#getgot

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“I hate you two…”

“Lies don’t suit you, love,” Lust said, chuckling a little from the pout you gave him. “If you’d really hated us being here, then you’d thrown us out the second we came in.”

You were about to protest, but words left you as the sight of a bowl filled with deliciously prepared soup was held out in front of you. You looked up at Cross, but he glanced away just as your eyes met. He was blushing.

“You need to eat,” he said, sitting down on your other side only after you took the bowl from him. “You haven’t been eating well enough these past days.”

“How do you know?” you asked, genuinely curious. You hadn’t told anyone about that.

Cross smiled, and he leaned in to nuzzle your shoulder. Obviously, he wasn’t going to tell you.

“Just eat the soup, sweetpea. We’ll cuddle and keep you warm and comfortable once you’ve finished it,” Lust purred softly. He leaned in to kiss your cheek. “We’ll take care of you until you’re better, alright?”

You weren’t sure whether it was the fever or the embarrassment that made your cheeks heat up, but you tried your best to ignore it.

Well… tried was the key word here…

The two idiots on either side of you made that pretty much impossible with the way they nuzzled and kissed you, and it only became worse once you actually finished the bowl and gave it to Cross to put it away.

Lust leaned in to kiss your cheek again, and Cross quietly purred as he laid his skull upon your shoulder. They both made themselves perfectly comfortable against you, and - despite your embarrassment - you couldn’t help but accept the affection. They were warm, cuddly, and so annoyingly sweet.

“Thanks…” you eventually mumbled, burrowing yourself back against the pillow and pulling the blanket a little further up. “For coming over, I mean.”

“Of course, love,” Lust said, smiling to you ever so sweetly.

“Always,” Cross added, taking your hand and giving it a gentle kiss.

You already felt so much better.

It was still morning when I first read the first sentence in your ask and i went !!!?!?!?!

feral reaction under the cut

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Don't think about him saying: "I feel so safe with you, love."

Don't think about falling asleep in each others arms. ♡

h-wohoooaaah, va,, im being ATTACKED (/lhj) this early in the morning,, wait, lemme have a min-

[ Don't think abou- ] closes my eyes- jk

Valacre this is a personal ATTACK on my HEART, HELLO¿¿

A decade before David Lynch’s flawed but visually brilliant adaptation of Dune hit the silver screen (see our post on that from Monday), another cinematic visionary tried to turn Frank Herbert’s cult book into a movie. And it would have been a mind-bogglingly grand epic.

By 1974, Chilean-French filmmaker Alejandro Jodorowsky had already directed two masterpieces of cult cinema – El Topo and The Holy Mountain. Both films are hallucinatory fever dreams filled with nudity, violence, Eastern mysticism and pungently surreal images. Jodorowsky himself is what they call in Los Angeles a spiritual wanderer. He threw himself into every variety of religious experience that he could – from shamanism to the Kabbalah to hallucinogens. In preparation for shooting Holy Mountain, the director and his wife reportedly went without sleep for a week while under the care of a Zen master. Not surprisingly, leading figures of the counterculture were big fans. John Lennon personally kicked in a million dollars to finance his movies. When French producers asked Jodorowsky to adapt Dune, he was at the peak of his prestige.

As the 2013 documentary Jodorowsky’s Dune shows, the director managed to assemble a jaw-dropping group of talent for the film. This version of Dune was set to star David Carradine, Orson Welles, Salvador Dali and Mick Jagger. It was going to have Pink Floyd do the soundtrack. And it was going to have the then unknown artist H. R. Giger along with French comic book artist Jean Giraud, otherwise known as Moebius, design the sets. 

Sadly, Jodorowsky’s grand vision proved to be too grand for the film’s financiers and they pulled the plug. The movie clearly belongs in the pantheon – along with Stanley Kubrick’s Napoleon and Welles’s Heart of Darkness – of the greatest movies never made. Compared to those other films, though, Jodorowsky’s movie sounds way groovier.

Of all the talent lined up for the project, Moebius proved to be central to helping Jodorowsky realize his grandiose vision during pre-production. Below Jodorowsky describes how the famed, and blindly fast, illustrator proved indispensable to him. Above is a clip from Jodorowsky’s Dune, where the director and Moebius describe more or less the same story.

I needed a precise script… I wanted to carry out film on paper before filming it… These days all films with special effects are done as that, but at the time this technique was not used. I wanted a draughtsman of comic strips who has the genius and the speed, who can be used as a camera and who gives at the same time a visual style… I was by chance with my second warrior: Jean Giraud alias Moebius. I say to him: “If you accept this work, you must all give up and leave tomorrow with me to Los Angeles to speak with Douglas Trumbull (2001: A Space Odyssey)”. Moebius asked for a few hours to think about it. The following day, we left for the United States. It would take too a long time to tell… Our collaboration, our meetings in America with the strange ones illuminated and our conversations at seven o’clock in the morning in the small coffee which was in bottom of our workshops and which by “chance” was called Café the Universe. Giraud made 3000 drawings, all marvelous… The script of Dune, thanks to his talent, is a masterpiece. One can see living the characters; one follows the movements of camera. One visualizes cutting, the decorations, the costumes…