Tag Archives: Daddy’s Girls 2

October 3, 2015 · 3:39 pm

Daddy’s Girl 95, Part Two: To Be a Good Girl Again

by Rich Moreland, September, 2015

With the Daddy’s Girls series, B Skow employs his Progressive Porn framework to explore a well-scripted vision of irony and self-deception. By weaving the story around psychological dynamics, he examines a sexual fetish that is often quickly labeled without being well understood. Skow succeeds by focusing on the allure of the daddy complex that draws men into relationships with willing younger women. The results can disrupt and restructure families, changing the interactions of step relatives and opening up an array of sexual options that challenge our definition of what is acceptable.

Having said that, here’s the summary of my interpretation of the Daddy’s Girls saga as it stands now. This analysis is only one way to look at these intriguing films and I encourage you to watch them and reach your own conclusions.

* * *

The director at work. Photo courtesy of AVN

B Skow
Photo courtesy of AVN

The Illusion

Quincy is bedeviled by her identity and her own fetishes. Emotionally crippled by her daddy complex, she compensates by being a faux prostitute while denying such a label would ever describe her.

Before her sex scene with Marla, Quincy screams “Why?” in a self-indictment that begs her to be a “good girl again.”

Quincy’s conundrum shows up repeatedly. She loses her Goodneighbor51 customer when Samantha’s father Dale passes away. With a dose of twisted irony, Skow tells us Dale was Quincy’s real father who masturbated to his daughter’s naked performances.

Later Quincy learns that Mr. Jefferies is also an online voyeur, another “daddy” customer, and offers him sex under the auspices of doing it for Bob. As we have seen, it becomes a threesome in which Marla, the true angel of the tale, quiets Quincy’s demons by also giving herself to the boss.

And don’t forget the unethical Tom, who uses his profession to “persuade” Quincy to act out her daddy desires with him. Just put his name on the list.

At no time until the final minutes of the film does Quincy actually stare down her internal torment, her longing for sex with Bob. Lost in a morass of daddies, the real perversion is Quincy’s forced sex with her own father, Dale, in the first film. It’s done through her own volition, a deliberately controlled moment in which Quincy bullies every metaphorical “father” who has left her fetish wanting.

Quincy

In effect, Skow tells us Quincy’s behavior is really self-loathing generated by her inability to control her demons.

Because Quincy refuses motel sex with Goodneighbor51 and the prostitute label that goes with it, she violates Samantha in response to his demand for a show. Captured on her cellphone, it’s her own sister Quincy unknowingly ravages for her father’s entertainment. It’s Dale’s family, not Bob’s, that is plagued by the incestuous carnality of the narrative.

In the end, Quincy wears her own mask. How do we know? She pleads with herself “to be a good girl again.”

The illusion of Daddy’s Girls 2 collapses in that instance. Quincy, who has traded a Biblical “eye for an eye” with Samantha–the sadly misguided righteous angel at the end of the first film–finally seeks genuine redemption.

What confronts Quincy is a harpy in an orange prison jumpsuit, a blind girl incarcerated for her own evil deeds, that stands between her and peace. The irony? It’s Quincy’s own sibling that tortures her, a part of herself revealed in a creepy hand dawn picture in a bedroom that now seems so far away.

Siblings in better times.

Like school girls on a playground, Samantha taunts Quincy with a repeated chorus of “you fucked your father,” the never to be forgiven sin.

The Real Daddy’s Girls

So a story that began in contrast, ends with similarity. Quincy is partially blinded and Sam has no vision. The bright airy colors of the first film that stood for hope and happiness are gone in the second.

Are Sam and Quincy the real daddy’s girls after all, sisters now devoid of a father?

Not quite, because Daddy’s Girls 2 offers up a positive message.

The prostitutes Marla and Oralee, honest and caring, are the real Daddy’s girls, metaphorical “sisters” and professional fuck buddies in their own right. To put it another way, whoredom holds no deception. It hasn’t throughout history and it doesn’t here. As mentioned earlier, Marla and Oralee serve as the Greek chorus, commenting through their actions and words on the truth behind the façade Bob structures to excuse his Lolita fascinations.

Quincy’s redemption is to join them one day, at least in the spirit of their humanity.

Quincy becomes one with Marla and Oralee.

The Dance of Deception

The Daddy’s Girls saga exists on several levels.

First we have the biological sisters of Samantha and Quincy, both fathered by Dale.

Marla and Oralee represent a second level. They are Bob’s prostitutes, sympathetic figures in serving his perversions albeit for pay. Unlike Samantha and Quincy, they “see” the truth and aren’t afraid to express it, as we have noted.

On a third level, Daddy’s Girls is about younger women and older men, the May-December duality. Skow’s comment on these arrangements is terse. Sometimes they are a forbidden test of faux incest that can be exciting if acted out in the manner Quincy seeks. At other times, the pay-as-you go arrangement Bob establishes with his hookers serves up the sexual menu.

And, don’t forget to include Marla and Quincy in the mix. As step relations in a dysfunctional family, they lend some legitimacy to the combination of mother/daughter and as age contemporaries, a pairing of sisters. Are they the real daddy’s girls, after all?

Closely related to the age play is simple lechery illustrated by two power players: Mr. Jeffries, the boss whose fantasies are fed via webcam and Tom the therapist jacking off before screwing his patient . Oh yes, remember Dale, DaddysGirl95 customer? He joins the group.

All things considered, B Skow leaves the viewer with a final level. Everything sexual is a fantasy. We conjure up whatever amuses our personal fetishes.

Simply put, deception dances everywhere and everyone wears a domino mask just like Carnival party goers centuries ago.

* * *

As I did with the first film, I have waited until the final installment of Daddy’s Girls 2 to salute the performers who brought the script to life.

Riley Reid, Maddy O’Reilly, and Alec Knight reprised their roles as Quincy, Samantha, and Bob.

Capri Cavanni is marvelous as Marla as is Kassondra Raine as Oralee. They are the unsung performers in the film.

Anthony Rosano (Tom) and Ryan McLane (Mr. Jeffries) are widely recognized in adult entertainment for their acting acumen, reliability, and on-screen adaptability . . . true veterans in every sense.

A final nod goes to B Skow for elevating these films to art. Unfortunately the original Daddy’s Girls made in 2013 was not recognized with industry awards. Here’s hoping the sequel avoids that fate.

Daddy’s Girl 95, Part Two: Horny Daddies

by Rich Moreland, September 2015

This is the second segment on Daddy’s Girls 2, a Girlfriends Films production directed by B Skow and written by David Stanley.

* * *

The Villain and the Hooker

Is Bob the real deviant in the saga of Daddy’s Girls? His new prostitute Oralee thinks so because she tells him in the concluding scenes, “You’re not the good guy in this story, Robert. You’re the villain. You just don’t know it yet.”

Unlike Marla before her, Oralee dresses for the schoolgirl role with Bob. Knowing the drill to satisfy his fetish, she shows up in pigtails, knee socks, and plaid skirt. She gives him his mask, calls him as “daddy,” and gets him aroused.

Bob’s cover.

Despite his disdain for Oralee (he refers to her as a receptacle for his manly jollies), Bob knows she is discrete, to be used when convenient.

Unfortunately, he has gotten himself into trouble for physically attacking Quincy’s therapist, Tom, who uses his patient’s father fetish (“you don’t have a father, you have a pimp”) to cajole her into “treatment” for his own pleasure. Of course, Tom validates what Quincy’s remaining intellectual left eye (her blinded right one represents affection) refuses to “see.” Isn’t she also a prostitute of sorts?

After dealing with the police, an emotionally bedraggled Bob calls on Oralee to sneak him back home and she doesn’t let reality go unnoticed, asking him a question with a double meaning. “Do you know where you are right now? In your driveway with your hooker who just picked you up from jail. You’re not father of the year . . .you’re just a bully.”

The gutsy harlot is just getting started, hammering Bob with his daughter is a “grown woman” who just had sex with her doctor and he’s “the one acting like a child.”

Enraged, Bob strikes back. “Don’t talk about her!”

Why? “Because I don’t know her or you don’t have your mask on?”

Oralee

When Oralee suggests the truth hurts, Bob dismisses her, arrogantly boasting that he has things she’ll never have. Using insults when logic is muted, Bob retreats into what he is, a bully, while Oralee comes through with gold stars.

Mother and Sister

The other prostitute in Bob’s skewed world is Marla, a character in transition as the story deepens. She stands in as Bob’s wife, is trashy enough to turn him on, and offers what he needs most: a grown woman to look after him. Bob obviously appreciates her efforts to legitimate their relationship but he cannot decouple himself from his hooker fetish because Oralee is always on call.

Marla has a further issue. Beyond a wife in waiting, she performs a dual role for her soon-to-be-stepdaughter—mother and sister. In doing so, she’s the best thing that happens for Quincy, who despite Oralee’s judgment, is not quite a grown woman yet.

The complexity of the Marla/Quincy connection steps forward in the sex scene with Mr. Jeffries who, like Bob, is also bully.

“Old Like Me”

At dinner Jefferies recognizes Quincy as Daddy’sGirl95. Good fortune presents itself because he has a promotion waiting for Bob and knows Marla is flirting with him to secure it, but it’s the daughter he wants, not a pay-for-play trollop.

Finding a convenient moment, Jefferies follows Quincy to the bathroom. Shocking her with “all your horny daddies missed you greatly” in reference to her now defunct webcam, he says he knows what she wants, “old, like me.” When Quincy resists, Jeffries says Bob will be fired if she doesn’t give in. It’s quid pro quo, corporate bedroom style.

Her prostitute denial, now lame and laid bare, undoubtedly taunts Quincy’s mind, but is glossed over with a little psychological manipulation. Jeffries reminds her “people don’t change. You are who you are born to be . . . you’re the worst of yourself.”

The words really apply to everybody in this film except two, Marla and Oralee, who are the best of themselves. The viewer will take either one over the other sad souls in this charade of sordidness.

The Threesome.

Marla responds to Quincy’s invitation to help daddy, bonding with her future stepdaughter for the three-way with Mr. Jefferies. On the wall behind them is a painting of two young women done in the late Victorian period, one undressed; the other partially clothed. They are sister-like in both age and attitude and illustrate the theme of this second film.

Samantha/Quincy, Marla/Quincy, Marla/Oralee? Take your choice from a handful of “sisters” who have serviced “daddies.” They are all daddy’s girls.

A Slice for Everyone

After the sex, everyone returns to the dinner table. Bob is promoted and a peachy pie is served all around. Quincy, who has now been cut into pieces in a clever reintroduction of the knife that once sliced her, is symbolically consumed by the guests.

Marla quietly motions to Quincy that she has a flake of crust on her chin, right where the cum sometimes lands. A sexual covenant links them now and the audience knows that Quincy will mature under Marla’s tutelage.

Sister-Stepmom and daughter ready to roll.

Sisters or Steps, take your pick, ready to roll.

Later when Bob discovers the girls in bed together (there is an earlier fauxcest sex scene between them that reinforces Marla’s status as Quincy’s sister prostitute and a mother substitute), Marla pleads for his understanding. “We can be a family,” she says in an offer that elevates her beyond what Bob deserves.

Still refusing to “see,” Daddy stares at his own failures and blames Quincy. “Until we finally fuck, you’re just going to keep ruining my life, aren’t you.” She smiles with the knowledge that if she bends over, Marla will be there to validate her actions . . . in a sexual romp that is not really among kin.

Just as we see in the first film when Quincy beds Dale, who is the bully now?

In this duel of bullies, Bob blinks and collapses, clutching his heart. A cardiac episode, we assume, because Skow has prepared us with a well placed hint. Bob is a smoker.

Daddy’s Girl 95, Part Two: My Daddy Deserves Better

by Rich Moreland, September 2015

Anyone in the film business knows that sequels are risky investments and often fall short of the original. In the case of B Skow’s Daddy’s Girls 2, we have an exception.

Skow has the devilish habit of leaving his plot lines unresolved, in effect persuading the viewer to reach his own conclusions. This is particularly true for Control and The Gardner, two excellent films previously reviewed on this blog.

With the Daddy’s Girls sequel, Skow fills in the blanks from the opening act and leaves the door ajar for yet another film which I hope he will consider.

* * *

The Daddy Complex

Much different from the hopeful, airy beginning of Daddy’s Girls, the sequel begins with the malevolent assault on Quincy. The viewer follows Samantha through the open window and into the violence she creates. Skow’s camera handles the chaos with quick brutal stabs. Right eye bloodied, Quincy is terrorized; the audience is left reeling.

What happens next is the shocker. Gina bursts in to rescue Quincy, leaving Bob alone with Samantha. Instead of fighting the moment, they have a lustful go at each other. The sex is as nasty and sharp as Samantha’s knife and includes anal (a nice follow-up from the cane fetish in the first movie). A willing participant in her own degradation, Samantha is down and dirty, smiling, moaning, and loving every minute of her passion for Bob.

Gina returns unexpectedly . . . and we later learn of the divorce that ensues.

Six months pass and Quincy is away in therapy. Her right eye victimized by an avenger’s slash, she lamely seeks some sort of redemption. But temptation forever looms.

This becomes the central theme of Daddy’s Girls 2.

As Samantha did in the first film, Quincy returns home after her initial treatment. The reaction from dad is unexpected. Bob is withholding his affection, Quincy tells her therapist, and has plans to marry his prostitute turned mistress, Marla.

Samantha

A petulant Quincy speaks of her now gone but not forgotten mother in a way that also indicts Marla. Her therapist, Tom, listens.

“He was mine, not hers,” she says angrily.

At this point, Skow manipulates the father issue into an ageism fetish that features other daddies. Quincy will compete with Marla for Bob while older men will pursue her Daddy’sGirl95 persona, complicating the question of just who are daddy’s girls?

Open Legs

Quincy has a thing for “mature” guys; it’s a coping mechanism to battle her self-esteem issues. During her sessions with Doctor Tom, she sits with her legs spread and at one point puts her feet on his chair as they talk. He admits an interest in her and she wears a pouty face that would make every cam girl proud.

What moves the narrative along is the therapy set-up. Though the first film establishes the Freudian “Father Complex,” the treatment session is not psychoanalytical in method where the psychiatrist sits behind the patient so as not to distract her unconscious thoughts. Instead, Tom uses the confrontational style of Albert Ellis’ Rational-Emotive Therapy. The doctor and patient sit opposite each other. Tom demands that Quincy answer rapid fire questions to bring out her true feelings.

As Freud predicted, the doctor becomes a father figure, igniting another version of daddy issues.

Thoughts about her father while working on Allen.

Proof is evident when Quincy talks about Allen, played by Seth Gamble, a boy her own age with whom Bob is encouraging a relationship. The Quincy/Allen pairing isn’t clicking (though Allen and Quincy will have sex later) because, Quincy says, the only way she can “swallow his load” is to think about her father.

While Quincy deals with her therapy, Bob is readying Marla for the family setting. Marla is his new daddy’s girl, clearly noted when she mentions to him that she was quite young when Quincy was born. They are almost the same age, a vital point in the film.

Each time the sessions fill with tension, a bell rings to signal the end of the hour. The build-up is an effective touch because Quincy will take on a special treatment with Tom to scratch the itch of her daddy desires.

Our Father

Skow uses Biblical suggestions to reinforce Quincy’s hope to be “a good girl again.” Of course, her sincerity is questionable. As she reads a Bible, she resists the desire to reach for her crotch in an all too shallow moment. Perhaps, the “Our Father” part got her juices flowing.

The Faces

Pardon another Biblical offering here. Remember the faces in Samantha’s bedroom mentioned in the first film? Perhaps in the second drawing, Skow is reminding the audience that nuns are “married” to God, the ultimate Father figure.

On an occasion when Quincy refers to Marla as a prostitute, Tom injects Jesus and Mary Magdalene as an example of forgiveness, but the viewer gets the idea it’s merely a one size fits all comment. It does, however, bring up a critical part of the story: the emergence of Marla.

Once a Whore Always a Whore

Despite her whining and sanctimonious complaints, Quincy is about to get a stepmother who, she insists, is “a whore and my dad deserves better and so do I.” Laughable irony because Quincy’s own self-creation as Daddy’sGirl95 enables her sexual frolics with all her daddies and even her stepmother-in-waiting, as Skow eventually reveals.

Despite her life-threatening attack, Quincy is not tempered and remains instantly judgmental of Bob’s other women.

“Once a whore, always a whore,” she pompously declares of Marla. But the most revealing moment of the film happens when Marla tries to reach out to Quincy.

Marla

Resisting Marla’s kindness when she knocks on her bedroom door, Quincy asks for Bob. He’s “at the office” Marla replies and Quincy lowers the boom right then.

Chuckling, she fires a barb through the closed door. Bob used those very words on “my mom when he was out cheating with you,” she shouts, then picks up her Bible.

Marla is stunned.

The revelation of the real daddy’s girls is just beginning.

Tag Archives: Daddy’s Girls 2

Daddy’s Girl 95, Part Two: To Be a Good Girl Again

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