Tag Archives: Steve Holmes

A Gonzo Afternoon: Part Two

by Rich Moreland, December 2017

Their shoot for Eddie Powell wrapped up, Steve Holmes and Mandy Muse are game for a dual interview so we move outside to the veranda.

Steve’s wife soon joins us.

Here’s some of what we discussed.

*          *          *

A Convenient Marine

I open the discussion with a question about getting into the business.

Mandy starts us off. She’s been shooting for a while and works with Kendra Lust’s agency, Society 15.

“I’m 23 years old. I’ve been in the industry for 4 years now, started when I was 19. I have a big booty which I’m known for. I do pretty much everything except for double anal and double vag.”

Mandy has no background in acting other than a film class she once took. But the Southern California lass is well versed in sex, having her first experience at the tender age of twelve.

“I had my first threesome with two guys when I was fourteen and then my first orgy at about fifteen.” Her voice rises as if she’s not sure of the age, or doesn’t remember exactly.

She got into the industry once she turned eighteen, Mandy says, and relates how it happened.

“I was attempting my first DP with these two marines on base.”

A good time was had by all before another soldier shows up. He was on duty but that didn’t faze Mandy.

“He was really attractive and I wanted him to join in,” she remembers.

The marine was interested but declined. He was on duty. Undaunted, Mandy gave him her number.

“He later asked me if I’d do a scene with him for a uniform fetish website. I wore my cheer leading uniform from high school and that’s how porn found me!” the brunette declares gleefully.

Married with Children

Steve’s path started at a much later age.

“I’m German, born in Transylvania, then went to Germany as a kid.” he begins. “I worked in IT for ten years, before that in different jobs, always sales and marketing.”

I can believe that. He’s easy to get along with, just ask Mandy who met him for the first time today.

Steve’s wife arrives to pick him up and takes a seat.

As if on cue, he says, “When I started I was already married with children.”

I suggest his wife is a tolerant person. She smiles and sends him a knowing look.

“She is, yes,” he responds and turns to Mandy, “I did a nice feature with your agent, Kendra Lust. She played my wife.”

Come to think of it, I guess Steve has had lots of “wives” but only one real wife.

I tell Steve I first learned about him through his work with Kink.com in San Francisco.

“Kink is a funny story actually,” he offers. “They booked me the first time in 2007. I didn’t know the company. They always asked the girls at Kink who they like to shoot with. They were requesting me.”

The fetish giant explained that before they booked him he needed to do a little research to find out his comfort level with what they do.

They said, “’It’s not like the regular stuff. We’ll send you a link to our website and a password,’” Steve remembers.

He checked out their shoots and noticed something. He didn’t know how to do the rope work that seemed to be everywhere in a Kink production.

“They told me, ‘no problem we have people for that,’” Steve explains. “So that’s my first shoot at Kink for Sex and Submission in February or March, 2008.”

As time passed, Kink expanded their offerings to Steve.

“They asked me if I can help with producing and organizing. That’s how I started directing. One of the websites I produced was Public Disgrace. Princess Donna initiated that with the company.”

Donna has since left the adult business. I remembered seeing her a couple of years ago in a shoot for a European BDSM company called Elite Pain. Their work is rougher than anything stateside.

“Yes, a company owned by a friend of mine in Budapest,” Steve interjects. “They normally just shoot nudity with no sex.”

He references a shoot he did for them and shows a still of the bound model on his phone.

“The girl contacted me many years ago. She wasn’t a porn girl. She was a medical student in Germany. I booked her in Europe and we shot her in Berlin for Public Disgrace and I asked her if she enjoyed the scene.”

“‘I was hoping you’d beat me harder,’” he remembers her saying.

Asked about her limits and the girl said, “‘I don’t know, I’ve never reached that.’”

It turns out that Steve suggested she might want to give Elite Pain a shot.

“She came for the scene. We did it together. Hard punishment. I fucked her and she had so many orgasms. She was happy for the experience, but she’d never do it again,” he says with a chuckle.

As time passed Steve’s work with Kink was so impressive that he became one of their directors and specialized in filming in Europe.

Warming Up

Turning our attention to the shoot just completed, I asked our pair how they got to know one another when they arrived.

Steve begins

“Easy. We met. We got attracted to each other. We use the time they are setting up the lights.”

Yep, all that “warming up” paid off.

Mandy points out that being comfortable with your co-stars is important and in her case, she has “never really had a hard time finding chemistry especially with a performer like Steve Holmes. It’s just how I love being handled during a scene.”

“Thank you,” Steve says, forever the gentleman. Mandy giggles.

“We had a good time,” he continues, and comments on touching, caressing, and the like.

Mandy chimes in, “We talked about that too.”

Steve brings up the most important factor in porn . . . do you love what you do? It can make or break a shoot. And, of course, there is chemistry between performers.

“Productions have a certain idea about the scene and how they want it to be. But then sometimes they don’t always book the right people. When I feel the girl is just going through the motions, it usually reflects in the scene.”

Reading Expressions

How about communication when the camera is rolling?

Steve thinks of it as akin to dancing and uses a generational analogy I completely understand.

“My role model is Fred Astaire. Sometimes you go on the dance floor with a girl and she doesn’t feel it. You try to lead her, push her, you know. And then there are sexual girls. You dance to enjoy and also to put on a show. This is what we do here. We know where the camera is. We try to enjoy ourselves and look nice for the audience, the camera.”

I ask Mandy about making eye contact during sex.

She loves to do that but comments that in her personal life, it doesn’t always happen.

Regardless if it’s business sex or private sex, “You can see what they (your partners) are feeling more when you look at them.”

The eyes “make connections” and bring people together, she adds.

Steve is on board with that.

“Eye contact is very important. You know what your partner enjoys by reading their expressions. We react to each other.”

“Coming back to the BDSM fetish stuff,” he says, “it’s so important to read your partner so you can push them or back off.”

In shooting that type of scene, there is always a potential a safety issue, so everyone needs to be on the same page.

Did Steve use his expressions to get Mandy to go where he wanted to be in the shoot, or where he wanted her to be?

In chorus, Steve and Mandy exclaim, “Both.”

“It’s a given thing,” Steve says.

There was a fair amount of spanking in the shoot. How did this influence Mandy?

“I’m submissive,” she explains. “I like pain so I like to be spanked. It gets me stimulated. When the penetration after the spanking happens, it’s two different types of feelings so I just love the mixture of both.”

The PA for the shoot, AJ Westwood, comes out and offers to drive Mandy to her car. She’s parked at a local mall. Steve says it’s on his way and he’ll give her a lift.

Incidentally, in LA neighborhoods people coming and going from a house raises red flags. For that reason, my photographer and I parked down the street some distance away.

Keep the Energy

Before we wrap up, the conversation turns to Eddie Powell.

Steve says he’s worked with Eddie for about a year. He likes shooting for him because the director gives his performers freedom to express themselves.

“There are certain directors you enjoy more than others,” Steve says, and he’s known ones that are not to his taste.

He mentions a director from years ago. “The first time I shot for him was so boring.”

Once the director put the performers into a position, Steve explains, “he didn’t change anything. Don’t move your hand, don’t change anything. Hold the position.”

The crew worked around them.

“In the end the product looked great because the dynamic came from the editing. It was actually not a lot of fun, (just) hard work,” he says, adding that some shoots can range from five to eight hours on set.

Today was much different, Steve declares. He didn’t have to save his energy.

“The camera follows you, you can just keep going and enjoy yourself because you know the camera is going to pick it up.

“With Eddie, the scene is so good with the lighting and the camera being handheld. It’s not so easy and he pulls it off so well. That’s the quality of his shooting.

“The key is that Eddie actually tries to book performers who know what they are doing, then he tries to capture it. If you give him what he wants, then he lets you do it.”

Mandy offers a final comment about maintaining on-set energy especially during breaks.

“Even when the cameras aren’t rolling I want to continue the flow (of the scene) to still keep the energy there.

“Today was not supposed to be so hardcore. It was easy to not get worn out when the lights are changing,” she says.

What is important, Mandy insists, is “to continue flowing with the same energy.”

Understandable. That’s always a priority when you make your living as an entertainer.

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A Gonzo Afternoon: Part One

by Rich Moreland, December 2017

During my recent trip to Los Angeles, I had the privilege of visiting an Eddie Powell set.

Eddie’s work is praised throughout the industry and for good reason. I’ll let New Sensations/Digital Sin boss Scott Taylor sum it up.

“Eddie is so deserving of best director for what he does. His creativity is well thought out. It is not by accident.”

Is he Hollywood ready?

Scott responds, “Eddie can get out there and run that camera on a mainstream set in a second.”

Yes, film fans, that’s how good Eddie Powell is.

*          *          *

Mandy

Today’s shoot is a gonzo adventure for New Sensations/Digital Sin that features Mandy Muse, a girl who has made her reputation in these kinds of scenes.

Shortly after my photographer and I arrive, Eddie Powell, with camera in hand, begins chatting with Mandy in what will become the BTS (Behind the Scenes) segment of the shoot.

The sexy brunette tells the viewer she is twenty-three and a local girl from Orange County. Eddie encourages her to talk about her mom who is fifty-six, we discover, and knows what her daughter does and supports her one hundred percent.

Today’s action is anal and Mandy is elated. She loves to “switch it up,” she says, and is blessed with a “snap back butthole” which, we assume, keeps her flexible for the long and large!

She loves to watch porn, Mandy continues, and knows that “people get excited about what they haven’t done before.” So for the viewers who want to enjoy backdoor sex, her performance should be a winner.

There’s one more element that will make today super fun. Mandy likes it rough, to be “handled aggressively,” she declares, which carries over to her private life.

Steve

Mandy’s co-star is porn legend Steve Holmes. In his mid-fifties, Steve is a stellar performer who has been in the business for over twenty years, quieting the ageism argument when it comes to older men and younger women.

While everyone getting ready, my photographer passes time with the affable actor who also directs and produces.

Their conversation turns to southern culture and Steve mentions an eighteen-year-old newbie with whom he recently worked who does everything but IR (interracial) porn. Some of the old attitudes still prevail.

To entertain anyone who wants to watch, Steve has one of his shoots with porn superstar Angela White on his laptop. With this European all-star, there is never a dull moment.

Focus on Her Butt

Eddie shoots the box cover in front of the French doors that open into a space enclosed by an imposing privacy wall. Steve pours oil over Mandy’s rear while the lights are being set up. To past the time, Steve spanks Mandy a bit. She smiles.

Next come the stills (the “pretty girls” are first) shot using a living room setting. Eddie mentions everything will “focus on her butt” so that rules the next few minutes of activity.

I take a minute to speak with the boom operator/PA. His name is A.J. Westwood and he tells me he’s worked with Eddie, Jacky St. James, and Paul Woodcrest for over a year. He’s a Southern California lad in his twenties, amiably pleasant and knows his job.

Steve has joined Mandy for the next round of stills. They’re going at it (to be polite, “warming up”) for the shoot to come.

Eddie lets them know what he wants. “All positions that increase shots of her butt are great,” he says, and later asks for a “standing doggie.”

Speaking of frisky critters, the house has a couple of pet dogs running around but they are more fascinated by the squirrels in the yard.

Porn doesn’t do much for them, I’m thinking, though the squirrels appear to have each other scoped out for whatever rodents do for amusement.

For now, the stills are finished. This is gonzo, of course, and it’s time-honored selling point, the facial, will comprise the final pics later.

Peanut Butter and the Squirrels

All the while, Steve and Mandy are continuing to get to know each other with enough penetration to shoot a whole other movie. When they take a break, Steve and my photog chat again.

Eddie and AJ are setting up a tripod on a dolly constructed of two long pipes so the camera can glide through the opening sequence.

Steve’s brings up a director in Japan who didn’t want any “hankie-pankie” on set, much different from other countries (twenty-one in all) in which he has worked. There are few limits here to speak of and he and Mandy are delighted.

Steve Holmes is urbane and cosmopolitan, a stark contrast to Mandy who is every bit as local as he is international. Nevertheless, they blend together artfully when the filming begins.

It strikes me the whole setting this afternoon is a bit bizarre in the most pleasant of ways.

While Steve and Mandy fall into “warming up” again, Eddie sets up the equipment. He’ll use a handheld camera throughout the filming to get the best angles.

Meanwhile, in the yard the squirrels are sated with gobs of peanut butter to keep them occupied.

A Well-Schooled Gonzo Girl

Mandy stands in front of the French doors (the squirrels are munching away outside) and “sees” Steve approaching.

“Don’t acknowledge him, don’t even say ‘Hi,’” Eddie says.

The camera moves toward Mandy as Steve walks in and begins to caress her. There is no dialogue and this part of the scene wraps up quickly. The dolly is taken apart. Steven and Mandy don’t miss a beat and continue “warming up.”

The main event is next.

More oil and spanking for Mandy’s butt. She’s good to go with lots of oral (or should we say choking and gagging), there’s another standing doggie, and then a break. AJ gets Mandy a glass of water.

When we resume, there’s more oil, more spanking, more oral (Steve does his part). Mandy sighs a lot. She’ll break into an ongoing chorus of “oh, my gods” and “oh, shits” that are standard dialogue for a well-schooled gonzo girl.

Next is a transition to a sheet-covered table and Mandy has to re-position herself as part of the scene. It’s awkward at first, so there’s a retake. No problem. Everyone is a professional.

Of note is whispering. Steve and Mandy work together well and communicate. More on this later.

Another break and it’s time for a reminder.

Eddie explains once again it’s all about Mandy’s backside which means the cowgirl position is vital to give Eddie what he wants.

Steve encourages Mandy to “shake that booty.” She offers to spin around while holding the penetration; Eddie responses with, “what works best for you.”

So, the porn starlet turns smoothly to a reverse cowgirl, the mark of a true pro. Eddie moves closer with the handheld to get the full benefit of the penetration.

To conclude the day’s work, Mandy gets off the table and sits on her heels to prepare for the facial. A slip causes a retake but all ends well when Steve does his duty.

Finally, Mandy poses for the camera, face properly splattered, to get just the right shots to complete the stills and it’s a wrap.

Our stars head for the shower while Eddie takes a break before he and AJ pack up the equipment.

*          *          *

In Part Two, we’ll take a few moments to talk with Mandy and Steve on the veranda.

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Get Your Clothes and Go: Rain DeGrey, Part Three

by Rich Moreland, February 2015

Rain DeGrey and I have run over our alloted time in the press room but I’m curious about one more topic. How are girls at Kink are chosen for shoots and is the process the same at Intersec?

Rain in the press room. Photo courtesy of 3hattergrindhouse

Rain in the press room.
Photo courtesy of 3hattergrindhouse

At both companies, models are hand-picked for specific shoots. “The director says to a talent booker, ‘I want that girl.’ The booker can offer a selection, but the director is the one that makes the final choice [because certain models will] flavor their content.”

Rain emphasizes that to direct for Kink, riggers must rank above their competitors professionally. “I have nothing but praise for anyone who becomes a Kink director because that’s the cream of the crop.”

Most rigger/directors don’t stay at the Armory for lengthy careers. Circumstances vary, professional visions evolve, personal lives change. But no matter, it’s the legacy that counts.

James Mogul.  Photo courtesy of Kink.com

James Mogul.
Photo courtesy of Kink.com

“Even if you cycle through the fact that you [were] on-screen means that you are bringing a level of skill that most people won’t even come close to approaching.”

Rain praises an all-star list of directors who choreographed her at Kink: Princess Donna, Lew Rubens, Lochai, Matt Williams, and James Mogul. “All of them [have] their own flavor. It is awe-inspiring what they can create and produce.”

In changing times and diminishing dollars, only James remains at the Armory out of that original group. The man is as much psychologist as rigger, Rain implies. “He is a genius, he is very intense, and you really need to be able to hang with what he is offering.”

Of course, good directors also have the privilege of good talent and Rain DeGrey is top of the line.

A Crush

Princess Donna. Photo courtesy of Kink.com

Princess Donna.
Photo courtesy of Kink.com

We turn to Princess Donna for a moment and Rain fills with energy. Her eyes light up and her gestures become more animated.

“Oh my god, she is insane!” Rains blurts out. “Wow, okay so I still have a crush on her. She is so charismatic and intense.”

Rain spins the tale of her first shoot with Donna, which incidentally was her first kinky porn scene for profit. She had just submitted her application.

Booked for Donna’s Wired Pussy site, Rain was nervous, explaining that she was “in the presence of someone” she admired so much that she was “shaking.” “I’m like tripping all over myself,” she says.

Sometimes first shoots can be daunting because eager to please overwhelms the atmosphere.

The scene called for a cattle prod with Rain on her hands and knees. Donna was firm about her expectations. “‘Now Rain, it is really simple. I’m going to hit you with this cattle prod and if you move, the shoot is over.'”

Rain was really nervous, after all cattle prods move huge beasts and she is much smaller than a 1500 pound animal. When the prod was applied, the newest Kink hopeful “lurched forward,” she remembers.

“Princess Donna was disgusted. ‘This is the level of talent they’re giving me! I can’t work with this! Get your clothes on and go.”

Run over by a truck she never saw, a confused and disappointed Rain retrieved her belongings. Kink was too demanding, this whole shooting idea was a disaster. “I had no idea I didn’t qualify to be a model,” she remembers thinking.

The Kink neophyte took two steps and was paralyzed by Donna’s commanding voice.

Donna gives the orders, Rain smiles. Photo courtesy of Kink.com

Donna gives the orders, Rain smiles.
Photo courtesy of Kink.com

“‘Where do you think you’re going?”

“Donna grabbed the back of my hair, flung me to the ground, and surprised fisted me. I’ve never been fisted in my life and [suddenly] I’m a Muppet!” a beaming Rain recalls.

After the shoot went online, the fans loved the performance, complimenting Rain’s acting. “I wasn’t really acting,” she sheepishly confesses. “I thought Donna cancelled the shoot because I sucked as a model.”

From there, a career was launched.

Rain comments that PD is no longer with Kink, attributing the change to shifting winds in the porn business model. Donna’s shoots were getting “more hardcore,” she explains, suggesting that the Fifty Shades phenomenon has led Kink to tone down its product. Rain guesses they are “going for a softer, more marketable base.”

In other words, Donna has authentic standards that aren’t the sappy Hollywood fare of Fifty Shades. Her expectations reflect her personal level of performance as a bottom. “But most people can’t do what Princess Donna can do,” Rains says, and sites like Public Disgrace were getting too extreme even for Kink.com. “She wasn’t able to turn back her directing style because she is directing from her passion and her heart.”

Try Something Once

Before we wrap up, Rain has one more story, this time about her Public Disgrace appearance. Up until that time, she had done very few boy-girl scenes, but “you just don’t say ‘no’ to the Princess.”

The situation was somewhat bizarre because an unexpected psychological role reversal took over the room.

The bar scene. Photo courtesy of Kink.com

The bar scene.
Photo courtesy of Kink.com

Rain describes the scene. “I am completely naked in a bar full of strangers. They pour beer all over me, spit on me, and are dragging me by the hair into people’s faces.” As part of the shoot, Rain was required to ask everyone for their name.

She remembers that “every single person in that room was terrified of me. I would get up in someone’s face naked and covered in beer and spit and say, ‘Who are you?”

“I’m like, ‘Where is the disgracing? I own this room. My naked beer covered ass is terrorizing you!”

In other words, who was empowered in that bar? Who was in control?

Later Rain had anal intercourse on the pool table before PD “flipped” her on her back and fisted her and she “squirted all over” the felt surface. As an afterthought, Rain wondered what the pool playing patrons would think if they knew that twenty-four hours previously her porn body was sprawled all over that table!

The action on the pool table. Photo courtesy of Kink.com

The action on the pool table.
Photo courtesy of Kink.com

As we close, Rain pauses to convey her philosophy of shooting adult film.

“You are only on this planet once and your body is the greatest toy that you well ever have and some people are afraid to play with it. I’d rather try something once and not like it than be on my deathbed and think of all the things I’d wish I had the courage to try.”

“I don’t live my life for anyone other than me. When you stop [worrying about] what other people think, [you have] absolute freedom. You only have a finite amount of time and I want to use the time I have [well].”

“That is why I am here today.”

*          *          *

Adult film is a potpourri of personalities and Rain DeGrey’s carries an amusing, and sometimes scalding, wit that fires a flurry of stories with the rapidity of a machine gun nest. When you think she is finished, she’s always has another round.

Below is the hilarious finish to her Public Disgrace shoot. It’s a behind the scenes look at the trip back to the Armory. I cleaned up the language where appropriate.

Oh, My Knee

Steve Holmes is an ethnic German born in Romania who performs frequently at Kink. He’s no youngster, having been in the adult business for almost thirty years.

According to Rain, Steve is “such a pervert” with a sex drive in overload. He’s a “swinger” who got into porn because “he wasn’t getting enough” at home. She relates a story about a clip he made that reveals his extraordinary ability.

In the scene, Steve’s got “this little eighteen year old girl and he’s going to do the pop shot on her face,” Rain says. “It’s like her first shoot and she dodges the pop.” Things are now fouled up from a production point of view, the ending is ruined. What to do?

“Most dudes when they’re fifty cum once and it’s go sit in a corner. Steve is like ‘no problem give me a moment.’ Fifteen seconds later he ejaculated, holding her little head so she couldn’t dodge it this time. He was like ‘come here you little cum dodger and whoosh!”

“This man is a genius, how can you not respect that?”

On the day of her Public Disgrace shoot, Steve was at the Armory. He had just finished a Sex and Submission shoot, Rain remembers. Meanwhile, Princess Donna’s cast and crew are preparing to depart for the bar in a company van.

Steve Holmes and friend ready for SexandSubmission. Photo courtesy of Kink.com

Steve Holmes and friend ready for SexandSubmission.
Photo courtesy of Kink.com

Rain was ready to go, walking through the Armory “wearing two Band-Aids and a cork, five pounds of make up obviously off to [have sex],” she says. Steve “is hanging out in the lobby” and asks what is on her agenda.

“‘Nothing. Just off to do Public Disgrace.'”

“‘Oh great! Can I come?'”

Rain shrugs and comments that “Steve likes to relax after [having sex] all day by [having sex] all night.”

“So we are in the van off to the Public Disgrace shoot and not only is he about to [have sex] with me just because he had nothing else to do that night, he’ll actual [have sex] with his fans.”

When the shoot is over, everyone is jammed into the van and headed back to the Armory. Steve, who uses all his social media accounts to chat with his fans, makes contact with a woman who wants to have sex with him. She’s a forty-five-year-old African-American truck driver in a knee brace. It is now one-thirty in the morning and the fan shows up.

“We are tired and exhausted and lube is trickling out of my butt,” Rain recalls. The fan is just getting wound up. “‘Now it’s time to party!'” she announces.

“This is the highlight of her night, [but] we’re a van full of bored, tired porn stars [who] are all ready to go to bed,” Rain says, so the evening isn’t going to be extended.

Disappointment sets in and the fan caves, “Oh well.” But there remains a small problem. “‘My knee. You’ll need to give me a ride home,'” she insists.

“Fine, we’ll give her a ride home so she climbs in with the knee brace and gets to Steve and starts giving instructions [to her house]. ‘Two blocks [gurgling sound] go left [gurgling sound]’ and I’m convinced she is giving bad directions to drag out the time.”

“We get there and start pushing her out of the van and she is like ‘Would you like to meet my son?'”

No! And the lady is dropped off. Everyone is tired and armed with the same thought “‘Steve, you have got to stop with the fans, you’re killing us.'”

“Five minutes later we get a phone call that she left her purse in the van. I have to pee at this point and I’m sitting in a pool of butt lube ready to kill Steve.”

“We have to turn around, give her back her purse. . . Anyway, Steve is insatiable and that was my Public Disgrace.”

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Don’t Bite Without Permission

By Rich Moreland

Much of  Evil Angel’s Voracious is an in-house project. The male leads in order of appearance are Manuel Ferrara, Steve Holmes, Omar Galanti, and Rocco Siffredi. Each actor also directs for the studio.

*          *          *          *          *

Episode2_001

“But you are not alive,” Adriana reminds Amira.

Surrounded by a watery motif—the pool outside the house and the Pacific Ocean in the distance—Adriana and Amira talk. Water is the source of life and rebirth, something worth remembering as this saga continues.

Dusk is setting in.

Amira has violated the code, it seems, because the clan must approve any human she wants to bite. Adriana suspects Amira has doubts about the demonic promise of eternal youth.

“You like him because he is human,” Adriana says with a hint of understanding before hurling an admonishment at Amira.

“You need to learn to control yourself.”

Even vampires, like the monks of the Middle Ages, must exist by regulation and self-restraint.

“We leave tomorrow.” Adriana’s tone demonstrates waning patience with Amira’s transgression. Their impending return to the Old World where vampires are legend will present challenges unforeseen by either woman.

The Hunt

Episode2_003This episode, “Now You Are a Blood Slave,” is about the hunt. In black and white grainy footage, Adriana and Amira emerge from the river that runs through the city of Budapest.

The story quickly shifts to a park in this heart of mythical Vampireland. Hookers apparently frequent this scenic little spot and one girl cautiously reminds a passing pair of nubile blondes that it is not a safe place.

Vampires Prey and Play in the Park

Vampires Prey and Play in the Park

The power imbalance between the undead and the living is revealed in speed and metal during this episode. Adriana and Amira arrive in a car and proceed to stalk unaware victims who will supply blood to hungry vampires. Immediately, Dracu, played by Italian star Omar Galanti, appears on a motorcycle with a female passenger who has a nasty bite of her own. They are part of the clan and it’s time to recruit new members, fresh blood, if you will.

Father Zoltan, a role suited to Transylvanian native and porn veteran Steve Holmes, waits within the darkness. He appears to be a savior with his oddly colored red crucifix. But there are doubts as one of the hookers who would not heed the advice offered earlier comes into his presence. Father Zoltan uses his cross to ward off the girl’s pursuer, the female vampire brought by Dracu. To show her appreciation, the hooker, portrayed by European sensation Zorah White, orally satisfies Zoltan before realizing she is the victim of a hoax. Episode2_009In a comment on religion and sexual repression, Stagliano’s camera captures the small silver crucifix that dangles from the priest’s neck as it floats above his erection and the girl’s mouth.

European pornography, especially in early French stag films, occasionally takes a shot at religion. American prudery generally finds such behavior offensive but when in Rome, as they say, . . . permission is given to be a Roman.

Dracu’s passenger, the Vampire Mistress (the lovely Sandra Romain), corners the poor girl and gets the sustenance she needs with a well-placed bite.

 Episode2_026

Among the Motorcycles                                 

Dracu and Adriana have a fresh human captive to initiate into the clan, the willowy Hungarian Bibi Noel .

The Lovely Bibi

The Lovely Bibi

But before ritual begins, Adriana slips the word to Dracu that Amira is not what she should be.

“She tried to bite without permission,” Adriana whispers to him, “I think she has doubts about being a vampire.”

Is vampirism a choice and can a girl check out of the clan whenever she wants?

For the second time, a disciplined Amira is cut out of the opportunity to bring in a blood slave. Dracu exiles her to the house and she watches briefly from afar. Director John Stagliano now sets the tone for the rest of the series. Everything is not all dripping red roses in Vampireland.

The sex in this episode is truly fetish oriented with toe and feet sucking, face slapping and lots of anal and sloppy oral. The action between Adriana and Dracu is intense. Pay particular attention to the blood slave transformation of Bibi Noel. She may start off slow, but the pace is perfect at the end right before the feast.

Ah, the feast.  The viewer should know that it’s truly a heartfelt tribute to the great work of Bela Lagosi and Christopher Lee who, had they performed in a different age, would have delighted in this scene.

Adriana and Dracu feast on Bibi

Adriana and Dracu feast on Bibi

Incidentally, the prolific exchange of saliva in these episodes is a reminder that existence, even a vampire’s, is water oriented, though perhaps among the undead it coagulates a touch more.

The predominant image that prepares the meaning of the sex is Dracu’s motorcycle leap arcing across the screen at sunset. The suggestion is a passage between two worlds, the living and the undead. In fact, a similar bridge is formed during the extended physical encounter that is part of the blood slave ritual. It takes place among scores of motorcycles. Adriana, back arched beautifully—a reminder of the satyr statue in the first episode—positions herself so she can fellate Dracu from underneath. Once again she is seeing a reverse world in which the undead are the living. During the action she is orally serviced by Bibi’s blood slave. The shot forms a stairway effect, rising from left to right, that leads the blood slave to her Master, Dracu.

Adriana’s acrobatics introduce another, more sinister, image. Didn’t they break witches on the wheel in 17th century Europe? Adriana hints later that she has been around for five hundred years. Perhaps her position is a tortured part of her past.

As the episode closes questions arise. How strong are the bonds in the clan? Did the chastised Amira go through a similar initiation?  If so, why does she seem so independent minded? Will a power struggle later emerge? And, most important, who’s running this show?

Maybe a few hints will come around in Episode Three.

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