BDSM The Naked Truth
Compilation clip featuring 9 different scenes, with 9 different Super Heroines. You get to see them at the moment they are defeated. Due to various methods, a spiked drink, losing a fight with a robot & given an injection, given the cloth & dragged away, a magic spell that puts the heroine tied down on the bed, a club ko from behind, being injected with rattle snake venom, being carried away by Pimp Daddy & given erotic gas thru a mask, a dazed nude heroine being thrown into a glue trap & a hog tied heroine injected & then kept sleepy with a gas mask. Once they are defeated, they find themselves naked, helpless & vulnerable. Naked play toys for the various villains to do whatever they want , whenever they want.Category: SUPERHEROINESRelated Categories: FORCED STRIPPING, HUMILIATION, NUDITY/NAKED, BOOT FETISH, SPANDEXKeywords: SENT TO DREAMLAND, FONDLING, BIG TITS, GAS MASK, CLUB KO, CRADLE CARRY, DRAGGED AWAYTags:Maledom,Male Domination,superheroine,superheroines,Humiliation,storyline,story line,Mixed Wrestling,mixed fight,Submission,froced orgasm,super hero, super heroines,superheroines porn,superheroines adult movies
BDSM The Naked Truth
To keep her deep, dark secret, guard Xyla Devi hides the truth when she's stabbed in the leg by an inmate on the prison planet Earth. In pain, she stops at a convenience store for a bottle of wine and runs into two alien hotties she knew back in peacemaker school. The whirlwind affair that ensues may be too good to be true. She's more used to being attacked than being loved. And the guys are definitely hiding something. Still, for a chance to fulfill her threesome fantasy, Xyla will risk everything, including her heart.
When Cecelia's ex crashes into her life, intent on killing her, she has no choice but to save herself. There are no heroes left in her world. Battle-scarred soldier Jake sees her at the mercy of a brutal foe, and has to be the hero she needs. With everything at stake, there's no time for pretense or lies. Unvarnished truth leaves them gasping for breath, and finding one last hope to make everything all right.
When Kean wakes up naked, collared and locked in a cell, he knows he's finally gotten himself into trouble. Part demon, Kean enjoys scorching sexual liaisons, a habit that has found him trapped, forced to help a demon rescue her daughter from certain death.
The next scene opens to the two women dressed in disguises. They step out on stage for a comedy act. Little do the two husbands know that the jokes are aimed at them! and as each joke is told, the two slowly strip each piece of clothing off. Little by little they become more and more naked in front of the crowd to truly embarrass them and run any chance of a political career they may have had.
The truth is that practicing BDSM safely and to the satisfaction of all play partners takes study and practice. Without proper preparation and guidance, sessions can be dangerous physically, emotionally and mentally.
So, let me begin with Weiss. Any thought that her article would wind up proximate to Elaine Scarry's classic discussion of the body in pain was deeply misguided. The echoes of Scarry's work can be found in Berlant [End Page 1483] and Edelman's work on the unmaking of subjectivity in sex; or in a previous text of Candace Vogler published in a special issue of Critical Inquiry; and in the work of Leo Bersani. As Weiss notes, these theorists show that we do not come to know ourselves more deeply or profoundly in sexual encounters, rather they open us to the incoherency of self and identity. Weiss is, however, far less interested in understanding the self in sex, whether vanilla or rough, than in, quoting Eve Sedgwick, all the "loose ends and crossed ends" not contained in sex per se, or in the identities that have clustered around its acts. What about forms of intimacy outside sex, scientia sexualis as modernity's governing regime of subjectivity and truth? Did this science of sexuality overwhelm not a previous ars erotica nor even what Foucault called alliance, but something akin to kinship? If we turned away from sexuality and toward kinship and alliance, would we find coherence there, some clear algebra of human forms of relatedness and their obligated affects, albeit culturally defined?
We demand that sex speak the truth [...] and we demand that it tell us our truth, or rather, the deeply buried truth of that truth about ourselves which we think we possess in our immediate consciousness.
A first glance at the promotional materials for My Mistress (Stephen Lance, 2014) may suggest satire, but the story is straight-up romantic drama. The film's official poster offers a highly exaggerated image of a cougar-teen relationship: one of France's most recognisable actresses, Emmanuelle Beart, sits sophisticated and severe as Maggie, behind a plainly styled boy-next-door, Australian newbie Harrison Gilbertson, who plays Charlie. Behind them are a padded pleather wall and a painting, Wild Hunt by Peter Nicolai Arbo. The mythological nature of the images on the canvas, along with the soap-opera-cum-fantasy aspect of the two figures' character types (and thirty-year age gap), plus some tacky BDSM items (fetish boots and a whip), can easily lead the average moviegoer to presume disingenuousness. Yet the poster doesn't lie: the film is more than just sexy outfits and teenage-fantasy wish fulfilment. It's concerned with familial grief, truth, desire and power. So, for all of the film's marketing misgivings, exaggeration might actually be appropriate. Still, squeezing an absurd image into the generic confines of a romantic drama is what ultimately characterises both the successes and failures of My Mistress.
Legend has it that any man who views the painting with naked eyes faces death. As a framing device, the painting introduces you to a darkly fabled world. This is Charlie's wild hunt--an erotic, coming of age romance where a boy confronts life, death and love within the care of his own Valkyrie, a suburban S & M mistress. (3)
By personalizing a medium whose authenticity rests on social consensus, these fanfiction writers were doing something in fact quite radical. It was, after all, my (or rather, our) Harry Potter they were subjecting to hardcore BDSM practices at the hands of the unrelenting Severus. And thus, the limit: no, they cannot do this; the story is closed. The closing of a canon establishes a sharp divide between the truth of the real world and the truth of the universe of that canon, and allows for mutual contradictions in a kind of parallel existence. In Ordet, the families and their sectarian bickering emphasize that canonical truth is a matter of social organization, and that the issue of what to exclude or include extends from books to people. The threat Johannes poses is the threat of an anti-social form of faith, in which the dam-like fourth wall of their universe of devotion breaks open, and God spills into the natural world as a fact. 041b061a72