GIRLS KICK ASS! [episode 11]

Mistress of the Dark: Elvira meet Kyrsten Sinema

Lucy’s betters yanked her here from there. Once again, she’s clean and pristine, but this time doing a Ms. Kyrsten Lea Sinema. In a word: non-progressive. As such. The dowdy outfit: Koo, prudz, perls, and careys. Unbecoming thins. Dated mopp. Looks-amping Bolshoi-bare heavily-applied [although it looks “barely-there” applied] to her hard, pretty face. The torturous undergarments: hung-like-a-horse Parts but no accompanying lisp whatsoever, barbwire garters, a clingy white satin half-slip, a binding hi-waist skin-color thong, and a constrictive white satin (6 suspenders) corselette which has been adjusted to rigorously-enforce the ridiculously-small 17-inch wasp waist of Finnish TV “Beatnik Ghoul Girl” and cult siren Vampira. An enforced wasp waist which is revealed by her Koo’s form-fitting suitcoat even when said suitcoat is buttoned. Showcasing that obsession of 1950’s females: an hourglass figure taken to Victorian Era extremes. Huge Parts bulging in the crotch of her hi-rise “flesh” knickers. Elvira would be positively green with envy.

A clarification is needed about there being no lisp. A clarification which bespeaks of the discerning lesbian etiquette, afoot: in public, no accompanying lisp whatsoever when she’s strapping, but, in private/closet, an exaggerated lisp when she’s hung.

Publicly: an old fogey. Privately: an alcoholic/drunken hi-mileage-adulteress junkie whore who can easily be mistaken for a bitter, hi-mileage divorcee.

Her usual Away kit, gripping the wide boned constrictive waistband of the miniskirt of her business suit: universal holster, smart phone, and cigarette purse.

In private, that mangled voice—that deep [for a woman], hoarse, raspy voice—but with that Danish, Copenhagen accent. In public, her “normal”, sexy voice—i.e., her own voice, not the voice of a role [think: sex kitten Jennifer Ann McCarthy, aka Playboy Playmate, Jenny McCarthy].

That same husky, sexy voice, but with that Danish, Copenhagen accent. A deep voice, for a woman. That hoarse, raspy, feminine baritone, à la B-movie actress/director Samantha “Sam” Phillips or singer-songwriter Kim Carnes of “Bettie Davis Eyes” fame. The mangled, accented voice of a dominatrix/bulldyke who is of Nordic extraction. An ugly voice coming out of a large, equally-ugly mouth. A mouth that looks like it belongs to the hard, pretty face of actress Julia Roberts. Mouths that bespeak of loathing and disdain even when that’s not the intent of their wearers. Voices and matching mouths that personify haughty. Get on your knees and worship, me!!!

The cherry on the cake? When she’s Kyrsten Sinema. It’s not just her look and her sexual proclivities, that are those of the real-life senior United States Senator from Arizona, Kyrsten Sinema. She likewise suffers from that extreme, Dr. Wendy Carr version of BDD. Resulting in a severe, bland, creepy, unattractive, frumpy cunt. The de facto Miss Mildred E Huff. Therefore. Even when she’s undressed, and looking at herself in the mirror, the girl sees herself as a frumpy cunt instead of the looker with a killer body that she is. The girl sees her entire appearance as being flawed. And, she will make the pretty girls pay for being so pretty while she’s been cursed with being such a frumpy unattractive cunt.

All the prev checkboxes, checked. And … Pancakes [i.e., flat “White Chick” no-butt butt], buxom, blonde, blue-eyed, leggy, Gal Gadot slender [not the least bit scrawny], hardlooking, haughty, and a large ugly cruel mouth that bespeaks of loathing and disdain even when that’s not the wearer’s intent, and, last but not least, a flawless, lily-white complexion—the stereotypical Las Vegas Showgirl. All the smoking-hot checkboxes, checked. Plus … a dominatrix personified, who can effortless shift into submissive mode and just as easily sink [while on binges] to the depths of depravity that define what it means to be an alcoholic/drunken hi-mileage-divorcee junkie whore.

In the bedroom of her plush hotel suite. Standing next to a bed which she has only one use for, and it isn’t sleeping. Is the extensively-modified central alcove of a Borg Queen. Crawling the alcove is a biomechanical bot, that looks like a small squid. It’s a skull hugger, that doubles as a face hugger. A “spawn” of Brainiac Nine. The creepy-looking hugger will automatically attach itself to the back of the head of the alcove’s occupant. Cosmetic effects on the wearer upon attachment? Ghoulies, hair falls out, three large breasts, serrated buck teeth, speaking in tongues, turkey neck, and a killer tongue, and a motley-grey [Borg] complexion. Said attachment, and its subsequent detachment, only occurs upon Brainiac’s command, the girl’s craving, or the gizmo’s desire. The hugger also affords Brainiac exclusive use of the girl rendered as Brainiac Nine’s version of Seven-of-Nine. The hugger resembles Brainiac’s own cybernetic cranial implant.

Brainiac. A next-gen cyborg, with numerous external and internal cybernetic implants. Brainiac is also a she-male, bald, ghoulies, three large breasts, serrated buck teeth, speaking in tongues, turkey neck, and a killer tongue, and has a motley-grey complexion. The cyborg strongly resembles a Borg Queen. But, it’s Brainiac’s tri-tit version of a Borg Queen.

Brainiac. A vain, petty, spiteful woman. Former Hollywood movie star. Neurotically scared of aging. Neurotic compulsive. Brilliant biomechanist and robotist. Criminal mastermind. She’s the one who designed and implemented her own cybernetic transformation and disfigurement. A twisted, genocidal lunatic, on par with The Batman’s Joker. Obsessed with Borg-based cosmetic perfection, she doesn’t see herself as a grotesque cybernetic abomination gone horribly wrong, she sees herself as the epitome of ageless beauty and perfection in a world that she so desperately craves would go Borg of its own volition or her coercion. Her ugly is the new beautiful. This used-to-be Dame Helen Mirren. Birth name: Helen Lydia Mironoff.

The Hugger is Nine’s domesticated kept for Lucy. This parasitic opioid skull hugger is many times more powerful and addictive than the one in the wild that was the kept of the girl as Bill. 

There’s a knock on the front door of the suite. It’s the maid service. The fully-clothed, uniformed maid enters with her cart, closes and locks the door behind her, transforming into Brainiac. She’s naked, now. Gone is the skillful lie. This is her true self. Her maid’s outfit and façade were just “features”. She replaced the real maid weeks ago, long before the girl arrived on this world. Lucy stiffens, expressionless. The cyborg walks into the bedroom and over to Lucy craving her every moment of the girl’s possession.

“Now, for something different. Your kept learns a new trick.”

The hugger leaps off the alcove and onto Lucy’s face. A face that it leaves hardlooking and ravaged, bereft of all beauty; akin to heavily-applied plaintive makeup. Finally attaching itself to the back of Lucy’s head. She transforms. The girl removes everything except for her Parts, which are now fused seamlessly to her body. Lucy as Brainiac’s Seven and total submissive. Brainiac’s sex slave, sex toy, and sex plaything. Opiates flooding the girl’s brain from the skull hugger.

“Now, you are beautiful.”

Seven says nothing. As Seven, that extreme, Dr. Wendy Carr version of BDD of hers is twisted to Brainiac’s way of thinking so that the girl now sees herself as beautiful. Brainiac’s Seven shares Brainiac’s vision of beauty and perfection. Brainiac’s deadpan Seven versus George’s feral Bill.

“You’re so much better this way as my Seven than as George’s Bill.”

Brainiac lovingly strokes the girl’s knobb.

“Now, we fuck and we use each other. It’s the maid’s lunch break. We have an hour.”

Opiates flooding Brainiac’s brain. Flooding from Brainiac’s cybernetic cranial implant. Brainiac, too, is a drunken/alcoholic hi-mileage junkie whore.

In Brainiac terms. The Master and her Seven.

“Do you agree, Seven?” Brainiac asks, rhetorically.

“Yes, Master,” Seven answers in a deep, accented monotone.

When they are done with their debauchery, Brainiac transforms back into the maid and leaves with her cart. Seven’s hugger detaches itself and goes back to its crawling of the alcove. Seven gives way to Lucy sprawled naked on the floor strapping her Parts.