Officially, this Allison Crabtree replaces Allison Boyd, at Brakebills, as if that Allison Boyd NEVER existed. As such. This Allison Crabtree takes over Allison Boyd’s classes and Allison Boyd’s duties at the pawn shop. More tellingly, her name replaces Allison Boyd’s on the faculty roster. Most tellingly, this Allison Crabtree becomes the fiancé of the insanely possessive Auntie. It’s Kirstjen who’s happily-married to Judi. And. It’s this Allison Crabtree replacing that Allison Crabtree as the estranged wife of a now resurrected Andrew Crabtree; everybody, including Andrew and the other assorted flotsam and jetsam, acting as if they don’t notice the switch-a-rooney.
Kirstjen and Allison, same body, same person, just different “facings”. Therefore, the only difference is “accessories”. Who is the alias of whom?
Auntie and Allison, the definition of “friends with benefits”.
The strong suspicion is that Kirstjen, as Allison Boyd The Body, cold-bloodedly murdered that Allison Crabtree taking her place. No one can prove it, though. In point of fact, the body of the allegedly-murdered Allison Crabtree cannot be found. Nor are there any forensics from the alleged murder. It’s a cold case.
Inevitably, when Kirstjen gets over “being” Allison, she’ll “factory” reset to her default hard pretty 24×7 Kirstjen, and Allison will be gone for good?
Is Mx. Claudia Doris-Kloster, a gender-fluid Crone who’s built akin to a Goon, that perfect expression of the genderqueer bulldyke girlfriend that Kirstjen is hankering for? If so, then Allison is here to stay in spite of Kirstjen’s predictable reset.
Claudia is a Brakebills trustee.
Claudia is that lecherous genderqueer bulldyke ilk taken to the next level.
As if she’s trans. Claudia looks like a more masculine, and therefore scarier-looking, version of Auntie. She has masculine ways and means. Underneath her skirt, she’s strapping butch.
Claudia has a well-endowed body with huge tits, and has a woman’s deep, raspy, borderline masculine voice that’s mangled vocally in spades.
Claudia dresses like a woman: she dresses just like Auntie does.
Claudia has no interest whatsoever in transitioning into a male. Although through the agency of forced feminization, she has transitioned many a male into a female. Hence the moniker of “trans maker”.
To reiterate. She sounds manly with her husky voice: And, for reasons most obvious, the staff at The White House wants her to quit using the men’s bathroom.
As if on cue. She sternly walks up to ugly plain Allison. Allison knows who she is, but has never been formally introduced to her.
“Allison. Let’s find somewhere private to talk.”
They end up in a broom closet in the sub-basement of Brakebills’ magical labs building.
Claudia reaches out and covetously stokes the girl’s cheek. Her hand is trembling with anticipation. She MUST have this girl!!!
They French kiss.
Although both women are dominatrixes. Reading Claudia correctly, Allison goes passive. Claudia has to be dominant to get off. Allison can get off, regardless of whether she’s dominant or submissive.
If Allison hadn’t gone submissive, Claudia would have forced her do so anyways. Claudia, after all is a God who is powerful enough to impose her will on the girl. Which means she can rape the girl if she wants to. And. That’s just what she would have done in this situation if the girl had not acquiesced to her frantic sexual demands.
Per Claudia’s manipulation of the girl’s features. The girl’s features go offline and stay that way for the duration.
Claudia rips open Allison’s jacket and bra, brutally groping the girl’s succulent tits. Kneading the girl’s tits like marmalade. OUCH!!!
Allison gets hard and ejaculates into her rubber knickers.
Claudia gets hard and ejaculates into her skirt.
Allison’s arms hang slackly by her sides. Claudia forcefully slides a hand down Allison’s skirt into her panties, and begins roughly manipulating her genitalia the whole shebang. It’s as if Claudia is an octopus, with many long well-educated sucker-lined tentacles. An analogy that comes true as Claudia goes Lovecraftian.
Claudia’s Lovecraftian? Octopus tentacles from the waist down. Her eyes glow lime green. A mesmerizing fluorescence that can petrify with a single glance. She has a razorblade smile and a killer tongue. Her face becomes a hideous parody of a woman’s face; a plain ugly face becomes grotesque.
As Claudia quickly works herself up into a heightened sexual frenzy, there’s progressively more ripping and tearing of Allison’s clothes. Akin to the manic undress of a Raggedy Ann doll.
Claudia. Thick-readers. Plaintive makeup heavily-applied to face, neck, and cleavage. Lily-white complexion. Big yellow-blonde hair in a crane hairstyle bound in a blue-tinting hairnet. Perls. Prudz. A stodgy Kaye Maxfield business suit. No blouse. Flats. Barelegged. Lacy white underwire torpedo bra, and no panties. Manicure and pedicure. Septum ring. Strapping butch.
The wretched plaintive makeup that’s applied heavily to Claudia’s face, neck, and cleavage, amplifies the ugly and plain of a woman who has always had ravaged looks. Ugly and plain without plaintive makeup. Uglier and plainer with plaintive makeup.
Some of the affectations that apply? Bitter spinster, sexually repressed, sexually frustrated, mean, loathsome, disdainful, RBF, frumpy, stern, severe dowdy, fugly, plain, petty, spiteful, abusive. In a word: harsh.
Envious of attractive women; she craves the punishment of pretty women for the “crime” of being pretty, with the preferred punishments being WGS, ascetics, cilice, flogging, disfigurement, and gender-bending, all of which are self-inflicted (i.e., punishments inflicted by the pretty woman upon the pretty woman).
In appearance, represents the anti-feminine: big-boned, heavy, and squat, with thick legs and very strong calves for a woman. Big, mannish hands, for a woman. Creates an overall impression of a grotesquely deviant femininity, sexual repression, and the devious overtones of a sexually-repressed Victorian dominatrix.
Creepy and obsessive-compulsive. Fugly. Neither attractive nor very feminine-looking. A stocky-built Crone who is easily mistaken for a mongrel of various Goon and Hag bloodlines. A pure-breed Crone for whom consensual sex is indistinguishable from rape most brutal and most foul.
Additionally.
Her archaic accent is an odd mix of Prussian, and something else indistinguishable and very ancient. A woman’s deep, raspy, borderline masculine voice: mangled vocally, in spades.
To reiterate. She sounds manly with her husky voice: The staff at The White House wants her to quit using the men’s bathroom.
The quintessential dominatrix. Unfettered hatred. Strident. Severe. Stiff-backed. Astringent personified. RBF. One of those resting frown-face chicks aka resting bitch face girls.
Stone-faced, when she’s not flashing that maniacal Joker’s smile of hers. A toothy grin that makes her look like she’s completely unhinged.
Dour, stern, humorless, and severe. Relentlessly severe, stern, or gloomy in manner or appearance. A hard, dour, humorless fanatic.
A face that says: “I got too much Botox and I need help.” and “My face hurts to smile, to even try.” and “I messed up. Look, this big ass Joker’s smile is the only smile I got anymore.”
“Who would want that?!” You might ask, considering Claudia’s physical appearance—she’s not even a pig in a poke—she looks like the pig that the poke wouldn’t want. The answer is quite simple: any woman or man, who Claudia has ever gotten her hands on, has wanted what she’s got in spades. Sexual prowess has nothing whatsoever to do with looks. Some of the most fucked up looking people are peerless performers “between the sheets”, and some of the best-looking people are dead fish in bed.
As aforementioned. Claudia has no interest whatsoever in transitioning into a male. But. During a full moon, she-male Claudia is “obligated” to assume the POV of a fully transitioned trans male Claudia. During this swap, she still looks and dresses like she always does. Although. Pronouns change appropriately, of course.
While “she” is a “he”, that Claudia prefers “abducting” his “lovers” and having sex with them after rendering them unconscious with his glowing red eyes, (Bill Cosby style?). Having no interest whatsoever in consensual sex. Shades of Andrew Crabtree.
Claudia makes superfluous that entire lecherous genderqueer bulldyke ilk that she herself belongs to of Cloris “Tank” Leachman, Tallulah Bankhead, Cruella de Vil, Rosa Klebb, Mads “Molly” Mikkelsen, Virginia “Ginni” Lamp Thomas, Ms. Judi Martha “Marti” Dench (not the Goddess, Judi Dench), Mx. Lauren Fix, Dr. Ellen Pollock aka Aunt Harris aka Auntie, Andrew Crabtree, et al.
Unlike that entire lecherous genderqueer bulldyke ilk that she belongs to; Claudia is a God on par with Kirstjen’s husband Judi Dench.
Claudia. Degenerate. Depraved. Insane. And. Her madness is contagious. She “indulges” drink, drugs, and sex, to the extreme.
Claudia is a junkie, a hardcore junkie, an addict hopelessly addicted to worshipping at the altar of addiction’s primal trifecta of madness, depravity, and ugliness.
An addiction that is ALWAYS by her choice. So. Is it really an addiction?
Kirstjen is a junkie, a hardcore junkie, an addict hopelessly addicted to worshipping at the altar of addiction’s primal trifecta of madness, depravity, and ugliness.
An addiction that is ALWAYS by her choice. So. Is it really an addiction?
Allison is a junkie, a hardcore junkie, an addict hopelessly addicted to worshipping at the altar of addiction’s primal trifecta of madness, depravity, and ugliness.
An addiction that is ALWAYS by her choice. So. Is it really an addiction?
Never mind the fact that Allison (version whatever) and Kirstjen (version whatever) are one in the same person. Claudia has no interest whatsoever in Kirstjen. What she craves, her single-mined obsession, her OCD, is Allison. And. She’s insanely possessive.