If you enjoyed the lavishly detailed, dreamily fantastical nature of recent rediscovery Ms. Howard’s Little Girl, you’re in for a treat: Tammy’s Shame is an equally intriguing companion piece, featuring the same characters and a few new developments.
Like its counterpart this is an intense, edgy film, depicting a scenario that in any real institution would be completely beyond the pale. And of course that’s a lot of what makes it hot: the indomitable Ms. Howard is a force to be reckoned with, and her labyrinthine ruleset seems intentionally designed to produce slip-ups and misbehaviours from Tammy and the other girls in her care.
If you’ve ever wondered what’s really going on in the dream sequences in our much-loved spanking hit My Inner Little Girl, then Tammy’s Shame has the answer. We mentioned at the release of the first part that this is where those clips came from, and this film contains most of that footage - so watch out for the bits you recognise, enjoy discovering the ones you don’t, and picture yourself at the mercy of this inexcusably strict Housemistress’s guideline.
The warmup is a vitally important part of the spanking process. When your skin is properly warmed up, blood rushes to the area in question and the main event hurts a little less - meaning you can go for longer and take more of a thrashing. A good warmup also helps both the spanker and the spankee figure out where they’re at that day and calibrate accordingly, especially if they’ve not played together much or it’s been a while.
In this week’s film, though, Blake and Sarah forgo the warming-up process entirely in favour of a particularly harsh cold paddling for one full, unrelenting minute. It’s an extremely hot scene, partly because skipping the warmup is usually a bad idea; this is a punishment, after all, and Sarah isn’t doing anything to make it any easier.
The lack of a good warmup isn’t the only thing adding a little extra frisson to this spanking, though. The timer itself gives a very different feel than the more usual set number of strokes: till that alarm goes off Sarah won’t be slowing down or letting up, and Blake won’t have a chance to breathe between impacts and brace for the next one. It’s sixty full seconds in the heart of the storm, taking it over and over again.
The paddling was just as intense for Blake as a performer - there was no off-screen warmup before it was filmed, and those timed minutes were very real. It worked out because it was a well-negotiated scene, and because Blake and Sarah have been working together for a long time; there’s enough trust and understanding there for them to push the boundaries a little.
There’s a lot of love about this scene, and we’re looking forward to hearing from you all about it - and we’re also pretty sure Blake’s learned their lesson about staying up too late playing on their laptop!
There’s always been a rather Sapphic edge to the dynamic between a lady of noble birth and her slightly less privileged companions. This is particularly true in Victorian and early 20th century settings, where two unattached women might find themselves alone together for extended periods of time and bound by convention not to form real bonds with either the servants or the menfolk. In a world where emotive expression is not encouraged and intimacy is confined to closed doors and dark corners, human beings look for connection. Plus, you know...that power dynamic is hot as hell.
Which is precisely the conclusion reached by Miss Bower, the titular Lady’s Companion played by Rosie in this week’s release.
She mostly took the job out of necessity, we suspect; she needed to find a husband, which would be easier in the company of Lady Pandora than from her own reduced circumstances, and she needed to support herself in the meantime, which the house and wage on offer would enable her to do. And if her new mistress’s idea of discipline seems a little draconian...well, it’s a small price to pay.
Once she’s been there a while, though, she makes a startling discovery. There’s much more to learn from this rich widow than simply etiquette and connections - Coleridge and his “woman wailing for her demon-lover” give Miss Bower quite a start - and as for the discipline, well, it turns out there’s more to like about that than she could ever have imagined.
There’s a fun moment in the backstage footage where Rosie remarks that her character is clearly never going to marry - the two of them will be quite happy together for a long time yet, she suspects. I can’t say I can blame her.
The concept of a tyrannical dominant who runs a stable of auctioned submissives is a staple of the BDSM genre. In many of its iterations it follows the same few tropes: the participants are mostly straight, with perhaps the occasional bit of ‘play bisexuality’ thrown in as part of getting people out of their comfort zones; they’re overwhelmingly cis, with the only gender-non-conforming elements coming from cis men who enjoy the French maid role as submissives; most of the characters involved are white, especially the dominants. There’s also often an element of reluctance, with some of the submissive characters feeling in over their heads or in some way coerced.
Many of these tropes have their place. We’re huge fans of people being able to play out their fantasies in consensual, negotiated ways, and we certainly don’t shy away from themes of coercion and reluctance in our fictions here. Still, though, we like to do things a little differently when we can.
Goddess Lana’s New Slave is our latest addition to this canon, and it turns several of the usual patterns on their heads. Blake’s butch, submissive character is clearly eager to be where they are, and has very obviously enjoyed their rule-breaking spanking - there’s a delicious frisson of naughtiness to them as their reddened bottom is revealed, and they’re clearly eager to find out what their new Mistress’s reaction will be. Lana is gorgeously imperious and utterly femme, parading her latest acquisition aroud the room and pondering on all the fun she plans to have with them.
Lana Moon’s films are always fun to watch, and this is no exception - whether you’d rather be helping her keep her favourite steeds in line or joining them in their grabbable leather harnesses, you’ll enjoy this sojourn in the Mistress’s house.
A small slice of history for you this week: Ms. Howard’s Little Girl was the first fan-requested, multi-performer custom film Pandora ever shot, and it was originally made way back in 2009. At the time it went unreleased, but if you’re a longstanding member you will have seen some of this footage before.
2013’s My Inner Little Girl is one of our best films. It’s a lot of fun to watch, it’s a gorgeous representation of what we’re trying to do here and it’s one Pandora had a great time making. Part of what makes it work so well is the fantasy sections, which are full separate little scenes in which this otherwise solo film acquires a co-star. Those daydreams came from this shoot: you’ll spot some of them in this week’s release, and the others originated in a film called Tammy’s Shame that we’ll be releasing in a few weeks time.
There are reasons we chose not to publicly release all this footage the first time around. The plot is a little hokey, and it has such a wealth of detail and description that our performers weren’t able to get entirely off-book. But as a team we’re better at editing and producing films now: this doesn’t look like footage we shot last week, but it has come together into something we think is well worth getting out there at last.
We all love My Inner Little Girl, we all love Zoe Montana and we all love stumbling across some unreleased spanking content - so we’re thrilled to finally bring you Ms. Howard’s Little Girl, and we think you’ll enjoy this trip down memory lane as much as we have.
They say that there are only seven basic stories in all of history, and we’ve taken artistic licence with all of them in this week’s mythological daydream of a film. When we managed to arrange a weekend’s worth of shooting in a gorgeous period house with two amazing performers at our disposal, we knew we wanted to try a few new things - and Venus Chastising Cupid was an incredibly fun tale to explore.
Faerie Willow was a perfect pick for our cheeky, mischievous take on Cupid, while Clara Hewitt’s knack for maternal sternness made for a great reinterpretation of classical readings of Venus. It was a great weekend of filming all told, and this was a wonderful way to wrap it up - particularly as it’s a scenario that makes fantastic use of the pink, stripy welts Willow had all over her bottom from earlier scenes!
We don’t claim to have absolutely nailed the scholarly accuracy in our retelling of this forgotten legend, but we certainly had a whole lot of fun with it.
There aren’t a lot of silver linings to the pandemic we’ve all been living in for the past two years. One of its few tiny fringe benefits, however, has been the way it’s opened up a whole new genre of punishment scenarios to explore - and from Nimue Allen’s Lockdown Scolding of spring 2020 to this week’s Late Home starring Lana Moon and David Oak, we’ve taken full advantage of them.
In truth, of course, our performers, crew and backstage team have all been extremely careful. Our policy has generally been to behave with a little more caution than the current guidelines strictly require, and it’s paid off not only because we’ve never had an on-set transmission but also in some of the great content we’ve released as a result.
The early pandemic saw our Guest Director series, with a great emphasis on performer-produced porn. We’ve been able to show more real-life couples, something we’ve always focused on for the amazing dynamics it allows us to explore. There’s a treasure trove of unreleased content from earlier years that has been polished up and brought out into the world. And as things have progressed we’ve been able to shoot some masked scenes - which is a fetish all by itself! - and some slice-of-life scenarios that look at the consequences of reckless behaviour.
Lana Moon is a gorgeous spanking model, of course, but she’s also a great comic actor. Her scenes with us are often some of the funniest we release, complete with witty quips and quick one-liners. This latest offering is no different - and given how much her character seems to enjoy the punishments, we won’t be surprised if she’s back for more before long...
As a studio, we’ve never shied away from telling intense stories or exploring taboo fantasies. Parent/child pairings are a popular spanking fantasy dynamic, and they’re pretty common in our films; we’ve done a lot of shoots featuring wayward teenagers being set straight by their strict, traditional families.
There’s something a little special about this week’s addition to that cannon, though. The co-parenting couple played by Stephen Lewis and Kelley May in I’m Sorry We Let It Get To This aren’t distant or harsh, and they don’t seem to do this often or resort to spanking for every little infraction. Rather, the belting they give to Richard McLean is something of a last resort for them - and they’re both juxtaposingly loving and gentle as it’s administered, talking him through it stroke by stroke and reminding him that this is all for his own good.
In a way, the overall effect of this scene is actually darker than some of our shoutier and stricter fictional families. It stirs up something almost primal within the viewer; it’s uncanny-valley-close to the way a real loving parent might speak to a teenager they were concerned for. And of course that’s exactly what makes it so hot - they’re doing this for him, after all. This spanking is entirely for his own benefit, and they’re getting nothing out of it themselves. It hurts them to see him in pain, in fact. They’re sorry it came to this.
One of the beautiful things about relationships with an element of domestic discipline is that problems can be solved almost as soon as they’ve arisen. There’s little chance for one partner to let a minor niggle fester until it’s grown into a major issue, because there’s a system for that: both the dominant and the submissive partner know how to address these things.
Overtly, of course, the resolution is in the spanking itself - a punishment delivered as a response to thoughtlessness or poor manners or the breaking of a rule. There’s a lot to be said for it: it’s a bonding, intimate moment for both parties, something that creates endorphins and draws people together and lets everyone work through their tensions and stresses. A physical connection like that can go a long way to heal an emotional rift, and presenting it as a punishment lets the problem feel fully resolved.
I think there’s more to it than only that, though.
This week’s release starts with Carlos coming to Pandora with his apologies, his admissions and his concerns. He tells her that he understands now why his actions hurt her, and that he’s sorry; she explains what bothered her the most, and gives him a chance to listen and respond. This fictional couple’s domestic discipline dynamic is the heart of this film and the ensuing spanking is great fun to watch - but in real life the stuff that comes before it, the bit where they talk openly and honestly and share their deeper feelings about what went down the night before, would be a truly healthy and important thing.
All that being said, the high point for us is of course getting to watch Carlos bent so prettily over the bed, with his jeans at his ankles and his exposed bottom high in the air. He’s still a little red from his spanking the night before, and he feels every kiss of his own belt as Pandora thrashes him with it. And it is so very lovely to hear him ask her for the cane and count out the strokes...
This week’s offering has it all: schoolgirls, caning, feet, queer innuendo, blackmail, practically everything the discerning fetishist wants in a film.
One of my favourite things about this little duo of scenes focused on beatings off the beaten track is actually the friendship between the two girls played by Fairie Willow and Pandora Blake. They don’t seem to be romantically involved, but they’re absolutely partners in crime. They get each other into trouble and support each other through its consequences. When a punishment is happening they hold hands and when it’s over they compare marks. I’m a sucker for representations of femme friendship, and this is a lovely example of the genre!
The real focus of this pair of films though is the unusual locations to which Headmistress Hewitt chooses to apply her cane: thighs, hands, feet, over the top of still-angry welts. There were some firsts in here for Willow, who earlier in the day had shot her first ever cold caning scene, and she squrims and winces beautifully as Clara removes her white school kneesocks and canes the soles of her feet.
If you’re a fan of unconventional beatings and naughty schoolgirls, watch this space: we’re releasing new content every week, and as ever we still have a few tricks up our sleeves.