biting your lip hard to suppress a moan from your lips. The taste of blood sits on your taste buds.
"What's wrong, dollface?" The husky voice almost makes you squeeze hard on his cock. God, you hate this man so fucking much. "You were talkin' some high and mighty shit not too long ago, where'd that pretentious bitch go? Wanna — hnngh! Shit, shit… Wanna hear that sweet voice again."
You peer at him through your shoulder. The aggrieved glare isn't taken seriously by the older man. "Hmph, pretentious? Quite a big word, didn't think a brute like you knew i- Iiiyaaaaah!!!"
A hard smack to your ass has you gasping for air, followed by your pussy gripping his manhood, and Toji has to use your shoulders as leverage to not cum in haste. You feel as if you can't breathe with all this pressure and weight on top of you. A tear finally comes down from your face and smears onto the ground.
"I'm not playin' games with you, ho." Toji gnashes his teeth and draws downward to bite your shoulder blade, earning an ear-piercing shriek from you. That outta teach ya a lesson. "Got anythin' else smart to say, lil' girl?"
You can't fight the tears at this point, letting them slide down your pretty face. The pathetic and humiliating atmosphere clouds your senses so much so that crying is the only thing left to do.
"Hic…N-No…" Your sobs come out naturally, and you do what you can to hide your face from Toji.
That didn't seem to be in your favor because he heard the weep, bringing himself up to switch your position. Your front is now facing him as he can see the tear-stricken face, and the glare you give him is through squinted eyes filled with anger and misery, proof that your dignity is broken.
Toji whistles and smirks. "Heh, if you could see the look on your face, baby. I'd love to have a picture of it in my wallet."
"F…Fuck you." Your spat with words that still possess venom, even if you're physically restrained.
"News flash, baby cakes:" An unforeseen thrust has you yelp aloud, so harsh and savage that your back arches towards Toji. He sneers. "Already am."
His pace returns at its relentless tempo, his dick bullying your insides, and you moan in helpless whimpers. Toji leans down to grab your face before he kisses you to shut your cries. "And I'm gonna enjoy every moment of it, sweetheart."
⋆⁺。˚⋆˙‧₊✩₊‧˙⋆˚。⁺⋆
Again, tysm for the support!! It really fills my heart when y'all like my stuff, and I hope to continue writing things I like~~
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Star Trek theme tunes: worst to best
Star Trek’s many TV series each have an opening sequence that attempts to set up the viewer for the show ahead. A good theme tune delivers a high-quality piece of music that encapsulates the show’s essence — and it is on this basis that I’ve ranked the themes. What isn’t included in my ranking is anything about the graphics that accompany the music, nor the show itself. Naturally, these are all purely my personal opinions, so there can be no argument.
Let’s get started!
11: Enterprise
“It’s been a long road…” are five words that launched a lot of strong feelings — and rightly so. The jarring mismatch between everything about this song and everything Enterprise was about relegates this theme to the bottom of the heap. The opening graphics are spot-on for the show’s premise — but I never got to watch them because I needed to skip the music, and that makes me madder.
If you want to know what could have been, search YouTube for “Star Trek: Enterprise Opening Credits with Archer’s Theme”. That music is perfect for the show: slow, dramatic, building up for the big reveal. Then finish weeping / gnashing your teeth and come back here.
This theme also meant that we can never have a Star Trek theme with words again, ever, because we have been all primed to hate such things because of Enterprise — and that’s sad.
Imagine if we’d had a good theme with words that we could all sing at appropriate and inappropriate occasions.
10: The Animated Series
You’d forgotten about this series, hadn’t you? I will confess I haven’t watched any episodes (unlike the other ST series), but that doesn’t me having an opinion about the theme music. The jaunty theme music. The theme music that speaks of hijinks and hilarious consequences. The theme with super precise drumming — the perfect accompaniment as we join our hero sipping a cocktail in his usual bar by the beach.
Wait, this show is about space exploration?
9: Discovery
Open with Those Four Notes (good), wistful hunting call horns (good), build up to a climax (good), and then… umm…
What follows musically reminds me of Fringe (a great show that also involved Alex Kurtzman and Robert Orci as creators). Fringe was a show about the discovery of new scientific things (and the consequences thereof)— but Discovery is not. The stories of Discovery revolve around battling against various things. The main theme (minimalist repeated eighth note patterns with a slow-moving melody) simply doesn’t speak to premise of the show. It ends with the ascending “Star Trek motif”, but it just feels like something bolted on to end things.
This is a theme based on the title, not on the events in the show.
8: The Original Series
I’m going to get some flak for this, but I don’t care. Yes, The Original Series is sacred. Yes, this theme gave us Those Four Notes right at the start. Yes, it gave us the classic opening words. Yes, we must remember TV was different back then when judging TOS. But I’m ranking the music, and so that’s all that matters.
This is a show about exploring strange new worlds and going boldly. The music is not that. The music is about going somewhere on holiday in your 1960s convertible, or possibly going home from work for the weekly comedic capers. It’s not going boldly anywhere, it’s not exploring new worlds, and that’s final.
… I am going to get so much flak for this.
7: Picard
This is a theme unlike any other, but this a series unlike other, so that’s OK. The wistful main melody on solo cello works for the show and its premise. The theme then gets musically developed by other instruments in a musically satisfyingly way.
However, two-thirds (!) of the title graphics are consumed by the 137 producers, supervising producers, co-executive producers, executive producers, and producing producers — and it feels the music had to be extended by a good 30 seconds to cover them all. Like Discovery, it ends with ends with the ascending “Star Trek motif”, but it (just about) feels musically connected to what came before.
Overall, I am left with a very neutral opinion. There’s nothing that bad about this music, but nothing that makes it stand out.
It’s boringly OK.
6: Strange New Worlds
After the classic opening words, the dramatic bass line/repetitive strings/drums kick in, the music builds, everything’s set up for the main melody…. and what’s that? Well, you can’t hear that melody because the orchestration that gives it insufficient body, and the sound mix gives the accompanying dramatic bass line/repetitive strings/drums far too much prominence.
The overall structure is good — repeat the main melody with some extra oomph, transition to the B melody, build to a climax with some block chords, then bring every down nicely with the hunting horn call. It ticks all the boxes on (manuscript) paper — but the orchestration and mix just means I can’t enjoy it properly.
Give the melody some more body, turn the volume down on the rhythm section, and this theme would jump up a lot of places.
5: Deep Space 9
DS9 isn’t about going boldly anywhere, but it is still about dealing with dramatic, important things. The music has a stately beauty that reflects both those things. The opening lonely horn illustrates the emptiness of space, before being joined by more horns to build drama. Then the main melody kicks in over a minimal accompaniment, raising the hairs on the back of my neck. There’s a pedal note that sustains through most of the opening — so that when the bass finally moves, it makes for a dramatic conclusion.
Later seasons brought a new version that tried to punch up the excitement a notch by increasing the speed of the main melody and adding some more texture to the accompaniment — but at the cost of the stately beauty that is this theme’s best feature. Let’s ignore it.
The title sequence is about 30 seconds too long, which means the beauty has faded somewhat by the end. (Yes, the opening for Strange New Worlds is a similar length, but the music doesn’t kick in until after 30+ seconds).
Overall, a solid piece of music that aligns well with the show’s premise.
4: Lower Decks
Lower Decks is a show that is both 100% serious and 100% affectionate parody. It does everything any other Star Trek TV series does, while turning it up 11 in order to skewer those things. Musically, that’s a tough premise for a theme tune.
So what happens? We open with Those Four Notes, followed by hunting horn calls, then a dramatic main theme on trumpet that’s repeated on all the strings — followed by gear-changing chords into the real main theme. A theme that gets a full-bore orchestra with a melody on brass that descends like someone resigned to not doing first contact (no hopeful ascending motifs here!). Then a solid build-up brings it to a satisfying conclusion.
Like the show, this theme works both seriously and as affectionate parody.
3: Voyager
The show has a tension between “let’s get home as soon as possible” and “ooh, new alien planet to explore” — and the music reflects that.
The theme opens with muted trumpets on a lonely motif (plus timpani) at the start to bring a sense of the dramatic, but without wanting to shout too loudly about it in this unknown part of the galaxy. The main theme on the horns is repeated with added texture and followed by a B melody on strings. Both bring a sense of the long journey ahead, with an ebb and flow throughout.
A slow build-up is then followed by a gentle climb back down — then a rapid (and musically seamless) build up to an emphatic restatement of the opening motif, ringing out to remind us this isn’t just about skulking back to Earth.
Voyager may be headed for home, but it’s still boldly going new places.
2: The Next Generation
Whatever you feel about Star Trek: The Motion Picture, we can all thank it for this music. TNG opens with Those Four Notes on something ethereal, followed by the best delivery of the classic opening words (sorry Anson Mount!) with a hunting call on horns underneath—then we’re into music about exploring strange new worlds and going boldly. It’s going on an adventure — journeying to places unknown to find things unknown.
Structurally, it’s simpler than other themes: after the main melody on brass, we get the string-heavy B melody twice, then back to a shortened version of the main melody to end. However, the post-words music only takes up half the opening, and those two melodies have enough going on to sustain our interest.
You’re left excited about what’s going to happen this week— because we’re exploring, damnit.
1: Prodigy
Four chords build tension, launching into drums+ostinato that tell you right away that exciting things will be Going Down.
Dramatic trombone and bells set up a musical cadence that gets resolved into the start of the heart-stirring main melody soaring out on horns clearly over the accompaniment (take note, SNW). The main melody repeats with added trumpets, and transitions into the drum-less B melody on lush strings that tells you it’s also about the journey. Then bridge into a repeat with everything turned up a notch.
Things get a little chaotic for a moment (what else do you expect with this crew?), but it’s OK, because we’re back to those dramatic trombone and bells (plus friends) to bookend things and lead us into a final resolution… that leaves just enough going on afterwards to accompany Those Four Notes, as though that was the plan all along. Then spike the ending so there’s no doubt we’re done.
Perfect.
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Do you have a strong accent poll: Screaming, weeping, gnashing of teeth. If I open my mouth to speak English around a fellow native usamericans they say, sometimes literally, “what the fuck” and always “where are you from??” I CAN fake an american accent near-perfectly if I focus but I still confuse my vocab. If I talk around British ppl they just go “oh 😊 you’re american 😊” while the americans stare in horror. However, if I’m drunk, tired, stressed, or not concentrating I will be assumed perfectly RP British (or once, memorably, perfectly Irish by an Irishman I accidentally parroted). Meanwhile in German I am regularly told I don’t have an accent by Germans living in Austria and a few Austrians, which causes immense difficulties bc this leads to the catastrophic assumption I understand German. I cannot pronounce an o correctly in any language, nor kebab. I pronounce Turkish and Arabic with horrific American i (ee) sounds and i must be stopped. I used to speak French with a perfect Basque accent; i no longer speak French.
Sometimes i slip back into a flat Florida accent as if none of this has ever happened in my life, everyone breathes a sigh of relief, and then like a horror movie I say “trousers”
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It's finally here! The first chapter of this beast. I hope you enjoy! Many thanks to @zeldaelmo for encouraging me to complete this and being my beta!
Excerpt:
“Marin! Open this door!” Pounding rattles the door in its frame.
“Shit!” Link jumps out of bed to hop on one foot, his other tangled in the pants leg. Marin rushes to the window and throws the shutters wide, urging him to hurry.
“I am hurrying!” Foot finally emerging victorious with the knotted pants leg, Link pulls his threadbare linen shirt over his tousled blond head and shrugs into his forest green overcoat.
Splintering wood sends Link strapping on his sword belt as he bolts to the corner where his boots had been errantly tossed during the throes of passion the previous night.
The door slams against the wall, sending a framed landscape crashing to the floor. Byrne bursts in, top-knot quivering, fists clenched. One, a deadly metallic claw, clicks menacingly. Narrow, angry black eyes sweep the room. When he spies Link, his face darkens, harkening a coming shit storm. Link gulps.
“You!” Byrne growls, gnashing his teeth, spittle flying. Who needs a shower with this guy around?
“Hiya, Byrne. I was just stopping by to offer my good wishes for your happy nuptials,” Link tosses over his shoulder, collecting his boots and wondering if he should pull his cutlass now or wait to see how things play out.
“He ravished me, Byrne,” Marin weeps, throwing herself into Bryne’s arms.
Well, that played out faster than Link expected. Ravished? No, it was more like pleasured thoroughly, and she’d enjoyed every minute of it. Marin had left Link out to dry to save her own skin.
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