Mr. Lewis might be cagy about his methods, but the Sunday School gets results. From the smartly pressed uniforms to the birch cane hanging on the wall, he’s a real traditionalist - and new student Becci is about to find out exactly what that means.
This week’s offering is a richly detailed ladette-to-lady transformation, complete with a gorgeously voyeuristic through the window caning shot that will leave you daydreaming about stumbling across Stephen’s front door while out on a weekend stroll. The spankings and canings in this film were truly challenging to take, and it was a tough but rewarding shoot for our star performer - who is left with a set of welts that I’m sure they were tending to for days after the fact.
It also has an undercurrent of the kind of irreverent humour we do best, with plenty of darkly amusing one-liners and a beautifully bratty performance from Becci Belacqua. Stephen Lewis was as ever a consummate professional and managed to keep a straight face throughout, but I’m sure it was a challenge at times!
We also have a bumper offering of backstage content this week, with a behind-the-scenes reel featuring humour, hijinks and even some bonus spankings for our crew. There are some great examples of healthy, professional negotiation in there, too - all in all, this week’s release has become an instant favourite for our team, and we know you’ll love it just as much.
This week we’re wrapping up our brand new three-part series Benefit in Kind, with a simmering conclusion that turns the tables on our devious landlady. This was a fun scene for Nimue Allen to shoot, because it had been a fair while since she’d last been spanked - Pandora thoroughly enjoyed getting to reacquaint her with it, and her bottom marked up beautifully!
Over the years we’ve showcased a great many IRL dynamics here, and it’s often a high point of our work. Lots of our films feature real-life couples, but those aren’t the only connections that come across beautifully on camera: real, genuine friendship between co-stars who have known each other well for a long time is just as lovely a thing to see.
The fictional connection between the two characters here works just as well, with the tenant immediately enjoying her newfound power (I rather think she might indulge in some recreational spankings in future!) and the landlady eagerly accepting her month-long punishment.
If you’re a fan of OTK spankings, unequal power dynamics or curvy bottoms in sheer tights, you won’t want to miss this.
Every now and again, I see someone who has a particular gleam in their eye that just says ‘I will absolutely fuck you up’. It’s the twinkle of calm, quiet sadism; nothing big or flashy, just an indefinable glint that tells you you’re in for a real thrashing. Clara Hewitt, who plays the mother in this week’s new release, has that look.
She is also a consummate professional - at one point she delivers six cane strokes and leaves behind just three evenly-spaced stripes, which must take legendary aim when using an implement that moves fast enough to make what is technically a very small sonic boom (or so I’ve been told). One of our goals here at Dreams is to showcase some of the ways spanking porn can also be art, and goddamn but a spanking like that is certainly an art form.
Of course, she wasn’t the only professional on set. This was my first time watching either of Pandora’s co-stars in action, and I was enchanted by Faerie Willow - there’s a sort of glow to her that is immediately compelling. She looks incredible both in and out of her Daisy-Duke-style outfit, and her easy, relaxed manner somehow makes everything she does on screen seem perfectly natural.
There’s a lot to love about this scene, and I think Pandora has a blogpost in the works somewhere about why it was such an extra-special one for them and their cast and crew. It’s got a little bit of everything that Dreams of Spanking stands for: intimacy, sex appeal, humour, taboo. If you haven’t seen it yet, you absolutely won’t want to miss out.
(PS - you know I love to call out our most amusing adlibbed lines in these blog posts, because nothing makes a joke funnier like hanging a flag on it. This week’s entry: “Not while you’re eating a cheese sandwich”. That would...that would be a bit weird, yeah.)
Porn takes many forms. Many people assume it’s all about people with idealised bodies engaging in aggressive fucking, but we know that’s only a small part of it: there is porn for every niche, starring every body type, catering to every audience. And of course it comes in so many different formats too, including audio stories and photo galleries.
The jerk-off instruction video (JOI) has become incredibly popular. People have been telling each other what to do in bed since time immemorial - and as a pornographic genre, it's really found a foothold once everyone started carrying little video studios around in their pockets. As DIY porn has exploded, particularly in this strange new post-pandemic landscape, swathes of new small, independent pornographers have been looking for ways to engage their viewers shooting solo in the bedrooms. What better way to do that than to involve the viewer directly?
Point of view scenes are intimate and carry a powerful punch with the feeling that your favourite porn star is speaking directly to you. They know you're probably wanking while watching their video - and if they tell you exactly how they want you to do it, it adds an extra layer of excitement. You can now get JOIs aimed at male and female viewers - this one is aimed at cock owners, as it was a custom film ordered by a viewer. If you'd like us to produce a cunt-oriented JOI film, leave a comment on this post!
Our latest film, Bend Over New Boy, combines a school caning POV with Pandora in the role as gleefully sadistic prefect with a naughty strap-on fuelled JOI, all in prim and proper English school uniform. A follow up to our recent caning JOI film A Visit to the Schoolmaster, this is a story of tables turned and bottoms beaten with a subversive little twist. Imagine yourself in the role of helpless new boy during his first term at school, facing the cane for the first time... and whatever's in your pants, touch yourself as much as you like.
Our new film Houseboy is a departure from the usual videos on Dreams of Spanking - and most other spanking sites. This is our first attempt at a cinematic short film, aiming for a higher standard of cinematography and storytelling than we are usually able to achieve. I wasn't planning to shoot this way from the start - it came about from a convergence of factors that created the perfect opportunity to try something new.
Casting Tai Crimson
It started last year, when I met an enthusiastically kinky and ridiculously cute young person from San Francisco. He was gorgeous, he loved spanking - he could certainly take it - and he expressed an interest in shooting for Dreams of Spanking. He wasn't old enough at that point to perform in porn, but I said that once he turned 18 I'd be very happy to work with him. We made plans to shoot together when he was next in the UK - which happened to be May 2015, less than a week after his eighteenth birthday. How's that for a coming-of-age celebration?
I normally prefer to work with kinksters who are a little older, simply because I value emotional maturity and experience in the people I shoot with. I think the common fetish for "barely 18" performers in porn is partly based on the idea that young performers are vulnerable, and so it's easier to take advantage of them and push their limits. I find this sleazy and totally unethical, and I'd always much rather work with older players who know their own minds and are able to look after themselves. It's important to me that the performers I hire can take responsibility for their own limits and communication, are experienced enough players to know their bodies and their preferences, and are secure in their decision to appear in fetish porn - because once you've done it, there's no going back.
When I met Tai, however, he exploded all of my preconceptions. Although a teenager, he has a rock solid sense of his kinky identity, and he's been exploring his interest in private for years. He is calm, confident, intelligent, self-reliant, and very emotionally mature. So at eighteen and a few days, Tai officially beats Talia Lane to the position of youngest performer on Dreams of Spanking - and yes, we do have his ID on file to prove it!
We put a date in the diary, and meanwhile Tai and I exchanged emails discussing his interests and preferences. But by March this year, when I needed to start firming up plans, I already knew that ATVOD were investigating Dreams of Spanking and that I was likely to have to stop updating the site for a duration of several months while my appeal was underway. I had lots of scenes already shot starring Fauni, Mike, Talia and David and others which I wasn't going to be able to publish, so there was absolutely no point spending money and energy shooting more material that might never see the light of day.
Towards a cinematic style
Meanwhile, I'd attended the British Fetish Film Festival in February and the Berlin Porn Film Festival last October, and I'd been thinking an awful lot about shooting styles, production values, and the budget and time constraints under which I was shooting.
Over five years I have developed a shoot style that produces one 10-15 minute spanking film per hour, in a remarkably stress free environment, with plenty of breaks. This is based on improvised scenes filmed live by one or two handheld camera operators, with perhaps some close-ups or cutaways to enhance anticipation in the build up to the spanking scenes, but otherwise shot with as few cuts as possible - unless the performers themselves need to cut. Lightweight, consumer-grade cameras make handheld shooting manageable without the camera operators getting too tired, and using auto-focus allows us to get visual variety by roaming around the scene shooting different angles, rather than stopping the action to reset each shot.
This non-disruptive shooting style allows the performers to get into an immersive scene space and stay in character, which helps the roleplay flow more smoothly, and also helps the bottom stay in their headspace and makes the spanking itself easier to take. It's a system that Nimue and I have got down to a fine art, and I was pleased that we'd reached a point where we could create nice-looking films within budget, while maintaining a relaxed and fun shoot environment for everyone involved.
The downside of this low-key shooting style is that the resulting films would never achieve the cinematic quality that I was seeing at the film festivals I was going to. I'd had a couple of films rejected from international festivals, presumably because the videography, audio quality and storytelling wasn't up to scratch. I found myself wanting to level up, and see if with a bit more money, time and effort, I could raise my production values and put Dreams of Spanking on the map as a credible producer of cinema-quality films.
So rather than hire Tai for a day shooting a number of improvised ten minute website updates, I decided to use him to do something different. I booked amazing boudoir photographer Matt Christie to help out with the videography - he'd expressed an interest in shooting video last time we shot together, he has a commercial-grade camera and he also had access to an amazing location perfect for the scenario I had in mind.
I started penning ideas for a single 10-15 minute short film. Not five films, or six films, or seven. Just one.
Developing the story
With Tai, I had an articulate and gorgeous masculine-of-center performer with a submissive streak a mile wide, who loved being spanked. I thought about the films I was seeing at festivals, and the lack of beautifully-shot female/male BDSM films shot from a female perspective, with a male submissive who is both beautiful and interesting, and not just a cipher propping up a sexually objectified female dominant. Instead of this I wanted to make Tai the lust object and protagonist of the film, focussing both the lens on his body, and the story on his character's journey.
I started with a fairly traditional plot - a young man applying for a submissive role in the household of an established mistress. I brainstormed ideas for visual storytelling, thinking about ways to focus the storyline on the tension and anticipation Tai's character feels before he takes the plunge towards fulfilling his submissive desires. I considered ways to create an interesting power dynamic between his character and mine. I quickly realised that I'd need a third performer, another submissive serving the mistress - someone to make his arrival at the house feel more formal and more intimidating.
I'd already talked to my friend Eliza Grey about having her on set as a shoot assistant, helping out behind the camera (she had planned to be with us on our shoot in November, but had sadly been unable to make it). I realised she'd be perfect for the role of a bitchy receptionist, enhancing Tai's nerves before his interview with the Madame... and once I'd cast Eliza, the rest of the story fell into place.
Writing the script
Ten days before the shoot, I was hurrying to finish the script on my laptop on the train. I'd never written lines for characters to say before, and I was finding it surprisingly difficult. I'd write a line, then agonise over it. What if Tai doesn't feel comfortable saying that? What if that's not what Eliza would say? I've always made a political point of not putting words in my performers' mouths, and suddenly that was what I was literally doing. At the same time I was all-too-aware that they were going to need to memorise their lines, and time was running out.
I closed my eyes, wrote some lines telling myself they were only placeholders, and sent it off with an apologetic email saying this was a very rough draft, and inviting them to make any changes they wanted. But my anxiety proved unfounded. In the end, bar one wording change, that script was the one we used - and Tai and Eliza rocked it.
Working with a storyboard
A week before the shoot I was on D's sofa after a fetish party, scribbling a 'storyboard' in biro on A4 paper from his printer while my friends chatted around me. After writing the screenplay I had a strong visual image in my mind's eye of what most of the shots would look like - now it was just a case of creating a visual reference so I could communicate my ideas to Matt on the day. I'd visited Matt's location a week ago, so the rooms were fresh in my mind. It was a useful exercise to think through camera angles and compose the shots, but I'm pretty sure it was the crappiest storyboard anyone has ever worked from. The most hilarious of my terrible stick figure drawings was this sketch of Eliza being spanked over my knee and feeling sad about it:
Professional production all round, innit.
The day of the shoot
The shoot day approached. I bought food and props, looked up travel options, packed suitcases, selected implements, printed scripts and release forms. Shortly before the day I realised that I'd inadvertently booked our shoot on the same day as the London Marathon, and the location we were using was only one block away from the route. That meant that not only would transport potentially be disrupted, but the exterior shots would all have a huge amount of background noise. Still, at this late stage there was nothing to be done about it. I booked an 8am taxi, the traffic at that hour was fine, and I was on set at 9am. Matt and I drank coffee and looked through the storyboard, then Tai and Eliza arrived - and it was all go.
Shooting from a script was a totally new experience for me, and a steep learning curve. I'd worked out the best shooting order, shooting the story in as close to chronological order as possible while minimising room and lighting changes. After that it was just a question of staying calm, following the callsheet and taking it one shot at a time.
I was using an external mic for the first time, and was grateful to have Eliza helping out and sharing the responsibility for making sure the mic was a) close enough, b) not in shot, and c) recording each time. She was also an absolute star helping out with moving lights, checking camera batteries and memory cards, making tea and tidying up behind us. A+++, would work with again. Plus it turned out she could seriously act...
It was a full day, perhaps a bit too full - nerves started to fray after a few hours, and everyone was feeling tired by mid-afternoon. The shoot would definitely have been easier with more camera crew or fewer scenes to fit in. After a few hours, Matt noticed a round smudge in the middle of the lens, and wiped it off - but of course there wasn't time to go back and re-shoot the shots we'd already done. By the time we came to shoot the confrontation between Tai and Eliza in the kitchen, everyone was so tired that that scene took about seven takes. Some of the shots ended up out of focus, and we got through so many cans of tonic that I was worried we'd run out!
Editing the film
Still, despite all that, when I came to look at the footage I was pleased to discover that most of it looked how I'd expected. There were a few surprises in the edit - such as that moment when I realised the reverse shot in one dialogue scene crossed the line and was therefore unusable, and was suddenly grateful that we'd shot three angles of that particular scene, even though at the time it felt like overkill. It was a monster of an edit, but satisfying too, sorting through all the footage, plugging it into place, and seeing how the scenes I'd envisioned in my mind played out on camera.
Choosing the music was another daunting prospect - I knew I wanted to avoid re-using the same creative commons soundtracks that you hear time and time again in indie porn, and that meant spending money. But how to start looking? First I worked out where music was needed - in the intro sequence, the montage, and the closing credits, which meant I needed two or three pieces in total. Then I did a rough edit of those sequences so I had a vague idea of how long the music would need to be. After that, I set a day aside to browse SoundDogs, typing in different keywords and playing pieces with my eyes closed, visualing the film, until I hit on a genre that felt right. I realised that for this story my usual taste in piano and cello-dominated classical and film score music wouldn't work - Tai's character needed something moody and masculine, guitar-led, energetic and driving. Finally I whittled down a selection, downloaded some samples and started laying them over the edit to see what worked.
Primarily, this film was intended to be screened at film festivals - which meant that the narrative would have a different structure than standard spanking films. In a film intended for someone to watch while having a wank, you need a carefully paced build-up and pay-off that sustains uninterrupted shots of climactic spanking action for long enough for the viewer to reach orgasm. In a longer film, there might be two of three of these build-ups and climaxes, separated by character-driven story. But at a film festival, the audience are watching to have their minds stimulated, not their genitals. Fast-paced editing is preferable, providing lots of new visual information with every shot. Explicit sequences need to be edited down to the bare minimum necessary to develop the characters and progress the story. So that was a new challenge: cutting the 15 minutes of high quality spanking action in, for instance, Tai's audition scene, down to the three minutes earmarked for it in the festival edit. The only way I was able to do it was by promising myself that I'd release the full, uncut scene as an extended edition on Dreams of Spanking later. But meanwhile the deadline for the Berlin Porn Film Festival was June 30th, so I had to get the shorter edit finished first...
In the end, thankfully, it was finished in time to submit to Berlin, and I'm hopeful that they'll accept it. I'll be submitting it to various other film festivals over the summer as well. I'm really happy with the finished film, and completely honoured to have been trusted with Tai and Eliza's porn debuts - and thrilled that they had a good time.
And that's a wrap!
It was a really long shoot day. We finished the scheduled shots around 7pm, 10 hours after I'd arrived on set. But then we cracked open the champagne and ended up chatting and buzzing on a total high, which led to another two hours shooting performer interviews, and even a behind the scenes caning for Tai when he confessed he still didn't think he'd been spanked enough...
By the time we finally turned the cameras off, sat down for some supper and tidied everything away, the sun had gone down - and it was 11pm before I finally got into a cab. Matt and I had been on set for fourteen hours, Tai and Eliza for thirteen. I am so grateful to the three of them for their enthusiasm, dedication and professionalism. It was a long fucking shoot and everyone put in so much energy and creativity it was kind of overwhelming. Overall, this production cost ten times as much as an average Dreams of Spanking video, but even so I still came away feeling like I hadn't paid people enough for the amount of work they'd put in.
Overall, this was a very satisfying project, and I'm really happy to have it under my belt. But it also taught me a lot about the trade-off that arises when you move towards a more cinematic shooting style. My previous method gave my performers more breaks, less stress and a much more satisfying kink experience. Shooting Houseboy, we did the bare minimum of spanking needed to get the shots I wanted - and stopping to move the camera, check the focus and lighting, consult the storyboard every few seconds made it hard to get immersed into a satisfying spanking headspace. I'm glad I hadn't scripted any particularly hard spanking scenes, because I think severe corporal punishment would be much more emotionally and physically challenging to take in this context.
I hadn't realised it before, but shooting in a more amateur style results in a much more rewarding experience for the performers - with more opportunity for top and bottom to develop an in-scene chemistry, focus on each other rather than the camera, and time for the bottom to sink into a yummy submissive headspace, without constant distractions.
So what can I take away from this? Well, I've learned that shooting in a cinematic style is something I can do, and that's good to know. I've learned that it's hard work, at least ten times as expensive as my usual shooting style, and considerably more time-consuming to produce and edit. It's also exhilarating, exhausting, and very creatively satisfying. I'm glad I stepped out of my comfort zone and gave it a go, and I'm hopeful that the finished film will be screened in Berlin this year. But I've also learned that I don't want to start shooting this way every time. Perhaps I might be able to put out one cinematic film a year, but this experiment has restored my faith in my usual low-key way of shooting, which it turns out is preferable experience for me and my performers - and a much better environment to ask people to take hard spankings in. Our standard Dreams of Spanking shoots emphasise process over product, and trying something new has re-affirmed my faith in that process.
You can watch the long-play trailer for Houseboy below - and if you're a site member, please watch the full film and tell me what you think - and make sure you also check out the extended editions of Tai's and Eliza's spanking scenes, performer interviews and Tai's off-the-cuff behind the scenes caning.
“You're supposed to be setting an example. Sixth former or no sixth former you can and will be punished.”
I might have to rein myself in from dedicating this entire blogpost to Dr Richard Barton's withering sarcasm. As Fauni Cate trembles nervously before him, dressed in a way that definitely isn't up to school uniform standards, it's the lip rings that seem to get the strict headmaster most worked up. Dr Barton uses all the lines that people with piercings have heard so often from authority figures - it's a glorious performance of headmasterly pomposity:
“What is all this metalwork? Are you coming apart? Do you need riveting?”
“What happens when you go through a security gate?”
Fauni's nervous shuffles and excuses are all too familiar, and the clipped, wry tone in which Dr Barton berates him creates an atmosphere of swift, no-nonsense school punishment.
This is Fauni's first caning, and it comes at the end of his first ever porn shoot, so these six cane strokes are taken in authentic historical style, over his school trousers. He bends over the desk as Dr Barton flexes the cane, and the sound the cane makes as it falls is amazing.
I'm a wuss when it comes to caning, but I can't get enough of the swish-crack sound the cane makes when brought down good and hard onto someone's bottom. And the beauty of a caning through trousers is you get a louder sound – a nice, smart thwack. This is a real old-fashioned six of the best, with Fauni visibly wincing as each stroke lands. The cracks punctuate Dr Barton's lecture beautifully, as he picks out each of Fauni's dress code failings.
If you've watched Fauni and Dr Barton before – in their fantastic Pride video, with Fauni as the cheeky, queer punk determined to disobey – then you'll already know just how well these two work together. I'm a sucker for male/male spankings, and the sheer contrast between straight-laced Dr Barton and pierced, punky Fauni Cate gives their scenes a fantastic atmosphere.
Authority figure versus youth. Headmaster versus student. Convention versus rebellion. And a strict punishment for the rebel who is caught...
Michelle Knight is a bondage fan and activist against porn censorship. Despite not being a fan of corporal punishment, she volunteered to take fifty hard cane strokes in protest against ATVOD. Why? Well, as Michelle explains:
“I'm doing this not for my own pleasure, but to help raise the money to take them to court.”
Bravely, Michelle bends over the sofa and calmly takes every single stroke – her first caning on camera. Her reasons for doing so are more complicated than you might think, and her pre-shoot interview gives some fascinating background on the history of UK porn censorship, as well as her personal reasons for taking on this challenge.
Reason 1: Show the truth, not the fiction
“There's a lot of fiction out there,” explains Michelle. She's spent the last twenty years educating people on issues to do with sexuality – running bondage website RealBondage.co.uk and writing books, as well as taking part in support groups for trans people. “There's a lot of fiction out there, and people are making decisions based on that.”
Her website and books are aimed telling the truth about bondage for people who are curious. Michelle explains that, when not given the right information, people are reliant on a fiction about BDSM and sexuality that encourages them to 'panic, panic, panic!'
What better way to challenge that fiction than by showing a real-life caning scene, complete with discussion, negotiation, and occasional breaks for tea and banana cake?
Reason 2: It's not the first time
Protesting the UK porn laws is not new to Michelle, who confesses that “ever since 2008 I've been a thorn in the side of the CPS, Home Office, Lords, my MP – oh boy!”
The Criminal Justice and Immigration Act in 2008 (often referred to as the 'Extreme Porn Law') sought to ban 'extreme' porn, and as you might have guessed, the word 'extreme' includes plenty of bondage, spanking, other forms of BDSM – things which kinksters engage in safely and consensually all the time.
The latest furore, with ATVOD, could see sites like Dreams of Spanking under the jurisdiction of a censor which hates any but the most gentle form of spanking. But it's certainly not the first - just the latest in a long line of attacks on kinky porn.
Reason 3: They haven't done the proper research
That 'Extreme Porn Law' – in 2008 – was subject to a rapid impact assessment before being passed. The key word here is 'rapid' - as Michelle explains, the organisation responsible for reviewing it mentioned that it did not have enough time to do a proper job.
This is a criticism that comes up frequently when looking at how the government makes changes which impact pornography and sexuality – lack of consultation with people whose lives will be affected by changes means that those making decisions rarely – if ever - get the full picture.
Reason 4: It's undemocratic
These are not policies which have been put forward in manifestos, or offered publicly for debate. In the case of the 'Extreme Porn Law', it was buried in the Criminal Justice and Immigration Act, which tackled a whole range of other topics completely unrelated to porn.
The recent changes are no different – they are primarily being made by ATVOD and the BBFC: statutory bodies which hold no direct democratic accountability.
Michelle explains: “They are operating as a law unto themselves – they are not fit as a body. They're making it up as they go along.” She adds that, from the government's point of view, this is almost certainly not an accident: “They don't want discussion on this. They want to oppress us. That's one of the major things I'm against.”
Reason 5: This is the only way to do this
There are lots of ways you can protest against democratic changes – you can stand in the street with a placard, or write to your MP. And while these things may help raise awareness of the changes, ultimately Michelle believes that the solution is more drastic:
“It looks like the only way we're going to be able to do this is to drag them through the courts.”