Tag Archives: Riley Reid

September 13, 2019 · 10:11 am

Director Billy Watson Finishes the Job

by Rich Moreland, September 2019

All photos are courtesy of FinishesTheJob.com

In order, the performers are: Emma Hix, Allie Addison, Casey Calvert, Riley Reid, and Madelyn Monroe.

* * *

Gun for Hire

Any fan attending the AVN trade show will tell you that today’s adult industry is a collection of innovative delivery platforms. From cam girls to sex toys, the internet drives porn these days.

Billy Watson, famed director for the online IR powerhouse DogFart (DF), is now making his individual mark in adult’s competitive cyberspace market. To be sure, he has the credentials, receiving a Best Director for Web Channel/Site nomination at this past year’s AVN awards.

After a seventeen-year partnership, Billy is now venturing out on his own, but not without gratitude for the relationship he’s had with DF. The company “allowed me to create my affiliate program, FabulousCash, as well as my website, FinishesTheJob.com,” Billy tells me in a recent interview.

“I loved working for DF. The producer is a great guy and still a great friend. It was just time to move on…for both of us. And we did so in a friendly, seamless transition. And I am proud of all the attention I got there as their director,” he adds.

Nevertheless, to grow professionally Billy had to face reality.

“I was a gun for hire; I didn’t own any of that content. And I just couldn’t do both–shoot for DF and run FabCash–so I made a big decision…the long money over the short.”

“About three years ago, my producer asked that I shoot on different locations. That effectively killed the time I had to focus on FabCash,” he says.

That meant a change in direction.

Our Niche

Before delving into his current product, Billy gives us some background on how he evolved professionally.

“I started with ManoJob in 2006. We immediately added TheDickSuckers and MrPOV, because that was the trend/business model then,” he says. But as we know, trends are unforeseeable and ten years in adult is a lifetime technology-wise. “If I could start over,” he remarks, “I would have created one site and updated it three times as much.”

I want to know if MrPOV, DickSuckers, and Mano are under the Fab Cash umbrella?

“They are, indeed,” he responds. “And we’ve created a fourth site–FinishesTheJob.com–that houses those three sites to make things easier for the end user.

“We call it that because that’s our niche. One of the most frequent e-mails I get from my members goes something like this: ‘Dear Billy, Are all the guys in Porn Valley gay? Why do they have to masturbate to finish? If I was with Madelyn Monroe, I sure wouldn’t need to jack off to cum!’

“And you know something?” Billy continues, “ninety-nine percent of the adult content produced in Porn Valley is just that–a guy finishing the job, so to speak. Not at my sites.”

A One-Man Operation

By the way, Billy Watson is hardly the outdated stereotype of the Porn Valley pornographer.

A Chicago native, he worked for a time in Arizona. A relocation to Texas “for a stockbroker gig” followed before moving to Northern California to attend graduate school. Next there was a brief return to Arizona “for more civilian work before getting into the Smut Biz in 2002,” he explains.

I visited with Billy a few years ago on a DogFart set. Considering he had an editor and make-up artist at the time, I’m wondering how have things changed since then.

“I am pretty much, at this point, a one-man operation,” Billy explains. “I have a coder/techie who’s part-time, and a business partner I answer to. I’m in the deep-end of the pool, so to speak, paddling…with full confidence that I’ll make it pay off.”

Billy’s business model is strictly online. He’s not into the DVD market and doesn’t see that in the cards he holds. “I’m planning to offer my product on the streaming services like AEBN and HotMovies. They’ll be packaged there to appear like DVD’s.”

Likewise, he is not into features. At least for now.

“Never say never, but I’m a run-and-gun gonzo guy. If I want to watch feature films, I’ll watch anything besides pornography. No disrespect to the fine folks who create features, but that ain’t my gig,” Billy declares with a smile.

Referencing a scene with Madelyn Monroe on that DF I visited, I want to know what makes the FinishesTheJob product unique?

“The experience I want my member to have,” he begins, is a personal one-on-one encounter that is everything short of sending the model to my member’s home to engage in one of the three sex acts [depicted on the sites].” Billy wants his audience to think of it this way. “Madelyn Monroe is jacking you off; Madelyn Monroe is giving you head; you’re lucky enough to bang Madelyn Monroe.

“That pretty much sums up my content. Now, whether or not I actually achieve that is purely subjective; however, one thing’s certain: our models finish what they’ve started…and objectively, that sets my sites apart from almost every single one [in the industry today].”

That basic spin on the traditional porn model is what makes Billy Watson’s FinishesTheJob.com a go-to website.

* * *

We’ll let Riley Reid leave us with pure satisfaction . . .

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Tagged as Alli Addison, Billy Watson, cam girls, Casey Calvert, Dogfart Network, Emma Hix, fabulouscash.com, FinishesTheJob.com, gonzo, Madelyn Monroe, Porn Valley, Riley Reid

November 15, 2018 · 8:55 am

Sarah Vandella: Open to it All

by Rich Moreland, November 2018

This is the final installment of my day with Dan O’Connell. The older woman/younger woman theme of the shoot that afternoon paired Sarah Vandella’s porn maturity with Elsa Jean’s youthful appeal.

Much to my pleasure, Sarah put aside some time to chat about her career and the importance of seasoned performers in adult film.

All photos are credited to Kevin Sayers.

* * *

In the world of adult film, veteran performers are a treasure. Any girl who has shot for over a decade is wise to the tricks of the trade and has incredible staying power. Best of all, she knows how to keep her brand fresh and exciting.

With those thoughts in mind, meet the lovely Sarah Vandella, a pure delight.

On a beautiful fall afternoon, Sarah and I took a few minutes before her scene with Girlfriends Films’ director Dan O’Connell to discuss a subject that permeates porn today: the rise of the cam girl and what that means for the industry as we’ve known it for the last two decades.

Before getting into Sarah’s opinions and insights, a little background info is appropriate.

Born in the early 1980s, Sarah’s parents blessed her with a spontaneous, easygoing attitude that influenced her adolescent years. When adulthood greeted her, the sex industry appeared on Sarah’s agenda. She worked in a porn shop at twenty-one and was dancing at twenty-two.

This engaging beauty shot her first scene in 2007 at the age of twenty-four.

Older, Powerful Woman

We talk about being an over-thirty performer, the MILF image, if you will, by porn standards.

“Since I have entered my thirties, my sex drive and desire has grown into a new area,” Sarah begins. “I’m definitely more open-minded when it comes to certain things than I was in my twenties. Once you have a little experience coming into your thirties, you’re just adding to your resume in terms of being an actress.”

Does this evolution create a better performer?

“I definitely think that women in their thirties can be considered better performers. However, there are some incredibly sexually attuned ladies in their twenties that make just as great performers.

“There’s definitely something to be said for a woman with a little more experience.”

She amplifies her comments by suggesting that an older, powerful woman is pretty sexy, citing the “step mom thing” (a version of MILF) as one of porn more popular taboos.

The New Porn Girls

The conversation shifts to cam girls. Are they the new porn girls?

Sarah’s reaction reflects what I’ve heard from a couple of directors.

“To take any average cam girl and try to turn her into a superstar won’t work,” she says. But the daughter of liberal parents concedes that there are exceptions who have done some “mainstream porn stuff,”, commenting that “the cam girls that turn into performers are the special ones.”

But shooting for studios is demanding and not for everyone.

“I don’t feel that just any basic cam girl can overnight or over a year’s time become the next Ginger Banks. I don’t find that to be reasonable.” [Ginger Banks is a webcam model who produces her own porn vids]

The native New Yorker goes on to say that these girls “have a built-in fan base” and are “available to their fans” online, of course. As a result, some have reached porn star status. “They make their own videos and have them available on their sites.”

Sarah quickly adds a personal note. “I wouldn’t call myself a cam girl because I never cammed until I was a porn star.” Now she does cam “on occasion,” this blonde stunner says.

Intimacy and Connection

Has camming changed the adult business?

“First of all, porn has changed, as you know. We don’t have adult stores anymore. Distributors are dying. Everything is online now. Thank God for fans who still support the websites,” Sarah says.

Technology has forced the adult business to reposition itself. Where does the cam girl fit into this new business model?

“Cam girls provide a certain level of intimacy and connection that not every porn girl has. When you’re camming you’ve got to open yourself to conversation, to sex play, to help instruction, to be that all-around fantasy girl. Porn stars aren’t available to their fans that way.”

As we’ve suggested, camming is much different from shooting video, right?

“Absolutely,” Sarah says. But there is a positive in camming. Fans have high expectations for online models, she points out, and that pressures established porn performers to “keep up with these girls who are giving these fans so much attention.”

To emphasize response, Sarah explains the cam girl advantage.

“They’re just so easily accessible. They’ve made it their priority. I really admire a lot of them, truly. I think they’re hard working girls. They keep their schedule; they never flake. They can’t afford to. It’s their show, their name and their brand, and also their income.

Waiting on Dan.

Empowerment

I suggest that camming may be the ultimate empowerment. Sarah concurs, but insists that camming “can be brutal, just like being a dancer,” the other job that cultivates the personal touch.

From her perspective, it’s not easy dealing with the grind of her three entertainment personas—part time dancer, film actress, and sex worker—Sarah says. However, through it all rewards do show up.

“There’s days when you get to the club and nobody wants a dance from you. Nobody cares that you do porn. Those days are rough. Then you get that one guy who is your biggest fan and he buys ten dances from you and it makes your night.”

It mirrors the online girl’s experience, she believes.

“Much like camming, you can be sitting there in your little room and waiting and waiting. You’re beautiful and you’re ready to go and time keeps on ticking until the next day, and that’s your lucky day.”

This well-established porn model offers one more thought.

“Like we said a few minutes ago camming is the ultimate empowerment in terms of being in control of your finances because you don’t need a studio, you don’t need an agent. You don’t need to get in your car and drive anywhere. It costs you nothing to put make-up on and put on a cute outfit and get your toys ready.”

All in all, she concludes, “I feel a lot of these cam girls are hustlers and want to make their money while they can. They’re smart about it. Those girls never quit and I really admire that.”

Get a Little Messier

Finally, how does Sarah maintain her on-screen freshness because sometimes porn is a yawner in its repetitiveness?

“Indeed. It sure is,” she responds, then describes her formula for success.

“I keep pushing myself and my boundaries as a performer as long as I’m comfortable with them. So, maybe going a little harder, a little rougher, different positions, or going in the opposite direction and being more sensual and connecting more with my partner. Giving that softer side.

“We continuously switch it up and push ourselves in all directions so we’re never doing the same thing.”

I joke about creative oral sex and Sarah comments with humor, “A blow job is still a blow job, but you can do a seductive blow job and a not very seductive blow job.”

Spoken like a true veteran.

“I think that when a girl keeps pushing her boundaries, she tries to go a little harder,” Sarah adds. “Maybe she tries to deep throat a little more, get a little messier with it. As long as you’re showing genuine interest and desire to be there on-set, that’s the key [to staying fresh].

“Yes, oral sex can be repetitive. But if it’s a Riley Reid or a Maddy O’Reilly, you want to keep seeing their new scenes because it’s so fucking hot and you love it,” Sarah notes with appreciative excitement.

What is in her future porn-wise?

“I really admire ladies like Julia Ann and Lisa Ann who have put their time into the business. They have evolved with age.

“So, you never know. I’m open to it all. I would love to have a movie deal, do feature work and/or gonzo. I’m a lifer. I never want to stop,” Sarah proclaims with her dimpled smile that I’m certain her fans have come to love.

Elsa Jean enjoying the afternoon while waiting for her shoot with Sarah.

* * *

Sarah Vandella’s porn resume has produced seven AVN Award nominations, an XRCO Award and one from Urban X.

She can be followed on twitter @MssSarahVandella

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Tagged as cam girls, Dan O'Connell, Ginger Banks, Girfriends Films, Julia Ann, Lisa Ann, Maddy O'Reilly, MILF, Riley Reid, Sarah Vandella, sex worker, step mom porn

September 30, 2017 · 8:35 am

Evolved, A Commentary: Part Two

by Rich Moreland, September 2017

This is the second installment of my review/analysis of The Submission Of Emma Marx: Evolved, a New Sensations film written and directed by Jacky St. James.

* * *

The Message

When Mariah pleads with Emma to teach her about BDSM because she is “in dire need of discipline,” Emma explains that the fetish is all about “practice and training” and asks Mariah why she wants this so badly.

Her response is a nod to all BDSMers.

It’s who she is, Mariah says.

So Emma agrees to take Mariah on her journey. The film moves through brief scenes of Mariah’s education. The best are those surrounding “slave training” when Emma teaches the neophyte to arch her back and open her legs for inspection.

There is a collar for Mariah to wear and shots of spanking and caning with tasks that come with the instruction, “please you dominant.” Emma tells Mariah, “Most important, find joy in what you are doing. When it stops being enjoyable, it’s probably not for you anymore.”

Later after her first real BDSM encounter with a Dom named Nicholas (Jay Smooth), Mariah asks Emma how can she ever return to normal sex?

What Mariah is experiencing now is normal for her, Emma says.

Emma informs Mariah that she belongs in this world. It’s just not the way she came to know it when she realized she was a submissive.

In other words, Emma implies that her pupil’s early experiences were limited to physical sensation. Now she is progressing beyond those restrictions and becoming more spiritual in a sexual way.

Mariah’s character poses the question Jacky as writer and director addresses in her BDSM films; that is, how do we define normal? Part of this conundrum is to accept that different does not mean not normal.

In other words, if a fetish is legal and doesn’t harm anyone, then it passes the normal test. Of course, this is not something people who are vanilla oriented necessarily believe, or even want to consider. To put it another way, according to Jacky St. James, the definition of normal sexuality is broad and expanding and someday may not exist at all.

It’s the battle feminism has fought for decades in its effort to escape female sexual circumscription.

How we express ourselves

Normal is what we make of how we express ourselves. Emma has cleared this hurdle under Mr. Frederick’s guidance. She’ll do the same now for Mariah.

To best understand this idea, contrast Mariah’s first sex scene which served no deeper purpose than to have some fun. As mentioned above, when Emma as tutor and trainer sets up Mariah’s experience with Nicholas, she is satisfying Mariah’s needs beyond fleeting physical sensation.

In other words, Mariah is enriching her sexuality with psychological meaning, becoming sexually aware and mature: a reflection of the journey Emma has already taken.

By the way, notice how Emma persuades Mariah to select a dominant for the scene. Once again, Jacky St James reinforces the hegemony of female choice, reminding the viewer that choice also defines normal and normal, within the bounds of what is legal, is individually oriented.

In other words, it’s okay for a girl to want to be tied up!

Who We Were Before

In the final analysis, two themes connect Evolved with the original trilogy to reveal that Jacky St. James is always progressing as a filmmaker.

Her script points out that often a woman can best teach another woman the psychological aspects of sexuality, regardless of her preferences be they fetish or vanilla. Evolved is female-oriented and we see this with the extended conversations between Emma and Mariah and the emphasis on eye contact during the sex scenes mentioned previously.

Overall, Evolved is a further exploration of Emma’s closure on her past. The pain of losing Mr. Frederick haunts Emma when she tells Mariah it’s time to move on to a male dominant. Mariah reacts with an outburst that reflects what she believes happened to Emma.

“Are you going to pawn me off on someone else? Is this how this works?”

Confronting her personal sense of abandonment and loss of trust, Mariah disappears from the story without explanation.

Of course, irony grips the narrative at this point. This is the second time Emma feels forsaken, the first being the result of Mr. Frederick’s death. Her saving grace is that she is an evolving Emma, so to speak, who is well schooled in how to cope with the unexpected.

And then, the letter arrives.

It reveals that the chemistry between Emma and Mariah referenced in the first installment of this analysis has transcended misunderstandings and hurt feelings.

Mr. Frederick as narrator helps us understand this major theme of Evolved when he says, “To survive we have to let go, acknowledging what no longer works for us, acknowledging that who we were before may not be the person we are today.”

William Frederick is the omnipresent voice inside our soul that urges, prods, and disciplines us at every turn while reminding us of our capacity to love.

So it comes as no surprise that with the narrative’s fade out, we hear “Mr. Frederick” whispered almost inaudibly.

Will he continue to dwell in Emma’s spirit for the next film?

* * *

Final Thought

Adult fans who appreciate the feature film sub-genre realize there are few writer/directors who develop original ideas. Relying on parodies where plot and characters are already in place or adopting an established story line from existing sources, such as superhero comics or popular mainstream films, is convenient. Just add the sex.

But with Jacky St. James the landscape is more provocative. She writes her own narratives and uses sex as dialogue so the viewer can better understand her characters in such a way that the sex scenes emerge as characters in and of themselves.

Next, Jacky coaches and guides performers through the acting experience looking for just the right take for every scene. Being trained in drama and having once sought roles in mainstream Hollywood, Jacky understands the details and rigor of directing and acting.

Lastly, of course, she is part of a talented team of creative cinematographers that gives every adult feature she directs the Hollywood touch.

This combination of factors makes a New Sensations/Jacky St. James film unique to the business and we should appreciate that while we can.

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Tagged as Damon Dice, Eddie Powell, Jacky St. James, Jay Smooth, John Strong, Mickey Blue, New Sensations Erotic Stories Collection, Paul Woodcrest, Penny Pax, Riley Reid, The Submission of Emma Marx: Evolved, Violet Starr

September 29, 2017 · 10:12 am

Evolved, A Commentary: Part One

by Rich Moreland, September 2017

Jacky St. James has ventured into a another film in her Emma Marx series.

Here is my review/analysis of The Submission of Emma Marx: Evolved, a New Sensations release under its Erotic Stories collection.

* * *

The ancient Greeks believed the trilogy, a tale told in three parts, represented completeness. Academics interpret the trilogy’s interconnected dramas as a story arc which moves the main character through a change of some sort.

Jacky St. James refines this approach with her brilliantly crafted original Emma Marx series which follows Emma’s sexual and emotional development. In the end, she must overcome the tragic loss of her lover.

So what to make of The Submission of Emma Marx: Evolved, essentially a fourth installment that broadens the narrative and, as it stands now, presents a myriad of possibilities going forward?

Simply put, Jacky is continuing Emma’s sexual growth, or what is best described as her maturity. The process is not dissimilar to the basic human experience developmental psychologists divide into stages, in this case, thirds: young, middle age, and old age. Emma’s progress, emotionally and sexually, has moved out of its adolescence and young adulthood into the earliest beginnings of a sexual middle age.

Is this fourth film the beginning of another trilogy? Possibly. Consider this: at first glance, Evolved is not better or worse than the original series; it is just different, a fresh story that in effect carries on the old story with all the ingredients to initiate a new trilogy of its own.

We already see the wheels beginning to turn as Emma moves her own desires away from submission into experiencing BDSM from the other side of the spectrum. Assuming the dominant role, Emma reaches out as teacher, mentor, and guru to a submissive whose understanding of the fetish is in its infancy, just as Mr. Frederick did for her.

The youthful BDSM neophyte Mariah is the beneficiary now and the future is filled with adventure.

But Jacky leaves us with a difficult question. Does a submissive pass through that state and wish to become a dominant? Is that a natural progression, or does a submissive play an elaborate game of becoming a “switch?”

This we do know. The reason Evolved is not an extension of the original series is the absence of Mr. Frederick materially, though he remains with Emma spiritually. Sadly, the on-screen dynamics created by Penny Pax as Emma and Richie Calhoun as Mr. Frederick cannot find a space in this film. However, Jacky astutely maintains their connection with an occasional flashback.

She also pursues their relationship in a unique way that shapes the story: Richie, as William Frederick, narrates the film from the grave, we assume.

Chemistry

Despite the missing Emma/William physical component to hold the story together, there are other chemistries that quickly fill the void.

First, Riley Reid as Nadia and Van Wylde as her husband Ray once again open the film’s sex scenes with a romp of their own. If their pairing continues into the future, Riley/Van scenes will become the stuff of porn legend. Going back to each of the previous films: the original, Boundaries, and Exposed, we see them sexually evolve as they deal with the demands of their marriage and the changes that brings.

Second, there’s the acting chemistry between Riley and Penny that is a mainstay in the trilogy. Their collaboration continues in this film and, it can be noted with assurance, Riley is a deft handler of dialogue and emotional expression. She has pace in her lines and in-character attitudes that move the narrative forward. Nadia retains her snarkiness, but also demonstrates a compassion that is underdeveloped in the first three films primarily due to her superficial interpretation of her suburban way of life.

Finally, there is the chemistry between Emma and Mariah (Violet Starr). Though not as pronounced as Nadia/Emma, it is still evident and predictably will grow should they be paired in another Emma film.

As Domme and sub, they are on the doorstep of becoming lovers, but for fans who want to relish that girl/girl action they’ll have to wait for another Emma installment. Always on her screenwriting toes, Jacky has cleverly laid the groundwork for that possibility.

The Sex Scenes

Working our way backwards through the sex scenes, the last one is beyond noteworthy. Penny is paired in a threesome with adult male superstars, Mickey Blue and John Strong.

The action includes anal, a DP, and light bondage. The adorable redhead is a solid veteran and can pull off any BDSM scene, no matter its intensity. What is more important to the story, however, is the reason for the sex. It sets the stage for Emma’s further development as a dominatrix because Evolved pronounces this scene as the final episode of her life as a submissive.

The opening sex scene featuring Nadia and Ray alluded to above, continues the tradition of the rocking hardcore action Riley Reid has cultivated to trademark her brand. Of note is how different their sex scenes are in the series. In the first film, the sex is premarital. In the second and third we see them married with fantasy/fetish play, and now they’re separated and into “hate sex,” as Nadia calls it.

Hilariously, she explains to Emma that it’s the best she’s ever had with more orgasms than ever before.

The result?

Director of Photography Eddie Powell and his compadre Paul Woodcrest capture gonzo elements within feature film sex that offers the best of both porn sub-genres. With a series of “fuck mes” and “oh my gods,” Riley calls on her all-sex roots to steam up the stage. Lots of liquid everywhere (we’re talking spit here) and facial close-ups (an Eddie Powell tradition) mark the dynamics of the every scene.

In fact, all the sex scenes have an important gonzo element that is not always considered appealing to porn viewers of the fairer sex. After the pop shot, each performer runs her fingers through the cum deposited on her body and licks it off with her lips.

This is a departure from the earlier Emma films, but reinforces Jacky St. James’ personal love of gonzo.

Incidentally, other than being finger-licking good, the pop shots are tame compared to what other filmmakers are doing. Facials are avoided to keep the female-friendly and feminist component of Evolved in tact.

Newcomer Violet Starr presents her all-sex talents with Damon Dice and Jay Smooth in two scenes that show why she was cast as Mariah. However, looking beyond her physical talents, the viewer should pay close attention to Violet’s acting. She reveals that once again Jacky St. James can uncover the best performers for her films.

Mariah is aloof with Emma early on before becoming angry later when she feels abandoned. Throw in some fawning that Emma sorts through easily and Violet’s performance is good stuff for anyone who appreciates a well-paced and entertaining story.

Truth be told, this twenty-year-old’s acting is fresh and perky and, as the narrator tells us in describing Mariah, “unabashed and unapologetic.”

Cinematic Touches

As usual, a Jacky St. James film is flavored with references and motifs that enliven the drama. Take, for example, the scene with Emma washing Mariah’s back as she sits in the tub. Mariah has just experienced her first real BDSM sex after an education in the psychological perspective of bondage.

The episode is an emotional replay of the bath tub scenes in the original trilogy where the submissive Emma is bathed and caressed by her dominant, Mr. Frederick.

An important motif in Evolved is Emma’s trunk. It contains her bondage paraphernalia and toys. In the opening scene, it is toted up the steps when she moves in with Nadia and down again at story’s end as she moves out. That’s symbolic because Emma’s time as a sub has reached its height and she passing that baton off to Mariah. Emma has metaphorically reestablished her submission before putting it away as she occupies, then leaves, Nadia’s house.

When Mariah rummages through the gear, Emma takes the opportunity to mention that there is a strong psychological component to BDSM.

“It’s not about the pain,” she says, “It’s about exercise and control and anticipation.”

Up until that moment, Mariah’s fetish sex is plastic handcuffs and some spanking that lights up the physical senses as illustrated in her first sex scene with a guy (Damon Dice) she’s picked up. She directs him to please her in her favorite role as a submissive. There is a feminist component on display here, of course, but the BDSM message is underdeveloped, as Emma will reveal to Mariah.

When Emma takes control of Mariah’s BDSM training, new feminist avenues are opened up and we see Jacky’s version of feminism upfront and personal. The feminist touch in porn is as cerebral as it is physical.

Eddie Powell and Paul Woodcrest contribute to this female-centric motif by focusing on whole body shots during the sex so as to not minimize the men. Also, they celebrate female satisfaction with facial close-ups of the women. What’s more, eye contact is vital in this film, recalling the emotionally gripping scene when Emma meets her new Dom in the last installment of the original trilogy.

As for symbolism, notice the St. Andrew’s Cross print on the wall of Mariah’s bedroom. That traditional BDSM symbol is revisited at the end of the film where eye contact once again solidifies relationships.

* * *

In Part Two of this commentary, we’ll briefly consider Jacky St. James’ message presented in Evolved.

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Tagged as Damon Dice, Eddie Powell, Jacky St. James, Jay Smooth, Jon Strong, Mickey Blue, New Sensations Erotic Stories Collection, Paul Woodcrest, Penny Pax, Richie Calhoun, Riley Reid, The Submission of Emma Marx: Evolved, Van Wylde, Violet Starr

February 6, 2017 · 6:55 pm

The 2017 AEE Extravaganza: Part One

by Rich Moreland, February 2017

I just returned from my annual trip to Las Vegas for the adult industry trade show. As usual my photographer and I teamed with Steve Nelson, the editor of Adult Industry News, to cover as much as possible in our brief four days.

This post is the first of two parts and represents only a portion of what we recorded.

A note on the hyperlinks. If a company’s online home page displays hardcore photos, I did not include the hyperlink here as it may not be suitable for all readers.

Photos provided by AVN are credited where appropriate.

* * *

Trade shows are for networking, marketing new products, attending seminars, and in the case of the annual Adult Entertainment Extravaganza, oops, I mean Expo, canvassing porn talent.

This year’s show was one the best I’ve attended. Here are few highlights.

On the production side of the business, I had another opportunity to interview the always busy John Stagliano of Evil Angel. He gave me some thoughts on the incoming administration in Washington DC (my part of the country, by the way). Later in the week, John participated in a seminar on the same topic.

As the week was winding down, I renewed acquaintances with Moose of Girlfriends Films. Though they no longer have a booth in the show, Girlfriends has upped its game on the distribution side of the business and Moose is in Vegas to refresh his industry contacts.

I’m always interested in emerging companies poised to make a splash with a new idea. One relatively recent player is Royal Empire Productions. I interviewed the owner, Robert Morgan, to get his take on what he calls “realistic porn.”

Upbeat

Negotiating The Joint and the Artist and Muse Halls on opening day was easy, the crowd was a little sparser than I anticipated. By week’s end the fan traffic picked up considerably and the show was bustling with an upbeat tempo.

The refreshing part of the AEE experience is running into people unexpectedly. Here are a few examples of my week.

A text exchange led to breakfast with seasoned pro, Natasha Nice. We discussed the possibility of her writing a post or two for this blog.

Photo courtesy of AVN

The super fabulous Chanel Preston gave me a few impromptu moments as did the BBW April Flores when I found her chatting with friends near the AVN booth in Artist Hall.

A couple of times I stopped by Bang.com to pass time with the two legends of porn, Casey Calvert and Maddy O’Reilly.

Love these powerhouse girls.

Maddy and Casey
Photo courtesy of AVN

And, by the way, I visited with Chris Cane of Foxxx Modeling where I met a new girl who is bound to become a star, Emma Hix. My interview with this sweetie follows in another post.

Oh yes, timing sometimes fails me. I attempted to persuade a hurried Riley Reid to pause for a “hello” but I might as well have tried to hail a bullet train!

New Face of Porn

A new girl is solidifying her place in porn: the webcam honey. This year’s AEE rolled out the welcome mat for these dynamos who float between real hardcore and solo performances via computer, all in direct connection with their fans. MyFreeCams and Chaturbate seduced show goers with face-to-face fun.

Emma Chase
Photo courtesy of AVN

I met Emma Chase, a Chaturbate girl who stopped me for a moment to demonstrate with her computer how our conversation was soaring through cyberspace. Emma lists her talents as simply “entertainer.” She’s a delight and if Chaturbate is your thing, go to Google and search her out.

Likewise a goth looker named Eliza Bathory, who markets herself as a model, camgirl, and artist, was at her laptop among the horde of Chaturbate girls. Since I’m fascinated by facial piercing (Eliza has a bunch) I promised to return later to get an interview. Unfortunately, she disappeared into the nether regions of the show. Very Dracula-like.

For the oglers, the Chaturbate crowd had the distinction of being the least dressed. Lots of flesh with pasties all around.

From the marketing side, let’s not forget VR. The Cam4VR booth offered a rousing example of what the whole virtual reality thing is all about; it’s the wave of the future.

Photo courtesy of AVN

I interviewed Ela Darling and among her many talents is a love of VR.

“I am the ‘Queen of VR Porn,'” Ela says, “and the leading voice in the VR industry for the adult industry. I speak at conferences all over the world. People in that space really make room for me. They respect the work that I do, they respect us as an industry and understand that we are an important for the future of VR.”

Direct engagement with the fan is where porn is going in this age of social media, Ela explains.

“We just launched Cam4VR this past year. I’m the world’s first VR camgirl. We’re getting ready to introduce a new camera that’s really cool and a voice-to-voice experience and a private chat network. When you put on that headset, you speak. The performer hears and gets right back [to you].”

Rearrangement

From year to year, the AEE rearranges its spaces to maximize the fan experience. The most obvious this year involved the setup for BDSM enthusiasts.

Photo courtesy of AVN

The bondage carnival known as The Lair relocated from the second level of The Joint to the floor of Artist Hall, a move I’m sure to increase its visibility and fan traffic.

BDSM equipment and a demonstration or two (All models were fully dressed, there was more flesh on a Chaturbate girl!) highlighted its activities.

Lastly, every year I come away with the same thought on the show. Artist and Muse Halls are easier to negotiate than the tight spaces of The Joint. Being a bit claustrophobic, I do appreciate the efforts of AVN to keep movement as smooth as possible!

Stay tuned for part two of this report.

Easy entrance into the show Photo courtesy of AVN

An easy and convenient entrance into the show
Photo courtesy of AVN

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April 7, 2016 · 5:49 pm

The Resolution of Emma Marx, Part Three: One Precious Moment

by Rich Moreland, April 2016

In this final installment of The Submission of Emma Marx: Exposed, we take a look at the sex scenes and how they play into the story.

There is much more within this film than I have room to cover in three brief posts so watch the movie for yourself. It is an rewarding experience.

Watermarked photos are courtesy of New Sensations/Digital Sin, the others are appropriately credited.

* * *

Sex scenes are the bait that keeps the porn fan fishing.

Often presented formulaically, they drive a film’s reason to be. However, when and where the sexual interludes occur and what meaning is attached to them is not always clear.

A Jacky St. James feature is the exception. Her scripts dictate where the titillation is placed and why the characters are having sex.

Keeping this in mind, Exposed, the final drama of the Emma Marx trilogy, is textbook Jacky. There are five scenes (a deviation from porn’s usual four) and each is effectively worked into the plotline. The result presents sex that operates on more than one level.

Of interest, are the following.

Call the Babysitter?

The Nadia and Ray scene repeats the set up Jacky presented in the initial Emma Marx. Not yet married at the time, they have sex at the film’s beginning. In the next Emma installment, Boundaries, they go at each other once again as the story opens. In Exposed Jacky’s stays with the pattern and Nadia and Ray complete their own personal trilogy.

The couple has progressed to role-playing to keep their marriage interesting, or at least modestly so since their carnality is mired in the middle-class conventionality Nadia holds over Ray. They hinted at a bondage fantasy in Boundaries, now they’re interested in the illicit pickup.

Nadia and Ray have their fantasy while the wedding plays on

Nadia is on a balcony with drink in hand. Background music suggests a social gathering. Ray comes up to her and they chat about the ongoing wedding celebration. Ray tries to put the moves on Nadia and she, insulted, splatters his face with her drink.

The scene quickly shifts to a bedroom all done up appropriately in vanilla white with a touch of gray. Only this time, the shades of their fetish sex seen in Boundaries are tossed aside like so many pillows.

The sex is top-of-the-line Riley Reid and her acting chops kick in when she says, “Wait, do you think we’d better call the babysitter?”

What’s this? A baby?

Ray assures her the sitter is “good all day” and that she, Nadia, is “ruining the fantasy.”

Mom reverts to character, telling her pick-up lover “this is just a one-time thing.” Later Nadia has to remind Ray to stay with the program when baby concerns come up again.

Their sex scene is the perfect transition into the third Emma Marx. Nadia and Ray are suburban bourgeoisie, of course, but deserve some credit for their mutual fantasy . . . though laughing about Ray’s getting off on the “horny girl at the wedding” remains stilted. Unlike Emma, their imaginations are play acting and unconnected to their reality.

Barely a Trace Left

Later Nadia phones Emma to share her sexual escapade as if it were purchased online. “It’s our new thing, just like you guys are playing with your whips and chains,” Nadia says.

Her affectation is cheesiness extraordinaire. Their role-playing romps are little more than larks, here today, something new tomorrow. This latest version plays within the bounds of what is passable as illicit sex. Sadly, throughout the Emma series Nadia never quite grasps that Emma and Frederick have a lifestyle, not “new thing.”

Incidentally, Nadia, dressed in a postcard version of a French maid’s outfit, later skypes Emma. She’s ready for role play night, she announces, but she’s not happy. Nadia doesn’t like the getup, too sleazy. It’s not her, she declares, because she spends all day being his maid anyway. It’s a mask that doesn’t do much for her sexually.

Nadia skypes Emma to decry her maid fantasy

Nadia uses skype to decry her pre-planned maid fantasy

The real difficulty with Nadia is that her fantasies are scripted, not spontaneous. She comments that the outfit is “supposed to be me pretending to be someone else.” But her remark induces Emma to reflect on her relationship with Frederick.

“The truth was I felt more myself as his sub than I ever did as Emma. There was barely a trace of her left anymore.”

Emma’s revelation leads Jacky St. James to reveal the potential shortcoming of fantasy. Sometimes, it only goes one way. Emma admits that at least Ray shares his with Nadia. Mr. Frederick, on the other hand, is another story.

Rebecca to Joelle

Emma broaches the subject with her Dom and learns about Audrina, an uncomfortable episode that damaged his relationship with his former sub.

Two comments on this sex scene. First is Samantha Hayes who plays Rebecca. She is gorgeous with a smutty vigor that is as good as it gets. Second is the disastrous tone of this dalliance which proves sex in porn can carry a message.

Tugging on the collar keeps Rebecca excied Photo by Eddie Powell

Tugging on the collar keeps Rebecca excited
Photo by Eddie Powell

Among other BDSM elements, there is light flogging and a collar and leash. Rebecca is taken to erotic heights while a hogtied Audrina, who set up this scenario, looks on unable to participate.

Frederick has to command Audrina’s attention when she lowers her gaze, telling her to keep watching. She obeys, but sadness overwhelms her as the sex gets heavier. This “gift” she’s given him, which ironically began as her fantasy, has changed their relationship.

Audrina looks on
Photo courtesy of Jacky St. James

In an effort to deter Emma from a similar mistake, Frederick lets her in on why his fantasies are not important to their relationship. As described in Part Two of this analysis, the scene opens up the remarkable talents of cinematographer Eddie Powell. Almost drowned in shadows, it’s shot in their bathroom, Emma submerged in soapy bubbles with Frederick sitting on the edge of the tub.

As the camera pulls away, Frederick, steeped in regret, drops his eyes, explaining that Audrina wanted to return to “a more traditional relationship.” Emma’s face is blanketed with alternating layers of determination and doubt. It’s a lesson in trust, problematic self-esteem, and implied jealousy. Though reality, illustrated by the looming darkness on both sides of the screen, is squeezing them, Emma moves forward with her plan.

The camera looks in from the doorway. Photo courtesy of Jacky St. James

Reality and a plan that is risky
Photo courtesy of Jacky St. James

Ignoring Audrina’s ill-fated mistake, Emma orchestrates the sex scene that she perceives to be her Dom’s fantasy. Joelle is introduced to Frederick and unlike Audrina, Emma will participate in their fun. Within the narrative, the threesome sex carries a transition message as illustrated by the doorway into the rec room that offers up the new play partner.

Joelle waits in the background as Emma’s gift for Frederick

Aidra Fox is Joelle. Like Samantha Hayes, this brunette hottie has superstar written all over her. The show is fantastic with the twenty-year-old sporting a bondage outfit that shouts out the sassy eroticism that is Aidra’s trademark. In this reviewer’s opinion, her energy makes this scene the best of the film.

Michael

As Exposed winds down, Emma needs to reconnect with her real love, her fetish. Finding a new mentor whose compassion guides her reawakening, Emma explores a relationship with him she identifies as “therapeutic.”

“I paid him to dominate me a few hours every week, easing me back into that familiar world”

Among dark shadows, Emma enters a new doorway, the open gate of a bondage cage. Michael, in suit and tie, closes it behind her and binds her arms. Emma is now secure in the world she loves. Various shots of her yielding to his intense BDSM play follow. Emma faces her greatest challenge, conflating a partner she is just getting to know with her lust for the fetish.

“I was determined to overcome the fear of the pain of trusting someone new, no matter how intense the situation or the pain.”

Michael’s tenderness nurtures Emma’s transition at film’s end

Ryan Driller’s warmth and compassion demonstrates why he is the perfect choice for Michael’s role. Pay close attention to their eye contact moment, a deftly placed mechanism to rebuild trust. In fact, psychologists say that holding a gaze with another person releases emotion and becomes a precursor to love.

The pendant and its memory
Photo courtesy of Penny Pax

The film’s defining moment centers on its denouement. Emma removes the pendant with its W and the metaphorical mask it represents. She is now prepared to give herself to Michael, a significant step that moves her from the past into the present. In so many words, Emma’s world is now turned upside down, just as the W now is free to bec0me an M, in all ways that are good.

An older, wiser Emma tells us she is now “the strong courageous woman who is no longer living the socially acceptable existence, but one who has found her truth, [becoming] the person she was always meant to be.”

Using Exposed as her dramatic vehicle, Jacky St. James illustrates that playing roles is part of being human no matter our lifestyle (humorous scenes of Nadia and Ray enjoying their own ephemeral fantasy moments are shown at the end of the film). But when the masks that define our personas are stripped away, the heart is unfettered, no longer a prisoner of its past or shackled in the present. The real self is bared for all to see in its delicious liberation.

As Emma says, “your only thought is of this one precious moment and you’re left beautifully, perfectly, comfortably exposed.”

* * *

A special congrats is due to the pair of actresses whose performances place the Emma Marx series in adult film’s library of legendary cinema.

Riely Reid and Penny Pax own all the bragging rights they can muster!

Also, kudos are in order for two alluring porn princesses, Aidra Fox and Samantha Hayes. Their erotic shows heighten the impact of Exposed.

Aidra
Photo by Eddie Powell

Samantha
Photo by Eddie Powell

Of course, the hardworking crew that forged the Emma Marx trilogy into a porn classic deserves accolades!

Jacky, Paul, and Eddie
Photo by Jeff Koga

* * *

Some of the crew and cast associated with this film can be followed on twitter.

Here are their accounts: @jackystjames, @mreddiepowell, @pennypax, @OfficialAidraF, @RileyReidx3, @SamanthaHayesxo, @ryandriller

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April 3, 2016 · 7:41 am

The Resolution of Emma Marx, Part One: The Black Wig

by Rich Moreland, March 2016

This is the first installment of a three-part analysis of The Submission of Emma Marx: Exposed. With this film, writer/director Jacky St. James finishes the trilogy that follows a BDSM submissive through her rite of passage into womanhood.

My thanks to New Sensations/Digital Sin for providing the watermarked photos. All other photos are credited where possible.

* * *

Mythologists believe all stories contain archetypes, symbolic imagery that explains how we interpret the world around us. In other words, an archetype is something we inherently understand, the stuff of great literature, religious belief, and legend.

In the Emma Marx saga, storyteller and director Jacky St. James taps into a powerful archetype, the number three, the cornerstone of an age-old concept known as birth, death, and rebirth. The final chapter, Exposed, is about Emma’s renewal and the conflicting emotions that bear witness to it.

Even the structure of the Emma series, the trilogy, embraces the triad concept.

So what does this mean? Simply this. The myth and its power over the human psyche is why Emma Marx stands alone in adult film. Compliment the narrative with superb acting captured by a haunting, brooding cinematography and Emma’s story takes its place among adult entertainment’s hall of fame offerings.

Let’s be honest. Emma Marx is already porn’s best in the “art” cinema genre (Cinekink are you listening?). Mute the hardcore into a smidgen of nudity and indie film accolades are but a screening away.

Fearless

The ancient Greeks honored the trilogy because it reinforced their idea of the hero who rises above the masses. Is Emma Marx a heroine? She is, but it is not of her own making, or so she believes. In the first two films, Mr. Frederick takes the formative clay that begins as a naïve girl, sees within it, and molds the Emma the viewer gets to know. He orchestrates the kinks that become her identity.

But she is not reprogrammed because BDSM is a product of her DNA. Frederick tells Emma, “This was in you before you met me. I could tell that the second I met you. It’ll still be a part of who you are forever.”

Early in Exposed, Emma reflects on Mr. Frederick’s tutelage that guides her enlightenment.

“I was fearless. In fact, putting limits on my experiences had become more terrifying than taking risks.”

However, her journey is tumultuous and laced with misery and despair. Faced with “a profound sense of unhappiness,” Emma eventually engages another conductor to play her symphony. Her fetishized self must be rediscovered and retooled under a new BDSM guru.

Emma awaits transition before doorways in the film

Emma awaits her symbolic transitions to open before her

In the final episode, Emma suffers the pain of an emotional loss that inevitably precedes the mystical rebirth the ancients knew well. Mr. Frederick brought forth the original awakening that transformed a shy, introverted girl into an independent-minded adult. But a lingering childlike dependency remains, necessitating in a further renewal that will release Emma’s authentic, transcendental self.

The BDSM submissive tries to subdue, almost mute, her final reawakening, as the opening shots of the third film suggest with makeup brushes, heavy red lipstick, and an awful black wig. But the disguise is doomed to failure because Emma cannot be fully individuated (developed into a whole person, as psychologist Carl Jung puts it) while hiding behind a mask. The archetype of rebirth will not abide it.

Theme of Three

How does a director turn the transcendental elements of the human psyche into an adult film? Jacky St. James pulls it off with grace, power, and tough emotion. I might add that the cast is brilliant. Each performer is the embodiment of their character. The viewer is familiar with Nadia (Riley Reid), Ray (Van Wilde), William Frederick (Ritchie Calhoun), and, of course, Emma (Penny Pax).

Maturing into their roles, they grow together throughout the series. By the way, before you see the third episode, please watch the first two otherwise you’ll be walking in for the denouement of a well-crafted story you may not fully comprehend.

To complement the familiar faces, Exposed offers more characters to enrich the narrative. Ryan Diller who steps in as Michael Sullivan is a sensitive fit for the role. He shows up in the final hour of the film and becomes Emma’s guiding light, not an easy task for any performer because our heroine is drawn taut in her feelings. The reawakening that will push her forward must come from her own soul.

Even the sexual encounters carry the triad theme. Jacky St. James has grouped her characters accordingly. New to this version of Emma Marx are Samantha Hayes (Rebecca) and Aidra Fox (Joelle), two emerging industry stars. They are the additional play partners that entertain Mr. Frederick’s fantasies. His first romp with Rebecca is watched by his former submissive, Audrina (Sara Luvv). His final dip into carnality features a threesome with Emma and Joelle.

More on the literary implications of these episodes later.

As she has done throughout this adult classic, Jacky St. James has the opening sex scene feature Nadia and Ray to establish the story’s contrasting “normality.” But this time there is an unseen third person, their little one, Isabelle. Nadia is never totally comfortable with this fantasy set-up because she’s distracted by thoughts of the baby. It’s hard to let go sometimes, even for an hour of fun, when you are very suburban and middle-class.

Duality

Nadia and Emma remain a duality throughout the series; each is defined by the other. But does this duality include a mask for Nadia?

Contrasting sisters.
Photo courtesy of Eddie Powell

We discover early in the series that Emma’s sister is consumed by her conventionality and its play-by-the-numbers expectations. It certainly fits her shallow self-absorption. In fact, one gets the feeling that her baby is just the next event programmed into a well-scripted socially acceptable life Nadia never challenges. It is evident, however, that she has learned some lessons from Emma about sexual fantasy. Nadia does agree to fool around with Ray’s sexual imagination, though her commitment to these make-believe dalliances is debatable.

On the other hand, Emma, emerging from her cocoon in the first film, faces another transition in Exposed. Her mask, defined by the wig she wears in the opening shots of the third film, is ready to accompany her back into what she loves. But wigs and lipstick shout of denial and can never be satisfying. Just as she did when releasing her kinks in the first film, Emma now faces another hurdle in her growth, she must break through the pain that lies beneath the persona everyone sees.

Rebirth, in all its forms, is the story of the human condition because exposure is the final step to liberating the real self.

A moment of sisterly love between Nadia and Emma

* * *

The next post will explore the imagery that sets The Submission of Emma Marx: Exposed apart from the run-of-the-mill porn fare.

Aidra Fox promotes Emma Three Photo by Jeff Koga

Aidra Fox promotes the trilogy with the first two films in hand.
Photo by Jeff Koga

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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.

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September 28, 2015 · 8:34 am

Daddy’s Girl 95, Part One: The Goodneighbor

by Rich Moreland, September 2015

This is the wrap up Daddy’s Girls, a product of Girlfriends Films and director B Skow. As I indicated with the first installment, these posts represent only one interpretation of a film that is far deeper in meaning and imagery than I’ve touched upon here.

* * *

Jerk off Babe

Bob’s daughter Quincy uses her Daddy’sGirl95 avatar to promote her webcam identity as a “jerk off babe.” Posing as “barely legal” with her schoolgirl outfits, Quincy is hardly a juvenile and shows a biting nastiness that festers beneath her daughter facade.

Like the film itself, Quincy is hard to pin down. She tells her mother to “fuck off” and sweetly talks to her daddy. She is the personified bully who verbally assaults Samantha, “you took my daddy now I’m gonna take you . . . you shouldn’t take what isn’t yours,” before sexually ravaging her. The whole show is live on Quincy’s cell phone for Goodneighbor51’s pleasure.

On one hand, Quincy mirrors the dysfunctional families in this charade while challenging their character on the other. She is noticed, yes, but too often dismissed with the hope that she will blend into the background like the pastel imagery that surrounds her.

As the story progresses, Quincy increasingly orchestrates the action, particularly in the final sex scene with Dale whom she believes to be her biological father. It is a metaphorical revenge “killing,” so to speak.

She accuses him of being “the pedophile that’s been jacking off to his best friend’s daughter,” reminding Dale he’s now had sex with his best friend’s wife and daughter. Essentially, Quincy sees herself as a daughter of two fathers, one she desires and the other she loathes. It’s ugly in tone, like her taking of Samantha.

Quincy and Dale

Overcome with wrath and punching Dale into unconsciousness, Quincy is immediately remorseful and calls for her “father figure” to come to the rescue.

Conveniently, the mask-wearing Bob is in the adjacent bedroom, doing the deed with his hired playmate Marla. Earlier in the film when he was having performance issues, Marla put on sunglasses, called him “daddy” and his arousal skyrocketed. No problem, covering the eyes covers the perversion which is also “covered” in her bill. Everyone pretends and “sees” nothing.

On the surface, the contrast between the daddies is obvious. Bob remains healthy; Dale is dying. But the rest is muddled because both daddies are sexually tainted. Both desire younger women with Dale’s being the online variety while Bob can’t let go of his lust for Samantha.

On the other hand, Quincy’s longing for Bob, whom she knows is not her real father and therefore fair game, won’t go away. To complicate matters, he is the manifestation of the larger “Father Complex” for both Samantha and Quincy.

Both girls are a contrast of desire and anger. Sam directs her disgust toward Bob for abandoning her and bitterly reminds him that she wore knee socks and called him daddy when they did the dirty. Quincy, as pointed out above, takes out her rage with a father rape of sorts driven by Dale’s past dalliance with her mother.

Odile and Darla Crane

In the meantime, Dale’s wife Iris (played by Darla Crane) finds the “jerk off babe” and her unwilling and unsighted playmate on his phone. . . a secret revealed. Devastation follows and she rushes to Gina, Bob’s wife (played impressively by Odile), for solace. To soothe the moment, Skow throws in a MILF scene between two well-respected adult veterans.

Seeing Everything

In the closing scenes of the film, the families gather together and there are apologies all around. Sincerity floats over the room, but doesn’t really land anywhere. This sorry lot is a collection of “masks” vainly trying to make things well enough to survive. Quincy becomes the chastened child and the other “adults” lamely tuck away their past temptations to bask in the bright patio gathering.

With cane in hand, Samantha, the narrative’s emerging avenging angel, excuses herself. Wearing an actual mask, her sunglasses, she remarks that she “sees” everything and everyone can do better than ask forgiveness. It’s a criticism that carries religious implications.

On the set for Bob and Dale in hopeful reconciliation

Dale and Bob reconcile with Dale pontificating about their relationship, telling Bob to step up and become a father by abandoning his mask and self-pity. Bob is properly contrite, giving Dale a pass he doesn’t deserve. Dale has his own concealed perversion as Quincy’s Goodneighbor51 customer who suggests she meet him at a motel or give him a show. Quincy, who hides behind her online facade, opts for the latter and, as mentioned above, sexually attacks Samantha for his entertainment, not knowing who he really is. Of course, circumstances now reveal the Quincy/Samantha scene to be an outright perversion between sisters, but no one seems to quite get that.

But who are the girls, really? Biological daughters incestuously entertaining their father (Dale) or metaphorical possessions of a Lolita freak (Bob)?

Always Close the Window

In the final scene, Bob tucks Quincy into bed as a father would his little girl. In contrast to Samantha’s single bed, unwelcoming to a partner but subject to violation, Quincy’s is a double, an invitation to just about any “daddy” or “mom” as we will see in sequel to this classic, Daddy’s Girls 2.

She asks Bob if Samantha or mom will ever forgive them. He responds with “sometimes you just have to live with things,” a sharp lesson Quincy will learn in the next film. Preparing to let her sleep, Bob mentions she’ll be going to the facility in the morning, implying this her last night with her parents.

The bed is awash in pastels, pink, brown, green, blue, soft colors, typical of Quincy, a sinful little girl blended into the landscape like the title frame at the film’s opening.

Before he leaves, Bob asks if he should close the window. Quincy wants to feel the breeze, she says. Folding her hands in a prayerful mode only St. Agnes could truly appreciate, Daddy’sGirl95 is likely hoping for a “do over” in the manner of kids on the playground who haven’t grasped the meaning of disappointment and failure. With eyes closed, her smile is sweet and innocent.

Like Samantha who earlier lay awake in her bed, Quincy now is waiting. But imagery takes an odd turn here. Quincy is transformed into the peaceful resolution of a corpse in an open casket funeral. Perhaps it is fitting, after all . . . metaphorical death and resurrection await a new more visible mask.

The camera pulls back a bit and the open window appears to the right. A knife is laid on the sill, then a cane. After a pause, a with face concealed by sunglasses emerges from the night riding a most evil cool breeze.

* * *

The cast of that brings to life this fabulous film.

I deliberately left out the identity of the central actors who raised this movie to perfection, preferring instead to honor them at the conclusion of this analysis. They are Riley Reid (Quincy), Maddy O’Reilly (Samantha), Alec Knight (Bob), and Evan Stone (Dale). As referenced above, they are ably supported by Odile and Darla Crane. Rarely in an adult film does a combination of performances mark such excellence.

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Tagged as Alec Knight, B.Skow, Daddy's Girls, Darla Crane, Evan Stone, Girlfriends Films, Maddy O'Reilly, Odile, Riley Reid

March 14, 2015 · 1:55 pm

Why Can’t We Have It All? Part One

by Rich Moreland, March 2015

The Submission of Emma Marx: Boundaries is Jacky St. James’ sequel to her award-winning masterpiece, The Submission of Emma Marx which I had the pleasure to review in three parts here in August 2013. With cinematic partner Eddie Powell, St. James now boldly continues Emma’s odyssey.

Before moving into the film, it’s worth mentioning that sequels are financial risks. Though supportive of her project, New Sensations President Scott Taylor was cautious. “Sequels often flop.” St. James remembers him telling her. “They don’t sell as well. They seldom find that magic of the original.”

Perhaps, but in the case of Boundaries it is every bit as good as it’s older sister and I encourage watching the first film before enjoying the second. If not, the viewer will feel like a late arriving movie goer who takes a seat half way through a story with no understanding of its origin.

Boundaries‘ success is complemented by the reassembled cast. Penny Pax reprises her role as Emma, as does Richie Calhoun as Mr. Frederick. Though porn flirts with the edges of mainstream Hollywood, both players remind us its acting can be every bit as good. Pax is learning her trade, building a resume that separates her from adult’s usual “just give me the sex and don’t ask if I can act.” No doubt St. James’ directing is a crucial factor in the diminutive model’s professional evolution.

Jacky, Penny and Richie.
Photo courtesy of Jacky St. James

Riley Reid is perfect as Nadia and Van Wylde likewise as Ray. Their roles are not an easy sell because Reid and Wylde must come across as a vanilla “cookie cutter suburban couple” snug and homey in their conventionality.

In making the film, St. James confesses that “staying true to Emma and her sexual journey” could not be compromised. The result is Emma as a complexity that intrigues the viewer on various levels. I can imagine that her shadow seductively passes through the corridors of St. James’ mind just as she does in the film’s opening credits and its denouement.

Conceding that her “screenplays hold very deeply personal connections to experiences I’ve had or people I’ve known,” Jacky St. James faces a near impossible task with Boundaries, write a flawless script that moves Emma along bit by bit while confronting the viewer with unsettling issues. The question that captures the film’s raison d’être and St. James’ good storytelling is simple: Does sexual and emotional turbulence reach a satisfactory resolution that spells the end of the story?

Or, is there room for Emma redux, part three?

One thing is evident, Boundaries’ tightly written script is worthy of industry accolades. Indeed, it is as close to impeccable as an adult film can be.

Part of News Sensation’s Erotic Stories line, this second Emma Marx falls into the couples porn genre, yet it is sexually groundbreaking for a date night film. The carnal scenes are integral to the story; nothing is thrown together or gratuitous. Some of the action, however, directly challenges the formula for what the industry touts as comfortable for lovers. But more on that later.

Just Drawing Lines

Emma Marx and Nadia are sisters whose relationship is close considering their sexualities are anything but. In the first Emma Marx, Nadia and Ray “silently judged” Emma’s fetishes. Now they are outspoken, letting her know of “their aversion” to BDSM.

Is this progress?

Over a bland vegan dinner she believes is suitable for everyone (one size fits all, if you will), Nadia announces she doesn’t understand why being tied up and spanked is not abuse. Deprecating BDSM kinkiness with her sappy smile and haughty attitude, Nadia tacitly reinforces her normalized sexuality in a way only modern moralists can appreciate. When Emma mentions consensuality, she is ignored. In an amusing moment, Ray condemns suspension and cattle prods while disgustingly holding a fork with two pieces of the vegan mystery food hanging from it. The real torture in this scene is inflicted on Ray.

But, apparently the happily married duo is not opposed to a little experimentation.

With the superficiality of a Valley Girl who thinks a sip of wine makes her a connoisseur, Nadia announces to Emma the next morning, “Ray and I totally tried BDSM last night and I’m totally a sub.” Kudos to Emma for respecting her sister’s asinine interpretation of sexual enlightenment.

Jacky setting up the scene for Riley and Van Photo courtesy of Jeff Koga

Jacky setting up the scene for Riley and Van. Blurred flowers framed on the wall.
Photo courtesy of Jeff Koga

Here’s the story. In the film’s first sex scene with Nadia and Ray, a blindfold is about as deviant as they get. (She does ask him if she can call him “master” in a laughable attempt to identify with what Emma authenticates.) Having now seen the light while not being able to see, Nadia tells Emma she “completely” understands what a BDSM relationship is all about.

Incidentally, the sex is classic Riley Reid, who is an industry gem. Considering it’s a script-driven vanilla encounter–necessary to set up Emma’s future sexual experimentation–Riley’s smile, spirit, and energy carry the show. On the wall bedside the bed is a black and white photo of two flowers that lord over the sex in front of it. The flowers are blurred, an important image for this film.

Blindfold in place, ready to shoot.
Photo courtesy of Jeff Koga

Later when the sisters are in the gym, understanding suddenly vanishes. As she gives the elliptical machine a workout, Nadia is clearly irritated. “Trying BDSM was the biggest mistake of my life.” Now Ray wants a three-some, but Nadia slammed the door on that idea, proclaiming that men put women in “sexual situations solely for their benefit.”

Emma’s hint that Ray might want to expand Nadia’s horizons falls flat. “Men do that,” a fired up Nadia says. “They pretend it’s all about you and it’s really about them. They wait for the moment you say, ‘yes,’ and they push your limits.” Annoyed with Emma’s suggestion that Ray wouldn’t cheat, Nadia digs in. “I’m just drawing lines.”

But doesn’t everybody?

Open to New Experiences

Nadia’s indignation spurs Emma to confront her own crisis. Mr. Frederick has presented her with a new contract which she reads line by line in an earlier scene. It is a quest for “Why can’t we have it all?”

Preparing for an office shot.
Photo courtesy of Jeff Koga

When she reviews the contract, equality and symmetry are visually emphasized to reflect the supposed state of their relationship. Emma is sitting on a long desk with her legs extended to a Mr. Frederick who massages her feet. The shot has perfect balance regarding the desk: two half full glasses of red wine on each end and a pair of tall plants in floor urns on either side of it. In the background, French doors halve the scene like the entrance into a Georgian manor.

As this segment progresses, brief glimpses of Emma and Mr. Frederick’s encounters are revealed as she goes through the contract.

In one, symmetry is repeated when she talks about training. It is a shot of interior French doors at the end of a hall. Framed prints are on opposite walls to balance the scene. Mr. Frederick leads Emma from left to right across the screen, moving her symbolically from an old definition of her sexuality to a new experience.

“I will not just play the role,” Emma says in reference to being a submissive, “I will become the role.”

When she is bound to pillars in the kitchen a la Fay Wray in King Kong, Emma says, “my body is his to do with as he pleases.”

The Kitchen Pillars. Photo courtesy of Jacky St. James

The Kitchen Pillars with Eddie Powell in the background.
Photo courtesy of Jacky St. James

Incidentally, in the provision having to do with enjoying her orgasms, there is a quick flash of them having sex in a hallway that doglegs to the right, an image that is revisited later.

When Emma gets to the item that involves having sex with other people, she balks. Tense and unsure, she asks if he is bored with her, that fatal relationship blow everyone fears.

This moment sets up the rest of the film. Mr. Frederick orders her to stand up, face him, and masturbate while thinking about someone who sexually arouses her. With eyes closed, she confesses it is Shane (Logan Pierce), the new guy in the office. Emma loses her bearings in a rush of endorphins and says, “I wonder if he’d like me.” Projecting her sexual preferences into Shane, Emma says he’d be down and dirty and insist on violating her with anal.

Logan Pierce
Photo courtesy of 101Modeling.

It’s the opening Frederick wants and sex scene number two begins with anal its focal point, a clear break from the couples’ porn formula. To emphasize this shift, Eddie Powell moves his camera over Richie Calhoun’s shoulder to get the standard male masturbatory gonzo shot of a kneeling Penny Pax, mouth at work and adoring eyes looking upward.

St. James and Powell have a dual purpose with this scene. For story purposes, Emma’s exploration is picking up steam, but on another level, they are forging a new path in romance porn. The bondage remains light, adhering to the submission pornography genre popular in today’s market, but the sex is edgier.

Several questions in the film are present here. Mr. Frederick claims he is turned on by Emma’s self discovery, but is he engaging in his own fantasy of whoring out Emma and role playing Shane? In her mind, is Emma mocking her sister, knowing Nadia would never be this unconventional? Or does this exercise add to the unpredictability of Emma relationship that keeps it from getting stale?

There is a deeper question. Is Mr. Frederick gently and firmly nudging Emma forward or is he applying subtle pressure with the bet that Emma’s devotion will give him carte blanche to ratchet up his demands?

Or perhaps what Frederick tells her is straightforward and eerily true. “You don’t have to do anything you don’t want to do. I just want you to be open to new experiences.”

Mr. Frederick and Emma exploring.
Photo courtesy of Jacky St. James

At any rate, as Mr. Frederick anally penetrates his submissive, Emma sees and feels the new guy in her imagination. Before the pop, she begs, “Cum on me please, Shane.” Is Emma transitioning to a new experience or enjoying a healthy fantasy?

Whatever St. James’ intention, the scene explores the emotional complexities of BDSM characteristic of submission pornography, or what might be called in today’s culture, bondage chic. For raw sexuality, it steps beyond the inanity of Fifty Shades while pulling up way short of the hardcore fetish elements found on many extreme internet tube sites.

Dumbbells

Back in the gym the options posed for both Nadia and Emma are carefully defined. As the camera moves in on Emma’s treadmill next to Nadia’s elliptical, it floats past a rack of dumbbells that illustrate the choices available to each woman.

The top row contains two smaller dumbbells, both round and equal in size, with a exercise baton nestled in the juncture between them. This is Emma’s next possibility. Both weights are side by side and sexually open with the option of welcoming in a third person. In the same row, but to the far right, are two larger six-sided dumbbells of equal size representing Nadia’s view of her marriage, closed off and solid, or so she hopes.

Should either woman choose an unequal relationship, open or closed, in which her stature is diminished , the options are on the bottom row. Two round dumbbells and two six-sided ones, with the larger dominant one snuggled next to the smaller. Curiously, off to the right of the closed dumbbells is a single and smaller six-sided one, perhaps it is Ray’s suggestion that so infuriated Nadia and her no nonsense answer.

Where will all this drama leave Emma?

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Tagged as BDSM, couples porn, Eddie Powell, Hollywood, Jacky St. James, Logan Pierce, New Sensations, Penny Pax, Richie Calhoun, Riley Reid, Scott Taylor, The Submission of Emma Marx, The Submission of Emma Marx: Boudaries, Van Wylde

Tag Archives: Riley Reid

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