LUXU-1862 "Tall Secretary - Her Beautiful Legs Stretching Out From Her Tight Skirt Are Irresistible! Freed from her everyday life, she indulges in sex with a melting face, giving in to her desires. It's a sight to behold! Luxury TV 1850": M

“The job of a secretary is surprisingly unglamorous,” she says. At 28 years old, her title is embedded in her slender physique and perfect manner, requiring almost no further explanation. But she readily reveals that “undeserving” here is not another name for restraint, but rather merely a thin veil used to conceal a desire for excitement. “I want excitement.” Concealing her desire doesn’t enhance its brilliance; declaring it in such a matter-of-fact tone only highlights its contours. “I like the way older men look,” she adds. This declaration of likes and dislikes doesn’t devolve into a list of attributes, but rather boils down to a single posture—presence. The simplicity of the work confirms the everyday situation in which she is often the one “giving” someone, while simultaneously hinting at a desire to reverse that situation—using the simple phrase, “I want to be aggressively attacked every once in a while.” What’s important here isn’t the simplicity of the vocabulary, but rather the fact that for her, the reversal of the situation isn’t staged but rather functions as a restoration of equilibrium. From the very beginning, she loses control, and without relying on excessive metaphors, it becomes apparent only in her irregular breathing and averted gaze. The clichéd expression that a beautiful figure is “being tossed around,” yet in this instance, we are forced to acknowledge it as the only grammar the body has chosen to disrupt its own equilibrium. What she desires—no need to be pretentious with obscured words—is a penis, and its arrival is recorded matter-of-factly as the moment when her desire reaches a halt, not an end. The slang term “iki-yuru” (to cum) is not a full stop, but merely a temporary punctuation mark to expand the space. Her competence as a secretary is oddly reflected in this. The precision with which she keeps everything in order is deliberately abandoned here, and disorder itself is turned inside out into a single order. “Secretaryship is plain,” she says. But this plainness, like a light quietly shining in the corner of the picture, highlights the excess. The excess does not assault her; she invites it in. This gesture of invitation is both the most elegant and the most barbaric.