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fibula-rasa · 1 year

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Lost, but Not Forgotten: The World’s Applause (1923)

Direction: William C. de Mille

Scenario & Titles: Clara Beranger (more about Beranger at the Women Film Pioneers Project)

Camera: L. Guy Wilky

Sets & Costumes: Paul Iribe

Studio: Famous Players-Lasky (production) & Paramount (distribution)

Performers: Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa, James Neill

Status: presumed entirely lost

Synopsis (synthesized from magazine summaries of the plot):

Corinne D’Alys (Bebe Daniels), f.k.a. Cora Daly, is a theater star who has “taken the Rialto by storm.” Unfortunately, Corinne also has a desperate hunger for publicity. Her manager, John Elliott (Lewis Stone), who also happens to be in love with her, advises her to be more sensible about her career. A famous artist, Robert Townsend (Adolphe Menjou), has become enamored with Corinne, and wants to paint her portrait. Despite John’s warning that Robert wishes only to “see more of her,” Corinne sits for the portrait.

Robert plans on throwing a party to celebrate finishing the painting but declines to invite his wife, Elsa Townsend (Kathlyn Williams). Elsa comes to her husband’s studio anyway and finds the portrait and a pearl headdress that Robert is going to gift to Corinne. In a jealous rage, Elsa takes a knife to the painting and then to her husband—fatally stabbing him. Elsa also happens to be John’s sister and she calls him in a panic to help her. John arrives at the studio in secret and helps Elsa escape the scene. Meanwhile, Corinne and the guests begin to wonder where their host is, and Corinne then finds the body of the painter.

John convinces the police that Corinne is innocent. Corinne leaves town to avoid the storm. Unfortunately, John then becomes the primary suspect, as he had a notable fight with his brother-in-law months prior. When John is arrested, Corinne returns and confesses to Elsa that she feels morally responsible for Robert’s murder. Elsa then confesses to committing the murder herself. It’s implied that Elsa commits suicide via “the watery route.”

Now that both John and Corinne have been cleared of suspicion, they are free to marry and Corinne has lost her appetite for publicity.

Transcribed sources & annotations below:

Moving Picture World, November 11, 1922

News from the Producers

Conducted by T.S. da Ponte

Changes Titles of Two

Three new titles have been chosen for as many forthcoming Paramount pictures.

William de Mille’s recently completed production from an original story by Clara Beranger, in which Bebe Daniels, Lewis Stone, Kathlyn Williams and Harrison Ford have the important roles, has been permanently titled, “The World’s Applause.” “Notoriety” was the title originally chosen, but when it was found that another company had a prior claim, it was changed temporarily to “Paths of Glory,” which in turn has now given way to “The World’s Applause.”

Mary Miles Minter's latest picture, just completed under the direction of Charles Maigne and adapted from Stephen French Whitman's novel, "Sacrifice," is to be called "Drums of Destiny."

"Racing Hearts" is the title chosen for the new picture Agnes Ayres is just starting under the direction of Paul Powell. This is a story by Byron Morgan, author of the Wallace Reid automobile racing pictures, and Miss Ayres has the role of a race driver who goes in and wins a thrilling speed contest when the regular driver fails to show up.

Both "Drums of Destiny" (titled "Drums of Fate" on release in 1923) and "Racing Hearts" are also lost films.

Exhibitor’s Herald, January 20, 1923

REVIEWS

BEBE DANIELS IN

WORLD’S APPLAUSE

(PARAMOUNT)

A fascinating story of the life of an actress who unwittingly becomes involved in a murder mystery which almost brings about her downfall professionally. Lavishly presented, very well acted and directed in William deMille’s best style. Length, 6,528 feet.

An original story by Clara Beranger provides Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolph Menjou and others with a suitable vehicle in which to display their talents. There is good story interest for the most part, with good surprise value and considerable dramatic suspense in the contest of wits between the detectives and John Elliott and his sister.

Lewis Stone plays the role of Elliot and gives an unusually convincing and consistent characterization. The director, author and producer are to be congratulated upon securing Mr. Stone’s services for this part. Miss Daniels appears in the role of an actress who is a hound for publicity, and the moral of the story shows how ready the public is to condemn these children of the stage. Kathlyn Williams has the role of Elsa Townsend, wife of an artist in love with the little actress, who in a fit of jealousy kills her husband. A difficult role, but played with restraint and conviction. Adolphe Menjou is the artist. Bernice Frank was the maid; Mayme Kelso, secretary to the actress, and George Kuwa, valet to Townsend. James Neill was Elliot’s valet, while Brandon Hurst played James Crane, owner of a string of newspapers.

Corinne d’Alys, popular Broadway star, poses for Townsend while he paints her portrait. On the day he is to display the painting he gives a party at his studio. As the guests assemble, Mrs. Townsend comes to the studio, discovers a valuable pearl headdress which her husband is to give to Corinne, and the portrait of the actress. In a fit of jealousy she strikes him down and leaves the studio with her brother, John Elliot. The discovery of the dead artist throws suspicion upon the members of the party. Corinne telephones to her affianced husband Elliott and he succeeds in convincing the police that she is innocent. Crane takes a hand in the investigation, however, and dogs Elliott’s footsteps. A confession from Mrs. Townsend finally clears Elliott and the little actress, and she no longer seeks the world’s applause, but is content to settle down with John.

The Film Daily, February 2, 1923

A Typical DeMille Entertainment With the Usual Atmosphere

William DeMille Prod.

“THE WORLD’S APPLAUSE”

Paramount

DIRECTOR…William DeMille

AUTHOR…Clara Beranger

SCENARIO BY…Clara Beranger

CAMERAMAN…L. Guy Wilky

AS A WHOLE…Consists of situations and atmosphere intended to provide visual appeal but that is as far as it gets

STORY…Artificial and quite theatrical; flavored with sensational bits that will make it popular with a certain crowd

DIRECTION… Very good as far as production goes and usually handles story with good judgment but ending is too long arriving

PHOTOGRAPHY…Excellent

LIGHTINGS… Good

PLAYERS… Lewis Stone and Bebe Daniels featured with Stone doing his usual good work and Miss Daniels a suitable but not beautiful Corinne d’Alys; others Kathlyn Williams and Adolphe Menjou

EXTERIORS…Few

INTERIORS… Many elaborate settings

CHARACTER OF STORY…Star seeking publicity is cause of man’s death at the hands of his jealous wife

LENGTH OF PRODUCTION… 6,526 feet

Probably because there is a moral to it the unpleasant bits in “The World’s Applause” will have to be excused but it does seem unfortunate that they have to wade so deeply into scandal and sensation providing incidents in general, to get to it. Before you finally learn the lesson of this film—that success is not measured by the amount of prominence you attain—you are treated to some mighty intimate scenes in which a popular stage favorite is the sensuous, central figure. She is very deliberately sought by a famous portrait artist, a married man, who plans his seduction in elaborate style. Of course he has a studio establishment which figures prominently in his scheme and the very innocent young moth runs headlong into the flame heedless of the warning of her manager, who really loves her. The aggravating thing about these petty publicity seekers is that you are expected to accept their sugar-wouldn’t-melt-in-their-mouth attitude for the real thing.

But this Corinne d’Alys spoils it all, or the title writer does it for her, when she admits that her would-be lover will give her everything but “a narrow gold band.” The titles, incidentally, are very bad. There is one in which the true lover warns the girl that the artist wants her to pose for him so that “he can see more of her.” The titles are quite off color in many similar instances. This one particularly seemed to strike the Rivoli audience as a thoroughly fine humorous touch.

William DeMille is following closely in the footsteps of his brother, Cecil, when it comes to making pictures with plenty of pictorial appeal and colorful atmosphere. In this respect the picture is interesting and should satisfy. From a story angle, it is all a matter of taste. Where they like theatrical, sensational stuff, it is all very nice but where they want clean, wholesome stories, it may be different.

Bebe Daniels handles the role of Corinne adequately but she never gives the impression of being sufficiently beautiful to have “The World’s Applause.” Lewis Stone is always capable but deserves a more sensible role. The cast, on the whole, is suitable.

Story: John Elliot’s new star, Corinne d’Alys, is swept off her feet by sudden success. She accepts the attentions of Townsend, an artist, the husband of Elliot’s sister, who paints her portrait. Townsend is accidentally killed by his jealous wife and Elliot is arrested. His sister, realizing Elliot loves Corinne, commits suicide, leaving a confession which clears Elliot and cures Corinne of her craving for publicity.

One of those negative reviews that makes you want to watch a movie more, eh? Moralizing and misogyny on full display! Phew.

The Moving Picture World, February 1923

“World’s Applause” Released January 21

William de Mille, Paramount producer, departed temporarily from his custom of filming stage dramas when he made "The World's Applause," which was on the Paramount release schedule of January 21.

This is an original story by Clara Beranger, who has written the scenario of all of Mr. de

Mille's recent photoplays. Bebe Daniels and Lewis Stone are the featured players in a cast which Mr. de Mille considers one of the best he has had in his long career as a producer.

An ultra-modern note is struck by Miss Daniels in her costumes, it is reported. In each succeeding scene she wears something different from the preceding one, and although Mr. de Mille never allows his photodramas to descend to the level of mere fashion shows, this feature of "The World's Applause" is certain to intensify every woman's interest in the picture, Paramount says.

Variety, February 1923

WORLD'S APPLAUSE

Paramount picture presented by Adolph Zukor. William DeMille production, featuring Bebe Daniels, Lewis Stone and Kathlyn Williams in story by Clara Beranger.

At the Rivoli, New York, week of Jan. 28.

Corinne d'Alys..........Bebe Daniels

John Elliot........Lewis Stone

Elsa Townsend...Kathlyn Willams

Robert Townsend, her husband…Adolphe Menjou

James Crane...Brandon Hurst

Maid to Corinne...Bernice Frank

Secretary to Corinne.........Maym Kelso

Valet to Townsend..George Kuwa

Valet to Elliot......James Neill

“The World's Applause" is a screen treatise on theatrical publicity and exploitation with a twist that a certain theatrical personage's craving for newspaper "notices" and the desire to be the talk of the town boomerangs viciously when she is indirectly implicated in a murder mystery.

The theatrical personage is Corinne d'Alys (born Cora Daly), who has "taken the Rialto by storm," but who is counselled by her manager-lover (Lewis Stone) to cease her craving for the world's applause and deal seriously with her work. This is momentarily disparaged by her

with ensuing developments taking the audience rather interestingly through the usual five-reel span.

It starts with Robert Townsend, an artist who has "arrived" (Adolphe Menjou), becoming enamored with the favored and favorite footlights beauty and honoring her with painting her portrait for the annual Parisian exhibition. Townsend is married to the sister of John Elliot, the impresario, and a parallel situation develops of Townsend slighting his wife for Corinne, and

Townsend interposing himself between the actress and her suitor, Elliot.

At a studio party in Corinne's honor to which Townsend did not invite his wife, the latter enters

through the private studio door and, enraged at her husband's nonchalance, slashes the portrait and stabs the artist fatally. She telephones for her brother, who also enters unbeknown to the guests in the outer rooms. Both slip away, but not without being seen by a newspaper

publisher, whose testimony implicates Elliot, who shields his sister. Elliot is arrested on first degree murder charges, but is absolved when his sister confesses to Corinne. The sister runs away, and there is a suggestion she commits suicide via the watery route.

Not much to the story, but rather deftly handled by DeMille in his customary pretentious manner—never lavish but always in good taste. The captioning is pithy and bright, and such leaders as "the public always believes the worst about an actress" is good lay propaganda for the profession.

Miss Daniels sports a nobby collection of clothes to excellent advantage. Mr. Stone is a sincere opposite, who also has the ability of really acting when called upon. Miss Williams, too, accounted for herself handily.

The picture pleased at the Rivoli

Abel

Cine-Mundial, April 1923 p. 218 & 239

EL APLAUSO DEL MUNDO

(The World’s Applause)

“Paramount” — 150 metros

Intérpretes principales: Bebé Daniels y Lewis Stone. Colaboradores: Kathryn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa y James Neill.

Argumento de Clara Beranger. Dirección de William DeMille.

Argumento

Corina, actriz, tiene sed insaciable de publicidad y se muere por ver su nombre en letras de molde, bien grandes, aunque sea a costa de escándalo, sin escuchar los consejos de su empresario, Elliot, que la ama. Los periódicos mezclan a la joven en un lío en el que ver un famoso pintor que le está haciendo su retrato. La noche en que el artista va a celebrar con un banquete la terminación del cuadro, se presenta en escena su mujer, disputan, y en un acceso de rabia, la consorte se apodera de un cuchillo para destrozar la pintura y, accidentalmente, mata al artista. La homicida es hermana de Elliot y éste trata de salvarla a to-

(Continúa en la página 239)

NUESTRA OPINION

(Viene de la página 218)

da costa del presidio. Llega hasta a asumir la responsabilidad del delito, cuando las sospechas recaen en su contra, por causa de un disgusto tenido, meses antes, con su cuñado. Pero, justamente cuando la policía va a detenerlo, la hermana confiesa su crimen y Elliot y Corina, sus nombres limpios de mancha, se casan.

Tengo debilidad por Lewis Stone como actor. Quizá por eso me haya gustado tanto esta película, de impecable dirección. Por causa de la reducción de los escenarios, se concentra el interés en el tema y eso añade fuerza dramática a toda la obra, aunque el argumento no tenga, ni con mucho, excesiva novedad. Si se sujeta la película al análisis, se corre el riesgo de dejarla maltrecha. Prefiero, pues, dar sólo idea de lo que a mi me pareció. — Guaitsel.

Translation:

Lead actors: Bebe Daniels and Lewis Stone. Supporting actors: Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa and James Neill.

Scenario by Clara Beranger. Direction by WIlliam DeMille.

Scenario

Corina, an actress, has an insatiable thirst for publicity and would die to see her name in lights, even at the cost of scandal, without listening to the advice of her manager, Elliot, who loves her. The newspapers mix the young woman up in an imbroglio with a famous painter, who is painting her portrait. On the night that the artist is going to celebrate the completion of the painting with a banquet, his wife appears on the scene, they argue, and in a fit of rage, the wife seizes a knife to destroy the painting and, accidentally, kills the artist. The murderer is Elliot’s sister and he tries to save her from prison at all costs. He goes as far as assuming responsibility for the crime, when suspicion falls on him, due to a disagreement he had with his brother-in-law, months before. But, just as the police are going to arrest him, the sister confesses her crime and Elliot and Corina, their names clean, get married.

I have a soft spot for Lewis Stone as an actor. Maybe that’s why I liked this impeccably-directed film so much. Because of the limitation of settings, interest is concentrated on the theme and this adds dramatic force to the whole work, even though the scenario isn’t very excessively novel at all. If you subject the film to analysis, you run the risk of dealing damage to it. I prefer then to give only the outline of how it seemed to me. — Guaitsel.

Photoplay, April 1923

THE WORLD’S APPLAUSE—Paramount

CLARA BERANGER seems to have dramatized the recent newspaper headlines. An idol whose fame has been built upon publicity gets involved innocently in a murder and the aforementioned publicity turns out to be a boomerang, demolishing said idol. Tritely told by William de Mille, who isn’t living up to early expectations. Bebe Daniels is pleasant enough as the idol.

Presumably, this writer is alluding to the Mary Miles Minter / William Desmond Taylor scandal from February of 1922. Kind of an interesting assumption given that, at the time, Minter was still under contract with Famous Player-Lasky, the same company that produced The World’s Applause.

The Story World and Photodramatist, April 1923

The World's Applause

With the excellent theme of regeneration after a terrifying experience, William De Mille slices his emphasis a bit in the story of The World's Applause; though he presents a warning to all actresses or public servants who, in their greed for applause, get themselves talked about in the wrong way, he misses the hole by a few inches because Corinne D'Alys is not the one to pay the piper most heavily. Even though she claims she is morally guilty of the murder, I found it

difficult to believe her regeneration more than skin-deep, possibly because the suggestion of the suicide of the physically guilty but wholly justified wife fades so quickly into the scene of Corinne's future happiness.

In lieu of convincing plot to express his theme, Mr. De Mille has resorted for public appeal to the tinsel more often found in a C. B. de Mille production—to lavish sets and to gowns for Bebe Daniels as daring and gorgeous as any of Miss Swanson's. For admirers of this young actress, the picture will doubtless be more or less satisfying, but contrary to dramatic principles, to the opposition have been given the histrionic opportunities

It is many pictures since I have seen such an amusing lothario as the unfaithful husband; but pushed too far by his desperate wife, he rises to the breaking point very naturally. The development of the battle of their wills into one of physical violence and murder deserves high

praise as an example of loss of mental control at the moment of physical contact. The stellar role from the dramatic angle is that of the neglected wife—excellently portrayed by Kathlyn Williams. The story revolves around her problem of protecting her home and retaining her

husband's love. It is she who struggles and suffers through her hasty deed, and in the end sacrifices herself that her brother and the foolish enticer of her husband may be happy.

The weakness of the plot is early evident for the first big dramatic scene does not include the supposed lead. While Corinne is in another room with the guests, the artist's wife declares to her husband her intention of being present at the dinner to celebrate the completion of his portrait of the actress. When her husband urgently remonstrates, she seizes a knife and in the old sensational manner slashes the portrait. He seizes her hand, the exasperated animal rises in her, and she plunges the knife into his side. Horribly frightened, she phones to her brother; he assists her to escape and later denies all knowledge of the crime.

Meanwhile the supposed lead, growing tired of waiting, opens the door on the body of the artist. The guests, sensing a scandal, leave Corinne to enjoy the notoriety her desire for applause has brought upon her. The brother is suspected and his and Corinne's financial backers withdraw their support. Instead of remaining to fight it out, Corinne leaves town. The brother is arrested, and his sister is torn between her love for him and her fear of prison bars for herself. When Corinne returns, she goes to the wife and claims the moral guilt.

In a rather confused manner the story rushes through the confession of the wife and the suggestion of her suicide to the inferred regeneration and future happiness of the actress with the recently bereaved brother. Odd thing, poetic justice! Frankly this picture is not up to the De Mille standard; its appeal is to the more superficial emotions and through the eye rather than through the intellect or heart of the discriminating spectator. It is not the clean, wholesome picture I had anticipated.

Picture Play Magazine, May 1923

The Screen in Review

“The World’s Applause.”

If you are a young actress who will do most anything for publicity, this film will be a lesson to you. Otherwise it will be sheer entertainment, cooked up by William De Mille and charmingly acted with Bebe Daniels as the publicity-mad star and Lewis Stone as her manager. The story has really original twists in it and is directed with humor and restraint. Its only flaw is the incredibly silly subtitles. I don’t understand how Mr. De Mille let them get by in one of his productions which always bear a certain imprint of good taste and sophistication.

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weirdlookindog · 5 months

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Scilla Gabel and Liana Orfei in Mill of the Stone Women (Il mulino delle donne di pietra, 1960).

#il mulino delle donne di pietra #mill of the stone women #scilla gabel #liana orfei #1960 #1960s movies #1960s horror #giorgio ferroni #gothic horror

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movieposters1 · 1 year

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#Mill Of Stone Women

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notyetneedcoffee · 8 months

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Stretch

Kinktober - Size Kink NSFW - Adults Only

Summary - The Witcher is just so big.

“I’m surprised to see you here.” You smiled up at the Witcher. “Particularly tonight.”

“Hmm.” He rumbled, though you noted his golden eyes kept darting down to you.

Standing close to him and wearing stays that held your breasts high, gave him a particularly enticing view. You knew how to take advantage of your small stature when it came to men. This man, however, was always a challenge.

People milled around the hall dressed in their finest. A large fire blazed in the hearth and musicians played. No one danced. This gathering was not that kind of celebration.

Some people considered the Trades Celebration archaic. The villages in these mountains, being isolated and small, would gather once every ten years. Some of the men and women would bed others from other villages to diversify the bloodlines of each isolated area. As the main objective of the celebration was pregnancy, a famously sterile Witcher seemed decidedly out of place.

“I could say the same for you.” Geralt finally said. “I would not have expected you to be anxious to become a mother.”

“I’m not.” You leaned a little closer to him to speak conspiratorially. “But there are great business contacts to be made here.”

He nodded. You were a herbologist. He often sought you out for rare and valuable ingredients.

“What brought you here?”

“Bruxa.” Geralt frowned. “After I cleared them out, I was offered a place to stay for a time and asked to attend tonight by Marthox.”

You grinned, glancing at the rich village elder and his four daughters. “Do you think he’s ignorant to the fact that you are unable to pass on your magnificent genes?”

“Probably.” He took a long drink from his glass.

“Do you plan to deflower one – or all – of his willing daughters anyway?”

“No.” He leaned down to your ear. The top of your head only came to his shoulder. “I’m more interested in something a little more feisty.”

“Then why are we wasting time here?” You grinned.

Geralt just turned and marched out of the hall. You had to jog to keep up with him. As soon as you turned the corner into a dark hallway, the Witcher paused. He swept you up and tossed you over one shoulder.

You swallowed a squeak, grabbing the back of his jacket out of fear of the height. “Geralt!”

“You were moving too slow.” He chuckled.

His room boasted its own large fireplace, stone bathing tub, and soft bed. You bounced in the middle of the mattress when he tossed you down. Geralt grabbed your foot to unlace your shoes. Laying there, looking at your foot in his large hands, feeling his strong fingers rub into the arch of your foot, lit the fire in your belly.

Geralt placed a knee on the bed and leaned over you. His white hair fell forward and you could smell the mead upon his breath. “It’s good to see you, little one.”

You touched his face, running your fingers over his high cheek bones and strong jaw. When you skimmed the soft skin of his lips, he lowered his head and kissed you. Your tongue eagerly reached for his as the kiss grew rough.

Geralt broke away with a satisfied noise. He gathered your skirts in his hands, lifting them to your waist. Your legs instinctively fell open for him as his rough hands slid along your thighs. As his thick finger teased your opening, rubbed around your clitoris, awakening your arousal, you laid your head back and studied his looming form.

You adored the time spent with the Witcher in bed. You felt tiny, delicate, and feminine under his touch. He exuded power. His strength could take your breath away, but you never feared he would hurt you. His wide chest engulfed you. His thick thighs pushed your legs so far apart.

Geralt’s head lowered between your legs, tasting your sex, licking and sucking at your clit. Fire circled through your body. You needed more. Pulling at the laces of your bodice, you desperately fought to free yourself from your clothes. Geralt manhandled you around, tugging at skirts and throwing away underclothes. Once naked, he again buried his face in your cunt with a determined growl.

You pulled at his white hair, shaking as his grumble vibrated through your clitoris. Two thick fingers slipped through your wetness, spreading your slick, pumping against sensitive flesh, and stretching you. Deep moans poured from your mouth as your hips rocked into his face.

Geralt rose to his knees, rubbing at your clit and fingers pumping wetly in your cunt. Your back arched as the coiling tension threatened to snap. The corner of his lip curled up. His gravel deep voice poured over you like warm honey. “That’s it, little one. Come all over my hand and I’ll stretch this pretty little pussy over my cock.”

You shook, cunt clenching at his fingers, wetness flooding over his hands.

As you lay there feeling your thighs quiver, Geralt stripped off his clothes. He did so with efficiency and no attempt at seduction, still the flex of his muscles and sight of his hard flesh caused the fire to flared hotter.

Geralt crawl over the top of you, mouth covering your breast and sucking your nipple to a hard peak. His kisses trailed up your neck, teeth grazing your skin. Kissing you, allowing you to taste yourself on his tongue, he pushed your legs further apart with his knees.

You felt the wide head of his cock rub along your entrance. With immense control, he pushed in. The stretch bordered on pain, but under assault of his kiss, breathing in the scent of sweat and sex, your body rocked up against him to invite him deeper. Rocking slowly, each thrust pushing him further, filling you. Heat burned down your chest to settle between your legs.

He sat back on his heels, pulling your body along with him. You cried out at the change of angle, his cock hitting just the right spot. Your legs wrapped around his waist. Memorized you watched Geralt allow a drop of spittle to fall up on your clit. His thumb circled and stroked as he fucked into you harder.

You moaned, back arching and hands clutching at the sheets.

“Fuck,” He growled. “Fuck, yes.”

You shook in his grip.

“Mmm.” Geralt’s hips moved faster, harder. “Again. Fuck. Come again.”

You squeezed your own tits. Geralt moaned. Your thighs quivered. You panted, breath escaping with each thrust. “Oh, gods!”

His fingers dug into your hips. He lifted your pelvis to meet each powerful thrust. Fucking you hard. You felt like you were being blissfully split into two. He growled. “I said fucking come for me.”

“Yes!” You snapped, shaking hard, whiting out.

Faster, rougher, and soon Geralt roared his own release.

He flopped back on the bed, pulling you along with him. You lay spread across his chest, a sated and boneless mass. No part of you touched the bed. You floated on a warm island of Geralt muscle. You rubbed your nose into the hair on his chest, breathing in his scent.

“Hmmm.” He sighed, one big hand coming up to rest on your ass. “Did I hurt you?”

“No.” You mumbled with a smile. “But I can’t feel my feet.”

“I’ll carry you if I need to.” The smile could be heard in his voice. “Cause I’m not through with you yet, little one.”

Want more? Check out my Master List.

#Kinktober #Geralt of Rivia smut #Geralt x reader #Geralt fic #Geralt of Rivia fanfic

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goryhorroor · 1 month

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What are some underrated horror films? I have watched all the popular ones and need more! Thanks!

mentally prepare yourself because im ready to give a gumbo list (this has been sitting in my inbox because i had to ask all my friends and this is the list we came up with):

curse of the demon (1957) the serpent and the rainbow (1988) paranoiac (1963) the old dark house (1932) countess dracula (1971) golem (1920) haxan (1968) island of lost souls (1932) mad love (1935) mill of the stone women (1960) the walking dead (1936) the ghoul (1933) tourist trap (1979) the seventh victim (1943) ganja & hess (1973) dead of night (1945) a bay of blood (1971) let's scare jessica to death (1971) alice sweet alice (1976) the deadly spawn (1983) the brain that wouldn't die (1962) all about evil (2010) black roses (1988) the baby (1973) parents (1989) a blade in the dark (1983) blood lake (1987) solo survivor (1984) lemora: a child's tale of supernatural (1973) eyes of fire (1983) epitaph (2007) nightmare city (1980) slugs (1988) death smiles on a murderer (1973) intruder (1989) short night of glass dolls (1971) the children (2008) alone in the dark (1982) end of the line (2007) the queen of spades (1949) the housemaid (1960) tormented (1960) captain clegg (1962) the long hair of death (1964) dark age (1987) the crawling eye (1958) the kindred (1987) the gorgon (1964) wicked city (1987) baba yaga (1973) 976-evil (1988) bliss (2019) decoder (1984) amer (2009) the visitor (1979) day of the animals (1977) leptirica (1973) planet of the vampires (1965) lips of blood (1975) berberian sound studio (2012) a wounded fawn (2022) matango (1963) the mansion of madness (1973) the killing kind (1973) symptoms (1974) morgiana (1972) whispering corridors (1998) dead end (2003) infested (2023) (this just came out but im adding it) triangle (2009) the premonition (1976) you'll like my mother (1972) the mafu cage (1978) white of the eye (1987) mister designer (1987) alison's birthday (1981) the suckling (1990) graveyard shift (1987) messiah of evil (1987) out of the dark (1988) seven footprints to satan (1929) burn witch burn (1962) the damned (1962) pin (1988) horrors of malformed men (1969) mr vampire (1985) the vampire doll (1970) contracted (2013) impetigore (2019) eyeball (1975) malatestas carnival of blood (1973) the witch who came from the sea (1976) i drink your blood (1970) nothing underneath (1985) sauna (2008) seance (2000) come true (2020) the last winter (2006) night tide (1961) the brain (1988) dementia (1955) don't go to sleep (1982) otogirisou (2001) reincarnation (2005) mutant (1984) spookies (1986) shock waves (1977) bloody hell (2020) the den (2013) wer (2013) olivia (1983) enigma (1987) graverobbers (1988) manhattan baby (1982) evil in the woods (1986) death bed: the bed that eats (1977) cathy's curse (1977) creatures from the abyss (1994) the dorm that dripped blood (1982) the witching (1993) madman (1981) vampire's embrace (1991) blood beat (1983) the alien factor (1978) savage weekend (1979) blood sisters (1987) deadly love (1987) playroom (1990) die screaming marianne (1971) pledge night (1990) night train to terror (1985) the devonsville terror (1983) ghostkeeper (1981) special effects (1984) blood feast (163) the child (1977) godmonster of indian flats (1973) blood rage (1980) the unborn (1991) screamtime (1983) the outing (1987) the being (1983) silent madness (1984) lurkers (1988) forver evil (1987) squirm (1976) death screams (1982) jack-o (1995) haunts (1976) a night to dismember (1983) creaturealm: demons wake (1998) the curse (1987) daddy's deadly darling (1973) nightwing (1979) the laughing dead (1989) the severed arm (1973) the orphan (1979) not like us (1995) prime evil (1988) the monstrosity (1987) dark ride (2006) antibirth (2016) iced (1988) the soultangler (1987) twisted nightmare (1987) puffball (2007) biohazard (1985) cameron's closet (1988) beast from haunted cave (1959) the she-creature (1956)

#answered #horror #horror movies

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luveline · 9 months

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Hi! I just read Prince steve's shot of the steampunk au and god, I loved it. I saw below it said you could make a request for it, so I wanted to know if you could do one about the how they met. I know it's mentioned, but I'd like to see what it was like at the time, if it's not too much trouble.

PS: qmo how you write, you are one of my role models 💕.

prince!steve au ♡ fem, 1.1k

Young people stand like dominoes in the sun, teetering, waiting to topple in on one another if given reason. Nine days of bated breath, the city waits in a ramping anticipation for Prince Steven to meet his soulmate.

You're almost hoping it isn't you so you can go home and rest your aching legs. Hours in the warm summer air, your worst dress sticking to the back of your clammy knees. You're not fit to meet the Prince. But… if you meet the Prince, and you were to somehow be his soulmate, you'd live an easy life.

You'd live in a Palace, wear the finest clothes, eat the nicest foods (three times a day!). You could spend your days lounging under crystal chandeliers eating plates of fruit and expensive cheeses, air-conditioned and always smelling of vanilla, or sandalwood, or saffron. You've never tried saffron perfume, but it's the most expensive at the apothecary.

The line mills shorter. You follow close to the heels of a girl dressed in better finery, a cherry red dress that looks like it's made of thin sheets of glass, her dark hair coiled in sweet cherubic curls at the back of her neck. They bounce with every step you take closer to the pedestal. You attach your attention to them, following the winding twist of them to the root over and over.

You want very badly to be the Prince's soulmate. You'd be stupid not to want such luxury. But letting yourself believe that it's you out of the tens of thousands of eligible young people is asking to feel disheartened.

You convince yourself for the millionth time that it's not you as you follow the line inside of the royal gardens. Trees with weeping branches arc inward, their leaves kissing and sunlight dappled onto the people below. You feel it warming your skin as you take the final stretch.

Apparently, for the King's soulmate search, he simply held out his arm and let women touch the inside of his palm with their pinky finger. He did this for two days. Prince Steven's search is taking much longer, as he's insisted on greeting and shaking the hands of everyone who's presented themselves.

You wonder what that might feel like. He's a super pretty man, with exactly the sort of smile a Prince might hope to have. Whenever you see him on the holo screens you feel sick, wanting desperately to remain indifferent to him, but knowing you're just like every other silly young person in the kingdom. You want to be a special perfect royal. You want to take his hand and leave behind your disappointing life.

Too bad it's a fantasy.

"Next, please," says a young woman with red hair, looking at you pointedly.

You bite your bottom lip between your teeth and walk determined to the top of the garden. Up three gentle steps and into a Palace of white, pearly stone. There's a long corridor lined with guards who eye you as you draw in. Deemed decidedly undangerous, they let you pass into a makeshift reception. You'd already had your name taken to be allowed in the line; nothing stands in your way of the Prince but chiffon pink curtains that shine like rose honey in the sun and a surprisingly small girl with a sword.

And there, among an audience of officials and important people, sits the Prince. He looks smaller than you imagined, a little tired. The girl with the sword kicks his shin and he perks up, to the ire of the older members of his court.

"Hey," he calls, "don't be shy! And don't be slow, either. Please. I missed dinner last night–" The girl clears her throat. Prince Steven takes on a more princely effect. "Please, come in."

The audience isn't exactly paying attention. Any hope they had for a soul mate today has seemingly passed, and you can hear a few poorly muffled scoffs at your appearance. Surely the girl before you posed a more pleasing possibility. She looked like a princess.

You stall a few paces from him.

He frowns at you. In his garb, his neat clothes, a heavy platinum crown atop his head, he's strangely intimidating. You assumed he'd feel more familiar up close, like buying a gemstone from the catalogues and finding they've sent you zirconium, but it's the opposite.

"Are you okay?" the girl asks.

"She's fine," Prince Steven says, standing up from his ornate chair. He steps down from the short platform, even his steps a princely brand of perfection. "Well you're more than fine," he says to you, and you gather from the get go that he's not flirting with you, only joking to ease your nerves.

He offers his hand.

You take in a breath and approach him with measured steps. Being run through by his personal guards crystal sword isn't on your agenda this week.

All you have to do is touch his hand and go home when nothing happens. You're nervous, but stalling any longer prolongs the awkwardness you've created.

You step forward.

Before your fingers can touch his palm, the feathered lines curled around your opposite wrists begin to glow.

A silence falls.

You take your hand back but the light doesn't fade. It's white, nearly cream in colour, with the density of fog but none of its cold. Prince Steven's eyes are wide and awash, the sun-kissed skin of his arm paled. "You–" he says, stepping forward again.

You take his hand. You have to know.

White light sears and then blooms, like petals unfurling, the source of it indistinguishable from your wrist or his. And then, when you're sure your heart might fall out of your mouth, the light dims. What remains is thin as fairy floss wrapped around your skin and his.

He rubs the meat of your thumb with the tip of his, and that light glows soft pink, like flower jam.

"It's you," he says. He sounds happy, as though you were a pleasant surprise.

You tuck your hand behind your back, and the glow remains. It's you. You're Prince Steven's soul mate.

"She doesn't look much like a princess," someone whispers.

"I wouldn't say that," Prince Steven says, his eyes roving over you without apology. His smile is as authentic as they come. "I think you'd better meet my mother."

"Now?" you ask.

"Afraid so. Don't worry, though, you look pretty." He offers his hand again. "Come on."

He's a prince. You take his hand.

#prince!steve au #steve harrington x reader #steve harrington x you #steve harrington x y/n #steve harrington #steve harrington fic #steve harrington blurb #steve harrington drabble #stranger things x reader #stranger things fic #steve harrington imagine #steve harrington fanfic #steve harrington fanfiction #stranger things #stranger things 4

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