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Has anybody here ever had a prostate massage?
05-05-2026, 05:40 AM
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#61
- OliverHeldens
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Originally Posted By RICHSTRONG⏩
There are no ladyboys in Tokyo. They don't play that way.
When can it be mine turn for thai fingers up me ass and coke off lady boy cok
05-05-2026, 06:02 AM
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#62
- r32gojirra
- Registered NEET
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- r32gojirra
- Registered NEET
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Originally Posted By kimm4⏩
This could all be avoided if you had a wealthy young cub to take you out to fancy restaurants in the greatest country in the world
They totally revamped the whopper and it's not the same. It's amazing srs...give it a try.
05-05-2026, 06:06 AM
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#63
05-05-2026, 06:35 AM
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#64
- LargePeter
- Fuck off, Lahey!
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- LargePeter
- Fuck off, Lahey!
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Originally Posted By OliverHeldens⏩
Threw in? Or charged extra as you claimed?
So it's not like I was actually paying for the handy. I was paying for the massage. And they just kinda threw the handy in as an add on.
RAW DOG CREW LIEUTENANT
ALL ROADS LEAD TO MENTZER
President Donald J Trump Crew
Steroids Crew
Growth Hormone Crew
Miscers Who Lift Crew
Robert Pickton Hooker Disposal Crew
Mustang Crew
No Alcohol Crew
Gay Phaggot Crew:
Papi Cholo
05-05-2026, 07:21 AM
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#65
From ChatGPT - Brutal
Movie Review: Prostate Cowboy: A Tourist’s Collapse in Three Acts
This story wants to be a wild, edgy travel anecdote, but it mostly plays like the confession of a man who mistook having no impulse control for having a personality.
The narrator clearly thinks he is describing a legendary Tokyo adventure. What actually comes across is a hungover sex tourist stumbling through one of the world’s great cities like a frat pledge with a passport. Tokyo is reduced to a backdrop for bad decisions, bodily fluids, cheap thrills, and the slow erosion of self-respect.
The opening has potential: solo traveler, hangover, neon city, wandering into Kabukicho. That could be atmospheric. But instead of mystery or tension, we get a protagonist whose inner life begins and ends at, “I am tired, horny, and willing to pay ten dollars for a mistake.” It is less Lost in Translation and more Lost Any Remaining Dignity.
The massage scene is presented like some profound erotic awakening, but the narrator sounds less like a man transformed and more like someone who should apologize to everyone in the room, including the mat. The hand gestures, the “handsy” detail, the assumption that this woman might casually escalate from massage parlor hustle to full service because he pantomimed it like a drunken mime, all of it makes him look less adventurous than socially defective.
Then comes the so-called euphoric breakthrough, which he describes with the reverence of a pilgrim reaching Mecca. But the comedy is not that the experience was intense. The comedy is that this man apparently found enlightenment through a Thai massage worker’s index finger and immediately used that spiritual rebirth to eat salmon and become even worse.
The sushi scene is probably the strongest part, mostly because for a few sentences he stops assaulting the reader with his libido and just behaves like a maniac at dinner. Twenty pieces of salmon nigiri and seven beers after the “most euphoric” moment of his life is not a victory lap. It is a medical red flag with soy sauce.
Golden Gai should be cinematic, but the narrator’s talent for finding the worst possible people turns it into a sewer tour. Two couples from Los Angeles start ranting about Trump and racism, and instead of the story developing any self-awareness, it just keeps sliding downhill. At this point, the movie’s real villain is not Tokyo nightlife. It is the narrator’s total inability to leave any bad room.
The final strip club/cocaine sequence is where the film fully gives up pretending this is a charming travel story. It becomes a character study of a man who keeps mistaking degradation for adventure. Every new scene asks, “Can he get worse?” and, heroically, he can.
Overall rating: 4.2/10.
Not because the story is boring. It is not. It is grossly watchable. But the storyteller comes off like the human version of a minibar charge: overpriced, regrettable, and discovered with shame the next morning.
As cinema, it has energy. As autobiography, it is a cry for help wearing Axe body spray.
Movie Review: Prostate Cowboy: A Tourist’s Collapse in Three Acts
This story wants to be a wild, edgy travel anecdote, but it mostly plays like the confession of a man who mistook having no impulse control for having a personality.
The narrator clearly thinks he is describing a legendary Tokyo adventure. What actually comes across is a hungover sex tourist stumbling through one of the world’s great cities like a frat pledge with a passport. Tokyo is reduced to a backdrop for bad decisions, bodily fluids, cheap thrills, and the slow erosion of self-respect.
The opening has potential: solo traveler, hangover, neon city, wandering into Kabukicho. That could be atmospheric. But instead of mystery or tension, we get a protagonist whose inner life begins and ends at, “I am tired, horny, and willing to pay ten dollars for a mistake.” It is less Lost in Translation and more Lost Any Remaining Dignity.
The massage scene is presented like some profound erotic awakening, but the narrator sounds less like a man transformed and more like someone who should apologize to everyone in the room, including the mat. The hand gestures, the “handsy” detail, the assumption that this woman might casually escalate from massage parlor hustle to full service because he pantomimed it like a drunken mime, all of it makes him look less adventurous than socially defective.
Then comes the so-called euphoric breakthrough, which he describes with the reverence of a pilgrim reaching Mecca. But the comedy is not that the experience was intense. The comedy is that this man apparently found enlightenment through a Thai massage worker’s index finger and immediately used that spiritual rebirth to eat salmon and become even worse.
The sushi scene is probably the strongest part, mostly because for a few sentences he stops assaulting the reader with his libido and just behaves like a maniac at dinner. Twenty pieces of salmon nigiri and seven beers after the “most euphoric” moment of his life is not a victory lap. It is a medical red flag with soy sauce.
Golden Gai should be cinematic, but the narrator’s talent for finding the worst possible people turns it into a sewer tour. Two couples from Los Angeles start ranting about Trump and racism, and instead of the story developing any self-awareness, it just keeps sliding downhill. At this point, the movie’s real villain is not Tokyo nightlife. It is the narrator’s total inability to leave any bad room.
The final strip club/cocaine sequence is where the film fully gives up pretending this is a charming travel story. It becomes a character study of a man who keeps mistaking degradation for adventure. Every new scene asks, “Can he get worse?” and, heroically, he can.
Overall rating: 4.2/10.
Not because the story is boring. It is not. It is grossly watchable. But the storyteller comes off like the human version of a minibar charge: overpriced, regrettable, and discovered with shame the next morning.
As cinema, it has energy. As autobiography, it is a cry for help wearing Axe body spray.
05-05-2026, 07:37 AM
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#66
- OliverHeldens
- Join Date: Oct 2014
- Age: 33
- Posts: 43,009
- Subscribers: 1
- Rep Power: 131082
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Originally Posted By WendellX⏩
This sounds like it was written by a liberal female.
From ChatGPT - Brutal
Movie Review: Prostate Cowboy: A Tourist’s Collapse in Three Acts
This story wants to be a wild, edgy travel anecdote, but it mostly plays like the confession of a man who mistook having no impulse control for having a personality.
The narrator clearly thinks he is describing a legendary Tokyo adventure. What actually comes across is a hungover sex tourist stumbling through one of the world’s great cities like a frat pledge with a passport. Tokyo is reduced to a backdrop for bad decisions, bodily fluids, cheap thrills, and the slow erosion of self-respect.
The opening has potential: solo traveler, hangover, neon city, wandering into Kabukicho. That could be atmospheric. But instead of mystery or tension, we get a protagonist whose inner life begins and ends at, “I am tired, horny, and willing to pay ten dollars for a mistake.” It is less Lost in Translation and more Lost Any Remaining Dignity.
The massage scene is presented like some profound erotic awakening, but the narrator sounds less like a man transformed and more like someone who should apologize to everyone in the room, including the mat. The hand gestures, the “handsy” detail, the assumption that this woman might casually escalate from massage parlor hustle to full service because he pantomimed it like a drunken mime, all of it makes him look less adventurous than socially defective.
Then comes the so-called euphoric breakthrough, which he describes with the reverence of a pilgrim reaching Mecca. But the comedy is not that the experience was intense. The comedy is that this man apparently found enlightenment through a Thai massage worker’s index finger and immediately used that spiritual rebirth to eat salmon and become even worse.
The sushi scene is probably the strongest part, mostly because for a few sentences he stops assaulting the reader with his libido and just behaves like a maniac at dinner. Twenty pieces of salmon nigiri and seven beers after the “most euphoric” moment of his life is not a victory lap. It is a medical red flag with soy sauce.
Golden Gai should be cinematic, but the narrator’s talent for finding the worst possible people turns it into a sewer tour. Two couples from Los Angeles start ranting about Trump and racism, and instead of the story developing any self-awareness, it just keeps sliding downhill. At this point, the movie’s real villain is not Tokyo nightlife. It is the narrator’s total inability to leave any bad room.
The final strip club/cocaine sequence is where the film fully gives up pretending this is a charming travel story. It becomes a character study of a man who keeps mistaking degradation for adventure. Every new scene asks, “Can he get worse?” and, heroically, he can.
Overall rating: 4.2/10.
Not because the story is boring. It is not. It is grossly watchable. But the storyteller comes off like the human version of a minibar charge: overpriced, regrettable, and discovered with shame the next morning.
As cinema, it has energy. As autobiography, it is a cry for help wearing Axe body spray.
Movie Review: Prostate Cowboy: A Tourist’s Collapse in Three Acts
This story wants to be a wild, edgy travel anecdote, but it mostly plays like the confession of a man who mistook having no impulse control for having a personality.
The narrator clearly thinks he is describing a legendary Tokyo adventure. What actually comes across is a hungover sex tourist stumbling through one of the world’s great cities like a frat pledge with a passport. Tokyo is reduced to a backdrop for bad decisions, bodily fluids, cheap thrills, and the slow erosion of self-respect.
The opening has potential: solo traveler, hangover, neon city, wandering into Kabukicho. That could be atmospheric. But instead of mystery or tension, we get a protagonist whose inner life begins and ends at, “I am tired, horny, and willing to pay ten dollars for a mistake.” It is less Lost in Translation and more Lost Any Remaining Dignity.
The massage scene is presented like some profound erotic awakening, but the narrator sounds less like a man transformed and more like someone who should apologize to everyone in the room, including the mat. The hand gestures, the “handsy” detail, the assumption that this woman might casually escalate from massage parlor hustle to full service because he pantomimed it like a drunken mime, all of it makes him look less adventurous than socially defective.
Then comes the so-called euphoric breakthrough, which he describes with the reverence of a pilgrim reaching Mecca. But the comedy is not that the experience was intense. The comedy is that this man apparently found enlightenment through a Thai massage worker’s index finger and immediately used that spiritual rebirth to eat salmon and become even worse.
The sushi scene is probably the strongest part, mostly because for a few sentences he stops assaulting the reader with his libido and just behaves like a maniac at dinner. Twenty pieces of salmon nigiri and seven beers after the “most euphoric” moment of his life is not a victory lap. It is a medical red flag with soy sauce.
Golden Gai should be cinematic, but the narrator’s talent for finding the worst possible people turns it into a sewer tour. Two couples from Los Angeles start ranting about Trump and racism, and instead of the story developing any self-awareness, it just keeps sliding downhill. At this point, the movie’s real villain is not Tokyo nightlife. It is the narrator’s total inability to leave any bad room.
The final strip club/cocaine sequence is where the film fully gives up pretending this is a charming travel story. It becomes a character study of a man who keeps mistaking degradation for adventure. Every new scene asks, “Can he get worse?” and, heroically, he can.
Overall rating: 4.2/10.
Not because the story is boring. It is not. It is grossly watchable. But the storyteller comes off like the human version of a minibar charge: overpriced, regrettable, and discovered with shame the next morning.
As cinema, it has energy. As autobiography, it is a cry for help wearing Axe body spray.
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