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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.

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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

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.

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.

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.

indexAll 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.

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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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Whatever is Best, Dad: Part Two of Our Father

by Rich Moreland, July 2014

A delightful installment in Digital Sin’s Tabu Tales series, Our Father proves once again that Jacky St. James and Eddie Powell are among the most creative filmmakers in adult cinema.

Incest porn’s “transition moment” is the topic of Part One of my review. Part Two explains how it is used in this film.

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Dakota Skye on the box cover. Photo courtesy of Jeff Koga

Dakota Skye on the box cover. Can you keep a secret?
Photo courtesy of Jeff Koga

Our Father concerns step dads who tackle their stepdaughters’ sexual hang-ups. Each of the four vignettes is a secret incestuous arrangement that requires the willful suspension of disbelief. How this taboo is handled reveals director Jacky St. James and cinematographer Eddie Powell at their cleverest. By using the “transition moment,” they move the viewer away from perceived familial perversity and into a porn film.

To mollify viewer reservations about family sex, each episode is heavily laden with dirty talk, a porn fixture that, along with cheesy music and looped sex scenes, played to audiences of yesteryear when adult film was creating an industry. In Our Father, nasty verbiage is a reminder that this is a porn movie with professional entertainers who can psychologically move out of their characters when the sex starts.

Anal is First

“It was weird how much I confided in my step dad,” Penny Pax says in an over voice. She’s sitting on the kitchen counter top talking with “dad” (Alec Knight) who is sipping coffee.

The conversation is about pregnancy avoidance. Alec speaks authoritatively about sex toys (he uses them in his practice) and offers Penny a backdoor education in birth control.

Penny and Alec Photo courtesy of Eddie Powell

Penny and Alec
Photo courtesy of Eddie Powell

To close out the storyline and set up the transition moment, Penny convinces herself any experience with her stepfather would not be “in a sexual way” because he is an instructor. She declares, “I think we should do it.” When the lesson evolves into real sex, the film changes gears, willful suspension of disbelief is abandoned and pure porn takes over.

Getting there, however, requires that St. James’ script highlight Penny’s naiveté. Alec explains everything about anal and she concedes to his authority. “Whatever you think is best, Dad,” Penny coos.

Comfortably lying on her stomach, the trusting “student” never looks back at dad. After inserting toys into Penny’s backside as a warmup, Alec quietly penetrates her. Unaware, she says it feels great, though different and natural. Suddenly daughter spots dad’s hands and turns to look. “We shouldn’t be doing this,” she says, trying to preserve propriety.

Her initial cooperative demeanor has moved through doubt into acceptance. Does she want him to stop? No, and they make a secret pact: she won’t tell mom, he won’t tell her boyfriend.

The camera pulls back, framing each of their bodies equally. For the first time the penetration appears on screen, completing the transition. She tells him it feels good and wants to know if he’s enjoying himself. Penny Pax is an anal queen and the scene continues with doggie and oral.

After the pop shot, willful suspension of disbelief reappears. Resuming her stepdaughter persona, Penny thinks of her boyfriend and dismisses any further thoughts of sex with her stepfather. Nevertheless, the experience was a valuable exercise with an upbeat conclusion.

Jacky takes a break with the talent Photo courtesy of Jeff Koga

Jacky takes a break with the talent
Photo courtesy of Jeff Koga

A Lolita

In the second segment, the script uses the transition moment to create arguably the best sex scene in the film.

Stepdaughter Dakota Skye is struggling with a negative self-image and claims she has good reasons for wanting breast implants. Stepfather Ryan McLane hopes to quell her demands and insists via an over voice that his “intentions were innocent,” at least in the beginning.

Their disagreement quickly persuades her to pull up her shirt. With perky boobs staring at him, Ryan covers his face in feeble protest. Dakota’s invitation is up front. “You’re not my biological dad.” He concedes her assets are “incredibly beautiful” and the transition moment hits like freight train. A few kisses and the sex is underway.

Ryan and Dakota Photo courtesy of Jacky St. James

Ryan and Dakota
Photo courtesy of Jacky St. James

This episode has a different feel because the players are more youthful. Athletic and hard bodied, Ryan McLane seems much younger than his years. Dakota, on the other hand, is Lolita-like. Obviously, St. James paired these two so that the hardcore is anticipated when the performers first appear. In other words, such a step dad/daughter encounter is possible when age differences are minimized.

As the sex heats up gonzo style, Dakota screams “Please fuck me, Daddy” in the best of BDSM tradition where submissive women deliberately seek older men for “age play.” Incidentally, this small touch sets up the third episode starring Carter Cruise and Steven St. Croix which will delve into the power exchange common in BDSM.

While Dakota is getting her fill, Jacky St. James’ talent for placing explanatory objects about her sets steps up once again. In the background is a Grecian-type urn or amphora sitting on a pedestal, a reminder that the ancient Greeks believed the penetrated person, rather than the one who penetrates, gets the pleasure from sex. Dakota’s toe curling verifies their wisdom.

Following the pop shot, Ryan’s voice over embraces the Lolita shadow. “That’s how I convinced my stepdaughter to stay a sweet young girl as long as possible,” he says.

Please Daddy!

Steven St. Croix is a stepfather with an undisciplined daughter (Carter Cruise) who parades into his office, boasting that her mouth is her classroom asset. When Steven, whose business success hovers over the scene, gets annoyed, she retorts, “You can get farther in life by sucking cock than working hard.”

“If you were my daughter I’d spank you,” Steven growls. Dropping her pants, Carter goads him with, “Pretend I’m your real daughter.” He obliges, giving her a few whacks, then tries to get back to work. Unfazed, she taunts him about his porn mags and infatuations with college girls.

This episode has a strong age play component and high believability because parents do spank kids. But it doesn’t end there; the spanking is foreplay and suspension disbelief will soon be set aside when the sex gets rolling.

Carter tells Steven they are both screwed up and when she demands, “I want my Daddy to spank me,” the transition moment occurs. The viewer is immediately in the BDSM arena watching the players act out their dominant/submissive roles. “Brat,” “bad girl,” and “baby girl,” are thrown around as Steven manhandles her to intensify the sex.

Carter Cruise Photo courtesy of Eddie Powell

Carter Cruise
Photo courtesy of Eddie Powell

Hair pulling, choking, spitting and slapping heighten the show. By the way, BDSMers appreciate a denial moment. Carter’s sucking wants a workout, “Please daddy, please daddy,” she begs, but Steven won’t let her. It’s all part of the game before she gets her wish.

In the background there’s a small statue of a raging bull, typical of a stock broker’s office, snorting and bellowing as if awaiting his turn. After the pop, Carter, whose orgasms sweep over her with a dead quiet, dips her fingers into Steven’s closing statement and licks away.

Disbelief suspension briefly returns; Steven notes that he now pays all her bills in the best of sugar daddy fashion.

(Note: The Carter/Steven sex scene lasts approximately 28 DVD minutes. At its beginning Steven’s watch reads 4:10 and when the sex is a wrap, the clock behind the desk is at 5:55, corresponding closely with the last shot of Steven’s watch at 5:50. Breaks discounted, the cinematic results are impressive.

Making a porn movie maximizes budget and time. Most of the money goes to talent who can turn on when the lights are up. Unfortunately, appreciation is rarely extended to editors whose skills foster everyone’s success, so kudos to Gabrielle Anex!)

A Virgin?

In the final vignette, “dad” (John Strong) is having sex with everyone but his wife. Though he wants to be a role model for his twenty-year-old stepdaughter (Ava Taylor), an opportunity arises he can’t refuse.

Ava Taylor Photo courtesy of Sweet Sinner/ Mile High

Ava Taylor
Photo courtesy of Sweet Sinner/ Mile High and AVN

The bookwormish, but hardly shy, Ava wants to know how many women he’s nailed (a hundred, John replies) and coyly asks if he’d like to deflower a virgin. Dad hopes Ava won’t tell her mom because he’s game.

“If you weren’t my daughter, you’d be naked right now,” John says, maximizing his Lothario come-on.

Ava eagerly strips, sporting tats and piercings that highlight a shaved pubis. This is a virgin? Not on your life, but it is the transition moment, dissolving a weird situation in which a sexually well-traveled stepfather is willing to bang his untouched stepdaughter.

Chuckles abound when dad asks if his step sweetie knows how to “suck a cock” and if not, would she like to learn. Of course, that’s silly because Ava Taylor is a pro; she deep throats and sticks out her tongue for the pop shot, no virgin here! Suspension of disbelief aside, Ava is an exotic beauty with superb oral skills and a great career in front of her.

This final episode is all in good fun and there is never a moment when the viewer is in doubt this is porn, pure and simple.

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A Suspension of Disbelief

by Rich Moreland, July 2014

Written and directed by Jacky St. James and filmed by Eddie Powell, Our Father is part of Digital Sin’s Tabu Tales series . This is the first of a two part review of the DVD.

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Our Father, a series of four vignettes about stepfather/daughter relationships, plays with the incest theme, a taboo familiar to commercial pornography but not frequently filmed.

father, our 1Jacky St. James and Eddie Power offer up titillating sexual encounters that are a mix of seasoned performers and new entrants into the business. The older man role features four outstanding veteran actors: Steven St. Croix, Alex Knight, Ryan McLane, and John Strong; the younger woman is played by Penny Pax, recent arrivals Dakota Skye and Carter Cruise, and newcomer Ava Taylor.

Of course, a taboo that hints of incest survives on a secret. Because daughter and dad are willing co-conspirators, so to speak, the stepfather must not allow his sexual escapade to bring down his marriage. And, neither sex mate wants to upset an attractive arrangement beneficial to both. The result is a “don’t tell mom” collusion that flavors the forbidden intimacy.

But why does a porn film about pseudo incest work when the idea is “gross,” as Penny admits in her BTS (Behind the Scenes) segment? The explanation lies in a literary mechanism that convinces the imagination to allow a story, in print or film, to come alive: the willful suspension of disbelief.

Coined by British writer Samuel Taylor Coleridge, suspension of disbelief is the reader’s (or viewer’s) desire to go along with the improbable for the sake of the story at hand. Logic and the limitations of realism are ditched (sacrificed?) in the name of entertainment. In other words, we can go down the rabbit hole with Alice and delight in the ride.

In Our Father, when the brief plot line of each vignette is established, the viewer engages the story as just that, a story. Disbelief suspension excuses any feelings that the episode is disgusting because it isn’t realistic or likely, at least in an ordered society as we know it. To think about it another way, the burden of disbelief lies with the audience, the filmmaker is merely the persuader who constructs the narrative to finesse the viewer’s imagination, recognizing that what works for some may not work for all.

Transition Moment

The idea is simple enough, but porn offers an interesting twist, something St. James and Powell skillfully employ. At the “transition moment,” the viewer reverses his or her expectation and, consequently, the reason for watching the film. The spectator now settles in for a porn movie in which the sex moves center stage and the larger reality of the performers as step relatives, established in the suspension stage, is set aside. For the duration of the film, a deliberate suspension of disbelief is no longer needed. Now it’s people having sex and they could be anybody. The scene survives on the performer’s skills and their attractiveness, the heart and soul of a porn shoot.

In fact, despite a brief wrap-up following the pop shot, the viewer is finished with this encounter and disposes of the characters’ final comments that are necessary to package the episode. The segment’s actual conclusion is an old porn standby dating to the stag film, the camera moves to fade out.

Notice that mom is mentioned in passing but never appears. As a result, she doesn’t mess up the arrangement and does not have to be dealt with as a real figure. Guilt is assuaged all around because the wife/mother character remains ethereal; in fact, she is non-existent. The viewer can relish the sex and once it’s finished who cares if anyone—family, friends, neighbors, or co-workers—really finds out.

Incidentally, an old stag component—the third party—can be added without skipping a beat. Perhaps an aunt, a cousin, or a neighbor happens onto the scene. No worries because a suspension of disbelief reappears to adjust the storyline, then it’s onto the sex especially if the third person jumps right in.

The transition moment is a clever artistic device St. James understands. Without its placement in the script and animated in the directing, an uncomfortable viewer may feel “grossed out” and set the movie aside.

Daddy Theme

Madison Young Photo courtesy of Jiz Lee

Madison Young
Photo courtesy of Jiz Lee

On another level, there is the Daddy theme that requires no willful suspension of disbelief, but can involve suspension of another kind that is not the subject of this review. Sexually submissive filmmaker Madison Young’s recent book by the same name discusses the many levels of “Daddy” that operate in the sexual arena, particularly BDSM. It involves the need to please and yield control in a loving relationship that fills a void and stimulates desire within both parties.

St. James’ script hints at the Daddy idea, actual relationships some younger women seek with older men that, incidentally, are not unusual within the porn community. For example, twenty-one-year-old Jessa Rhodes admits in the BTS for The Sexual Liberation of Anna Lee that the Daddy complex is her “thing,” though at one point she thought is was “so wrong.” Porn superstar and BDSM devotee Casey Calvert has always preferred older men, her personal long-term relationship is well into his forties.

Casey Calvert Photo courtesy of Twisty's

Casey Calvert
Photo courtesy of Twisty’s

In other words, age differences do not always require a disbelief suspension but may beg for sociological, cultural, or psychological exploration. Are Madison, Jessa, and Casey playing out a Freudian scenario, a father fixation within a their sexual make-up, or do they simply have a natural attraction for an older man? Or, are they flaunting a society that insists sexual relationships have a narrow age acceptance, unlike generations past? Hard to say, perhaps their real life lovers simply indicate that sexually one size does not fit all.

If porn performers are widely accepting of age difference, then a twenty-something girl having on-screen sex with a man twice her age comes with no qualms or sense of impropriety.

Possibly then, willful suspension of disbelief in incest themes may be easier than at first it seems.

It Feels so Good!

There is an added component. The Daddy/Babygirl or Brat paradigm is not uncommon in the BDSM community where Madison and Casey flourish and Penny Pax often resides. In Our Father, Dakota says to Ryan as the foreplay heats up, “Please fuck me, Daddy.” In her spanking scene with Steven, Carter recalls this dynamic when she responds to his pronouncement that she’s a “manipulative little brat” with “I want my daddy to spank me.” This is language that is the lifeblood of BDSM age play.

Jacky with the cute and cuddly Penny Pax. Photo courtesy of Jeff Koga

Jacky with the cute and cuddly Penny Pax.
Photo courtesy of Jeff Koga

The fetish community’s Daddy/Babygirl dynamic carries over to non-BDSM porn with the power exchange. In the first episode of Our Father, dad’s pride in his daughter and her sexual performance is part of that energy. Penny says to Alex at one point, “It feels so good,” and wants to know if he’s enjoying himself in a hoped for verification that they are sharing the moment. Sitting on the younger side of the age dynamic, Penny wants to please, complimenting Alex with “Daddy, you fuck me so good.” In the case of Carter and Steven, the daughter plays the power card in the beginning to get what she wants, the dominating father figure who’ll pay her bills, then allows the power interchange to reverse course to reside in his command over her.

In truth, power exchange is found in all sexual relationships. The playing field is never level and Eddie Powell’s brilliant cinematography captures this imbalance by focusing on faces and expressions. In traditional porn, pleasure is individualized, just as it is for the viewer who uses the film to “get off.” Unfortunately, that can disconnect performers from each other in gonzo type shoots that mute their abilities as actors. Eddie Powell never lets that happen. His close-ups move the eroticism along with a sensuality that complements the hardcore penetration.

Unlike porn romances, parodies, or BDSM fetishes, the art of making an incest-oriented movie is to assure the viewer that he or she can become a voyeur for voyeur’s sake once the story line is established then silenced via a transition. In other words, to appreciate the sex show for what it is, the sexual situation along with the characters’ attitudes and desires must be muted. The taboo may lurk in the back of the mind, but the viewer knows that the director and the performers are in on the game.

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In the part two of this review, each vignette will be examined with their respective transition moments noted.

 

 

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