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Spanked with the flat of a sword

I have long been fascinated with the idea of being beaten with the flat of a sword. When I realised I was shooting with two fencers, one of whom was experienced in professional fight choreography, the opportunity was too good to pass up. Sword-fighting and spanking go brilliantly together in my opinion (Drama! Action! Adventure! Swishy arm motions! Victory through physical dominance!) and I couldn't resist the chance to take advantage of Amelia Rutherford's expertise to include a wee duel in a spanking video.

In my fantasies, this sort of thing usually takes place in a historical or piratical sort of setting, so that would have been my first preference. But the swords we had access to were fencing foils and bokken, and we didn't have enough budget for full historical costume, so Tom came up with the idea of doing a comic book style superhero story instead. The Avenger's Return was born!

This 15-minute scene offers a window into a universe where superheroes are real and their training includes both martial arts and spanking. I play a naive and rather vain trainee who is being mentored by a combat-experienced superhero called the Highwayman. I'm more focussed on my shiny latex costume and complaining that I can't fly yet than my training, which earns me a series of punishments. First a hand spanking, delivered by the Highwayman while standing with me dangling over his knee, and then 8 firm strokes with the riding crop, all over my tight latex ballgown. (Latex doesn't lessen the pain of a spanking, but it alters it. It's a very interesting sensation; I recommend you try it sometime.)

My lesson is interrupted by the arrival of my nemesis, the Highwayman's infamous former protegée: the Avenger. I've heard all about how talented and brilliant she is but have never met her in person. She and the Highwayman cross swords and sharp words as they struggle for dominance.

I really enjoyed the chance to indulge my enthusiasm for watching beautiful people practice swordplay, and was very impressed by Amelia's fortitude as Tom striped her bottom with his steel fencing foil. A real sword is a heavy thing to hit someone with. 

Click to view the free trailer:

Click to view trailer for The%20Avenger's%20Return

The marks were actually rather dramatic, red stripes visible even through her shiny black leggings. I wish we'd taken a photo of them, as they don't show up as well on video as they did in the flesh. 

I'm very grateful to Amelia Jane Rutherford for her generous help choreographing the sword fight behind the scenes, as well as her outstanding performance as the Avenger; and to her fiancé Hywel Phillips for his work as cameraman, lighting tech and director. Their assistance was invaluable, and this scene couldn't have happened without them.

We had a lot of fun making it, as you can tell from the behind the scenes video. I hope it will appeal to anyone who likes comic books, sci-fi and fantasy, action and adventure, light-hearted spoofs and shiny latex outfits.

Whole body flogging

I've just uploaded a photo set which I associate with a lot of happy memories, in which D strings me up from a high timber beam on my tiptoes and whips me all over my body with the flogger.

Abducted, held captive in an echoing barn, Pandora is stripped naked, her wrists bound. Shivering, she waits. Sooner or later the man will visit her and take his pleasure, pressing her up against the wall. She does not know how long she's been here, but she's learned not to resist.

He strings her up from the ceiling on her tiptoes, and punishes her with the whip. She twists and struggles, unsteady. No part of her body is spared; he lashes her back, her buttocks, her thighs and stomach and breasts. Afterwards, she is made to kiss the whip as if thanking him.

She will be made to kiss other things, too. And in time, she will learn to feel truly grateful.

The flogger's thongs are square and leather, both stingy and heavy, with a vicious bite in the tips. Used on the back and buttocks it makes me jump, but on the sensitive skin of my tummy, sides and breasts it's unbearable.

Despite the pain, I loved every second of shooting this scene. Having enough height to be properly tied upright, with my arms and calves straining to support my weight, was utterly delicious, and left my naked body all the more vulnerable to D's attentions.

The mood was set when he strode across the barn, boots ringing on the wooden floorboards, to where I was waiting in the corner; hauled me up by my bound wrists and shoved me against the wall, one of his hands lifting and pinning my wrists and the other starting to explore my helpless body. His face was very close to mine, but he didn't say a word. My senses were filled by the weight and scent of his leather trenchcoat, the solidity of his clothed body pressing against my naked one, and what his free hand was doing.

It was very, very hot. Although we were playing with consent and pretending that I was unwilling, I was helplessly turned on throughout the shooting of Captive ... and I suspect D was too.

Photography by Roy Tersley

Caroline's Revenge

Episode 1 of The Prefect's Revenge was the first scene I ever uploaded to the site when I was getting it ready for launch. It feels good to finally get Episode 2 up and bring the story up to date. As yet, there isn't a part 3, although it might be fun to pick it up if I get the chance to shoot with Caroline again.

Click to see the free preview video:

Click to view trailer for The Prefect's Revenge - episode 2

Episode 2 of our F/F school blackmail story. Nursing her cane stripes, Caroline plots her revenge. She threatens to show her cane welts to a teacher unless Pandora (who gave them to her) takes a punishment in return. Pandora puts up a struggle, but Caroline wrestles her into submission, holds her down and makes her endure a humiliating hand spanking and tawsing. The three-tailed leather tawse is not to be argued with, and Caroline applies it with gleeful sadism.
Until Caroline's marks fade, Pandora is going to be her bitch.

I love bitchy banter, and getting whacked by Caroline is always a treat, but my favourite part of this film is the wrestling. It wasn't scripted, it just sort of happened that way.

Next time, I am up for giving it a much more serious go; pulled hair, ripped clothes and all. We could leave it open as to who was going to spank who and see who came out on top.

Last time we tussled I think Caroline was stronger than me, but I've been working out since then. And I really enjoy spanking her, so I'd have determination on my side.

I've also uploaded a video of behind the scenes snippets from the filming of both episodes, although there isn't much for these two due to the way we were shooting. What there was ended up being reduced further when I decided I'd better cut out one bit. Halfway through the tawsing Caroline called a cut, and pointed out where she'd drawn some blood on my bottom with the tawse. We had a look and decided it was just where the edge of one of the tails had caught the skin at an angle, and it would probably close up in a minute or two and not cause a problem. (We made sure we cleaned the tawse after the scene, of course). Unfortunately we stopped rolling just after Caroline said "blood", giving the impression that it was much worse than it was. I didn't think it would be a good idea to include that fragment on its own, without the conversation and resolution that followed!

I really enjoyed the switchy, playful dynamic that arose between Caroline and I through these characters. To my great joy, it seems to have splashed over a little into real life. Here's a true account of the last time I hung out with Caroline, which we spent drinking, running around, and cheerfully battering each other:

Caroline and I had topped each other on our last film shoot, and without really discussing it, somehow we ended up revisiting that dynamic. As the champagne flowed, we merrily exchanged beatings in private and public. No dominance and submission, no roleplay, nothing but friendly, exuberant, hard play.

In a quiet corner by the stairs, she whacked me with a leather paddle, and then enthusiastically talked me into bending over her knee as she stood up. “Come on, right over, so you’re dangling with your feet off the floor. I love this. Don’t you love it?”

Yeah I love it!”

“No, put your weight right on me. Don’t be scared: I’m strong, I do yoga.”

So I leaned right over and dangled my feet, and she whacked me some more while I got dizzy. It was awesome.

Read more »

Principled porn

There's an article up at the Huffington Post this week by awesome sex worker and activist Kitty Stryker, called Principled Pornography: How Queer/Indie Sites Are Reframing the Industry. It's about ethical porn with reference to some of the work being done by radical, independent and feminist porn studios, and Dreams of Spanking gets a mention. Kitty asks,

Is pornographic material inherently harmful to women and encouraging of violent behaviour in men? Or is it possible to be a socially conscious individual and still make, perform in, and consume pornography?

I say yes. In a capitalist world, granted, any consumption has multiple points of issue to be addressed and paid attention to, from sweatshop labour in clothing factories to migrant farmer rights, but I do believe that porn can be ethically produced.

When I've personally been called upon to describe what the phrase "ethical porn" means to me, I've talked about pornography produced with the pleasure of the participants in mind; porn that does not depend on male-gaze shooting techniques; porn that shows diversity in body types, gender identities, and sexual orientation; porn that allows the performers to have a say in how the action progresses and what happens.  

I'm quoted talking about the heteronormative male gaze and fair pay for male performers. There are also some excellent contributions by performers, producers and directors including Kelly Shibari, Maggie Mayhem and Jiz Lee. Click here to read the full article.

Kitty's partner Mike will be making his debut on Dreams of Spanking tomorrow, in a hot - and, yes, ethically produced - office punishment movie in which he and I get spanked by our new boss, senatorial candidate Ms Dana Kane. Watch this space!

A well-run campaign

I'm super excited to announce the publication of Dana for Senator, our première scene starring Mike Stryker and Dana Kane. This is the first of four spanking scenes that we filmed on our recent video shoot. Here's the trailer:

This was Mike's first ever dedicated spanking shoot, although he's performed in adult video before, and it was an honour to watch his bottom redden under Dana's expert attentions.

Given how formidable a spanker she is, it's fortunate that Dana is also such a kind, gracious person. She put Mike and I instantly at our ease, and the three of us found lots to chat about as the day progressed. You can catch up with some of our gossip in the behind the scenes video.

Both Mike and Dana are great fun to roleplay with. This scene started life very simply as an F/FM office punishment, but between us it quickly gained depth. I love blending politics with punishment, as anyone who's watched Non-Violent Resistance will be aware, but this was the first time we'd run an electoral politics scenario.

I'm a big fan of The West Wing, and corporal punishment seems to fit pretty neatly into the urgency, efficiency and eccentricity of a well-run political campaign. I reckon Councillor Dana Kane's campaign office sounds like a great place to work!

The most amazing part of this scene, for me, was the pleasure of playing for the first time with both Dana and Mike, and the privilege of watching Mike's bottom mark up so dramatically. As well as acting alongside them, it was my job to look after both of them, particularly Mike, and make sure they were feeling comfortable and having fun. So watching his face closely as he was spanked to keep an eye on how close we were to his limits was, of course, purely professionally motivated. Not perving at all. Nope.

But there was lots more to enjoy: Mike's well-chosen shiny underwear, for instance, which made Dana coo appreciatively way between shots; the warmth of Dana's dominant persona, despite her firmness, and the sense that her character genuinely wanted to help ours learn and improve. Plus the fourth-wall-breaking irony of the two of us getting into trouble for the blank fax confirmations, which was all the fault of the producer for poor attention to detail in the props department. The producer, of course, being moi. So I got what I deserved, I guess, but it was a bit unfair for poor Mike!

Principled porn - full interview

When Kitty Stryker was researching her article on Principled Porn, she sent me and various other performers/directors some questions to get us thinking. They were pretty interesting to answer.

 

What makes for ethical porn from a consumer point of view?

As a consumer, my benchmark is being able to trust that the performers had fun, had space to express their own sexual desires, were able to say no, and were paid and treated fairly.

 

What makes for ethical porn from a director/performer point of view?

The same, plus. As a performer, I'm particularly concerned with how performers are presented by the studio. Does the language describing the scene humanise and celebrate the performers, or demean and objectify them? I look for a clear distinction between reality and fantasy. It's the difference between "watch this fat slut get what she deserves" and "[name] was amazing to work with, it was a real treat to be invited into explore her kinky fantasies and her enthusiasm was a joy to watch". This is something I look for as a consumer now as well.

I think scenes exploring power play, historical fantasies or non-consent play should be guided by the performers, and their agency and desires should be paramount. The website and promotional copy needs to reflect this focus. An ethical director will contextualise the non-consensual fantasy of the scene by framing it with the consensual, ethical reality - rather than trying to pretend that the non-consent fantasy is real and the performers actually didn't consent (ick).

As a director/producer, it's my business to make sure that I negotiate clearly with performers before the shoot, respect their preferences and don't pressure them into anything, give them space to be creative and contribute ideas if they like. I pay my male and female models equally, respect their limits (once someone's said 'no thankyou' I don't ask again) and try to treat all my performers like royalty on set. It's also my responsibility to be organised, cater to performers' unique needs (such as dietary requirements), and prevent production stress from impacting my performers so they can relax and have as much fun as possible. This is an ongoing learning curve but I'm definitely better at it now than I was when I started!

 

You are all people who create your own content. Why did you decide to do that in addition to/instead of working in the mainstream? What are the benefits? What are the disadvantages?

The spanking niche is small enough that even the most well-known performers only do a couple of video shoots a year. If you want to work more than that (and I do - acting in spanking films is the most fun I ever have) you needs must produce your own content. 

I always used to come up with ideas for storylines when working for other people anyway, but it's nice to have full creative control over a film and be able to realise ideas exactly as I envisage them. I get to do something I love full time, which employs a large number of creative, technical and social skills. I get to express myself creatively, and I learn new things about myself all the time. I feel much more grounded, balanced and fulfilled as a person, and my sexuality and relationship with my kink has reached an amazingly centered, happy place. 

But those are just the day to day benefits. The long term ones, the reason I think this is worth spending my time and energy on, aren't all self-involved. When people tell me how much my work has helped them accept their own desires, that's really what makes it all feel worthwhile.

Disadvantages... hrm. Working as producer/director makes it harder to relax and enjoy the thrill of performance, because your mind is full of other things. So acting in my own spanking films is a more complicated experience than acting in other people's, and the straightforward performance buzz is harder to find. But when I've co-ordinated a shoot that connected people, watched my performers get the buzz, and created something imaginative and hot? The sense of satisfaction is tenfold.

I have to spend a lot of time on admin and marketing, which is tedious. It's not super profitable and my income is unpredictable. But those things are true of any creative industry. I can't tell everyone what I do, but that was true before I produced my own content, too. In general I wouldn't say there are any disadvantages unique to producing your own content. Or perhaps I simply haven't encountered them yet!

 

What unethical practices or attitudes have you had to fight/come up against within the adult industry, if any? Names not at all required, but this would be a good time to talk about racism/sexism/pressure to have unsafe sex/pressure to do more than you want to do if that's occurred.

As a performer I've only found myself doing things I wasn't comfortable with a couple of times, when I was new to the industry and not very confident about maintaining my boundaries. I had to learn to be outspoken about my comfort levels and clearly communicate if something was bothering me. Since I learned those communication skills I've managed to stay out of sticky situations. I've also learned to trust my instincts and not book work with people who are ringing alarm bells. 

More generally, there's a worrying trend in the spanking scene which privileges M/F (and, to a lesser extent, F/F) play at the expense of all others. Most studios are very male gaze; I think I'm the first director to shoot male spankees for a female audience. It grates on me when people talk about M/F kink as if it was universal, and it does make me less able to enjoy playing patriarchal punishment fantasies in that context.

It's also very normal in the spanking scene for male actors, spankers and spankees, to not be paid for their work. I think this is appalling: it's demeaning to the men, it creates a culture where male actors are expected to perform in porn "for kicks" (imagine how it feels knowing your spanker has no screen experience, has been booked off a spanking forum and is there to get his rocks off, rather than a paid professional) and it drives talent away from the industry. You get what you pay for: and you value what you pay for, too, which I think more directors should bear in mind. I pay spankers one rate and spankees another, regardless of gender, and I've been lucky to shoot with some gorgeous, talented male actors.

 

Radical feminists are often very anti-porn because they see it as degrading and violent. What have discourses around porn, ethics, and feminism missed in their analysis? What are some things radfems say, if anything, that you agree with?

At its simplest, porn is a record of sex. If it's possible to have sex in a feminist way (and it is, through clear consent, negotiation and mutual respect) then it's possible to make porn in a feminist way. Recording a sex act doesn't make it inherently degrading or objectifying.

A lot of porn is problematic, but so is a lot of sex. The key to fixing both is improving consent and communication.

 

What are some things mainstream porn companies could do to promote a more ethical work environment?

Studios who care about their ethical reputation should:

  • Make an effort to book performers with a variety of body types: not only white, skinny, youthful, cisfemale people are sexy!
  • Pay male and female performers fairly.
  • Make expectations clear beforehand. Don't put performers on the spot during the shoot by asking them to do something you never mentioned before, particularly if it involves pushing their limits. Stick to the script - unless changes arise organically with the clear consent of the performers. Use your performers' ideas and enthusiasm. Pay close attention to your performers' body language and back off if they're uncomfortable, or ask them what you can do to improve their experience.
  • After the shoot, don't write about your performers in an ugly way. Blogs and twitter are great, but they aren't a place to continue a power exchange fantasy. Don't be insulting and don't conflate the performer with their character. If you shot a scene where a character was spanked for, say, washing a car badly, don't say of the performer, "having met this girl I'm surprised she even knows what a car is!" Don't make rude comments about their body shape, and don't call a performer rude names like "bitch", "slut" or "stupid" even if their character was called that in the fantasy.
  • And this one is specific to spanking, but: Don't assume that only women get spanked, deserve to get spanked, or are sexy getting spanked. Don't assume that your audience consists of only straight white male tops.

Ladies of the jazz age

I've spent the last two days listening to 1920s jazz, and it's put me thoroughly in the mood for this week's film starring myself and Zille Defeu. It's an edgy period punishment flick featuring flappers, domestic belt whippings, lingerie and some sexy (and VERY illicit) kisses and cuddles between myself and the delicious Zille!

It's out this weekend. If you're a fan of the roaring 1920s and severe prohibition era punishments, I think you might like this one.

Flappers, belt whippings, and all that jazz

I started editing this week's film on Tuesday, and for twenty-four hours I honestly believed I wasn't going to be able to show you it. Not because of technical difficulties: but because the scenario was so unpleasant that editing it actually left me a little bit traumatised.

This is one of my nastier fantasies. I wrote it, and Tom, playing the role of top, followed my script exactly. It needed to be intense to achieve the emotional effect I was after, and as an actor, I knew he could deliver. But the first time I watched the footage, it left me shaking. This is horrible, I thought, I can't possibly publish this.

Luckily, by the time I'd wound up the story to its conclusion, the initial shock had worn off, and I changed my mind.

View the free trailer for Liberated%20Ladies%20of%20the%20Jazz%20Age

This is a story about a generational culture clash between old and new: the repressive moralism of the late 1800s and the "new woman" emerging by the Roaring Twenties, who proclaimed her right to vote, drive, date, dance, drink and smoke. There's a clear potential for punishment in the resulting conflict.

The original form of this fantasy was dark and solitary, a flapper trapped in an abusive domestic situation, envying her friends their freedom - and, eventually, after one particularly severe punishment, effecting her escape. It was always crucial to my enjoyment of this violent, non-consensual scenario that the mistreated heroine win out in the end.

When I had the chance to shoot with Zille in an amazing period apartment, I seized the opportunity to invite her into the scenario. This was the first scene we filmed together, and it was not an easy shoot. With so many shot changes and other factors to consider, we got behind schedule and I found the whole thing pretty stressful. This was only the fourth video I'd ever produced, and I was still on a very steep learning curve. But it was also glorious, because after months, if not years, of admiring Zille online I was finally with her, in person - getting spanked with her - and it was a constant delight to explore this new dimension to our existing friendship. I think it's pretty clear from how this scene plays out how much we'd been looking forward to meeting each other!

Here are some screencaps I grabbed from the behind the scenes footage:

The petting session our characters indulge in to console themselves after their punishment was not, in fact, scripted: it was a purely spontaneous mutual development on the spur of the moment. But it fits. The real beauty of it is that repressive Uncle Thomas couldn't even imagine that such a thing might be possible!

This film should probably come with a trigger warning for domestic abuse. The punishment sequences are not nice: the whippings are delivered in anger, there's shouting, struggling and crying, and Tom is convincingly unpleasant in his role of my horrid uncle. But the story, ultimately, has a happy ending. The repressive ideas of his generation have a sell-by date, and the "new woman" he so abhors, in the end, will long outlive him.

I'm rather hoping that the next time I shoot with Zille we'll have the chance to film the sequel to this. I do believe that the young flappers succeed in their plan to escape Uncle's clutches and sail across the ocean to prohibition-era California. I'm sure many adventures await them there! For a start, I'm looking forward to meeting Zille's bohemian gin-distilling aunt...

I particularly enjoyed putting together the soundtrack for this one, including hits by the Duke Ellington Orchestra (Admiration and Saratoga Swing), My Cutie's Due from Two to Two Today and There'll Be Some Changes Made by Billy Higgins. I'm indebted to both Zille and her partner Duncan not only for their roles in the film, but for teaming up to produce such beautiful photography to complement it. There are a total of 113 photographs accompanying the film, plus 11 behind the scenes snaps, all gorgeously atmospheric. Thanks so much to Sleek Images for their help bringing one of my more challenging fantasies to life.

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