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.
A while ago Pandora and I were discussing the best positions for caning. She told me that one position is usually the most popular among Dreams of Spanking viewers: "bend over and touch your toes.'
Whether it's the view of someone's bottom, vulnerable and exposed, or the feeling of your own bum stretched tight and waiting for the crack of the cane, somehow there's something about this particular position that's incredibly arousing.
If you're one for whom the phrase 'bend over and touch your toes' sends filthy-hot shivers down your spine, you'll probably be a fan of our latest spanking film. Leia-Ann Woods plays a submissive secretary being trained by her cruel boss Thomas Cameron. She has been with him for over a week already - and is doing her best to remain obedient under the stress of his exacting regime.
He begins each day with an intrusive inspection, running his hands all over her, and examining the way she is wearing her tight-laced corset, tight pencil skirt, fully fashioned stockings and suspenders – a very traditional and deeply hot uniform for a BDSM submissive secretary.
As you'd expect, Mr Cameron is keen to find fault with poor Leia. She is subjected to twelve strokes every morning as a matter of course, simply to keep her on her toes - or touching them. Today, he finds six reasons to add additional strokes to her regular morning punishment, taking the total to an eye-watering eighteen. Leia tries not to show her fear as he tells her to assume the position for the cane.
Personally, I struggle with the touching-toes position. I love the feeling of vulnerability that it brings, being so exposed and so reliant on my own self-discipline - using my own strength of body and mind to hold the position so I don't topple over. But then the strokes fall, one after the other, and I wobble, and tense up, and grit my teeth, and it becomes harder and harder not to break position.
Touching my toes seems easy when I first do it, but as the pain accumulates and the heat and sting of the welts layering across my upturned bottom grow stronger, my muscles start to tremble and I worry that I'll either fall forward or – worse – involuntarily straighten up and earn myself extra strokes.
It's much easier if you're told to bend over a desk, the back of a chair, or even lie face-down on the bed to receive a beating. But then - as Leia-Ann's determined poise and Thomas Cameron's calm perfectionism show - a thorough caning isn't about what's easy, is it? It's about punishment.
I find it difficult to stay in position touching my toes at the best of times. Wearing a tightly laced corset, hobble skirt and high stiletto heels like Leia-Ann in this film, I would find it nearly impossible. Leia is justly famed among spanking fans for her grace and elegance, whether she is administering a thrashing or receiving one. But if you want to know just how poised she can be, even through the stress of eighteen searing cane strokes, watch Day Ten of her Training and find out.
Our latest photoset, Dominance and Submission, is from my shoot with D and Matt Christie in July last year. I'm remiss in still not having previewed the other scenes we shot that day, but I'm going to make up for it today by sharing a bumper load of free photos from this new gallery.
I wanted to create some iconic male dominant, female submissive imagery, exploring themes of clothed male/nude female, bondage, human furniture and objectification, erotic breast teasing and whipping, nurturing dominance, throat grabbing and breath play, as well as corporal punishment with leather belt and crop. The depth of my connection and chemistry with D provided the ideal opportunity for these explorations, and Matt's trademark evocative imagery bathed in warm, soft light perfectly set the scene. I love every single photo he took, and had difficulty picking out just a few for the thumbnails on the scene page. I'm so delighted with Matt's photography that I just can't resist the urge to show you more here.
Cuffed and collared, naked and vulnerable, she kneels and waits.
She kneels at his feet and he tells her to open her legs - wider - wider. She obeys. He squeezes her nipples and her breasts, wraps a cool hand around her throat.
He arranges her on hands and knees and uses her as a footstool. She is aware of the weight of his feet resting in the small of her back; breathing in and out, concentrating on posture, poise, stillness. Back arched, bottom raised. When she feels the crop land sharply across her upturned buttocks she cries out. She flinches, she can't help it, but as soon as she realises it she arches her back again. Her bottom feels exposed, sensitive. The position is not easy to maintain as he whips her, but she does her best.
Cool hands soothe and squeeze her throbbing skin; their kisses are heated. She kneels to present her bottom again, offering herself to the belt, and he paints her cheeks red.
He does not need to use words to tell her she is his. Serene in her surrender, she lets him direct her, trusting that whatever she does, she will be safe with him. He plays her body like an instrument. Even the pain, when it comes, is a treasured gift, a sign of love.
We've got a new military historical series running at the moment, shot on our location shoot in September and starring Thomas Cameron, Andrew Shada and myself - plus Nimue Allen in a forthcoming episode.
Havelock's Campaign is inspired by our favourite Napoleonic War fiction including the Sharpe books by Bernard Cornwell, and the Flashman series by George Macdonald Fraser, and centres around the character of Major Harry Havelock, a cavalry officer in Her Majesty's Hussars. This character of Tom's creation almost instantly became a firm favourite (especially of me and Nimue, who quickly developed big old crushes on him!), and Tom's skill as an actor, and passion for the period, shines throughout.
The first episode joins the officers the night before they ride out on campaign. Havelock congratulates new Lieutenant Shada on his promotion, and takes the opportunity to introduce the boy to the privileges of rank...
Major Harry Havelock of Her Majesty's Hussars has been assigned a new Lieutenant, commission still squeaky-new. Lieutenant Shada requires introduction to the privileges of an officer and a gentleman: wine, wenching, and whipping! Havelock also takes the opportunity to provide the new Lieutenant with Flash Harry's patent method for domestic bliss: a brisk over-the-lap spanking and, if she needs it, a firm thrashing with the riding crop...
The fantasy of being given by one dominant to another is one I've always had. It combines helplessness and lack of control with the pleasures of being shown off, objectified, and being the centre of attention of two tops at once. When they are both hot young men in military uniform ... well, what more could a lady ask?
I also love being used as a "demonstration model" in a scenario where one top is training or teaching another. This is a theme we've visited before, such as in The New Head Girl. In that story, the "demo bottom" was entirely unhappy about the way she was being treated. My wench in this scene is a little more sanguine about her situation. Maybe she is resigned to her fate and determined to have what fun she can with it. Maybe she has grown fond of the Major and truly wants to please him. Maybe he has chosen well, and picked a girl who genuinely loves to be spanked and whipped. Either way, I enjoyed playing the character of a saucy girl, a tart who enjoys her work, and finds being a camp follower far more entertaining than the other roles available to a woman of her class.
As the scene progressed, I found myself increasingly empathising with her - if I had been in her situation, I would probably have done my best to end up in Major Havelock's tent, too!
The historical military setting happened to fall right within Andrew's comfort zone, and his first-shoot nerves evaporated as he slipped easily into the manners and jargon of the setting. Tom and Andrew developed a rapport on that shoot which really comes across in these scenes, and the behind the scenes videos are a wonderful opportunity to get to know shy Andrew a little better.
It was a good thing that Andrew grew to like and trust Tom over the course of the shoot, because Tom was topping him in his last scene of the day, a harsh riding crop thrashing. Andrew was exhausted by the end his first ever spanking shoot, and opted out of a final scene with him topping the wench (me!) which had been pencilled into the callsheet. But he was happy to go ahead with this one, and take one last beating before some well deserved R&R.
During his first battle of the campaign, Second Lieutenant Shada was tasked with carrying a crucial message, but failed to carry out his duty after his horse stumbled and broke a leg. Major Havelock gives the young officer a firm dressing down, but takes pity and offers him a final chance to save his career. Rather than face a court martial, Shada must suffer the punishment of a cadet, rather than an officer, one last time, and bend over for twenty lashes from his superior.
For me, this scene revolves around two key elements. Firstly, Havelock's genuine affection for the boy, clearly evidenced by the fond exasperation with which he scolds him, and the fact he gives him an option at all. Humiliating and embarrassing as it may be for Shada to drop his trousers and take the punishment which would have been due were he still an ensign, and not, in fact, a newly minted officer, it is certainly better than the alternative.
Officers were not flogged in the British army - that punishment was reserved for the rank and file, and was significantly more brutal than what is shown here. Flogging was administered to the bare back with long leather whips, and a severe flogging could be a death sentence. However, young aristocratic ensigns and cadets, sent to the army or navy in order to be educated and prepared for a career in service, would have been caned by their superiors, just as if they had been at school.
In this story, Shada's character attended a military academy (Sandhurst or Addiscombe, probably) and so did not serve in the army as an ensign. If he had, however, and if he had been entrusted with a task which bad judgement or bad luck prevented him from carrying out, he might well have found himself on the receiving end of a thrashing from his commanding officer.
As a lieutenant he is supposed to have grown out of that sort of foolishness, and cannot now expect the leniency of corporal punishment. Havelock, however, has grown fond of the boy and believes he has promise. The punishment here is not only an embarrassing return to a juvenile mode, it is also a second chance, a gesture of affection, and one that the young lieutenant is willing to receive.
The second thing I love about Military Discipline, the key moment that makes it really hot for me, is when Havelock exhorts Shada to take his punishment "like the gentleman I know you to be". Shada nods, summons his courage, and takes twenty strokes hard enough to leave his bottom welted and bruised as stoically as he possibly can. Andrew's expressive features and body language make it clear how much it is hurting, but as he exhales and fights for control you can also tell that he is trying as hard as he can not to show it.
I love restrained reactions, courage and dignity in a spankee. It's not politically correct, but I find it especially hot in the context of male/male punishment, where gendered expectations are a factor and the bottom is trying to "man up" and retain their manly pride in the eyes of their disciplinarian. Andrew really felt this whipping, you can tell, but the hottest thing is the way he tries to be brave. And, I should add, succeeds: given this was his first ever spanking shoot, he really did do amazingly well.
Our latest spanking film is another one inspired by a piece of artwork. Illustrations are unique amongst spanking media in the way they can capture the anticipation and tension of a spanking scenario, glimpsing a single pivotal moment while leaving the rest to the imagination. I think that audio stories make such effective spanking erotica for the same reason: the way that they stimulate the imagination and allowing the listener to fill in the details in their own mind.
Actually, Ladies Caning Night was inspired not just by one illustration, but by several.
I don't know the names of the artists for any of these pieces - if anyone does, please do tell me so I can add a credit and a link. I found them on SpencerMasoch's fetlife profile; he'd appended captions to them like "Ladies Caning Night" and "Weekly caning practice". The fantasy of a weekly ladies get-together to practice cane technique, at which a hapless hubby might find himself the victim of several ladies' sadistic attention, struck me as compelling, and I decided to make a film of it.
On Wednesday evenings Nimue likes to invite her friends round to try out her collection of canes. This week Pandora brings her partner Michael with her to help things along. Michael finds himself the subject of both ladies' attention, and on the receiving end of a whole suite of canes from thin and whippy to thick and heavy. Still, he tries to bear up under the mistreatment - whatever will keep his lady happy! Once Nimue has shown Pandora the various options and Pandora has tried them for herself, both ladies team up to give Michael a double caning. And of course, they video the whole thing for posterity. Michael submits to a total of over 60 cane strokes in total, and Pandora enjoys herself so much that she decides she simply MUST obtain some canes of her own!
The "home video" style of shooting in this film was a result of the three of us not having an extra camera person on set - previously that day Nimue and I had taken it in turns to top and film. I actually really like how it turned out, especially the opening sequence, as the camera's point of view passes from person to person, swapping between the spankee's and spankers' perspectives. I think it results in an enjoyably candid, intimate scene which really puts the viewer in the room with us. What do you think, does it work for you?
I love Michael's performance in this scene - he really captured the eager-to-please hubby who is trying to maintain social decorum and go along with the idea that this is a perfectly normal and civilised way to spend a Wednesday night. It's a lovely angle on domestic dominance and submission, and as the caning progresses you can see the nervousness, uncertainty and pain despite his efforts to keep smiling.
There's something really hot and edgy for me about a dynamic where the sub is encouraged to put on a brave face and pretend it doesn't hurt much in order to please a demanding dominant - or pair of dominants, in this case. Despite playing a top role in this scene my sympathies as a director were very much with Michael, and as he bravely surrenders to over 60 cane strokes he is 100% the star of the show.
I've always loved double canings, and as a left-hander Nimue makes an ideal caning partner. This was my first time teaming up with her, although I've been on the receiving end of her and Tom before, and it was a pleasure from start to finish.
This was the last video we filmed with Michael on our shoot last November, and at the end of the day he showed off his beautifully marked bottom in the kitchen for a final picture set. After that, he sat down - carefully! - for some well-earned food, wine and relaxation.
Being the victim of multiple female assailants seems to be a recurring male submissive fantasy - more so, perhaps, than the corresponding M/F scenario. Several viewers have asked me to make a film in which a male spankee is dominated by three or even four ladies. It would be expensive to produce for obvious reasons, but if there's enough demand then maybe we could make a bit of a day of it. Would you like to see a film like this, and if so, what sort of scenario would best appeal to you?
I'm a little bit in love with the music in our newest film. I had a lot of fun editing this one, not least because that combination of powerful classical cello with more industrial rhythms is guaranteed to get me wet, regardless of whether it's accompanied by any sexy visuals. I don't know why, something about the vibrations perhaps. But it doesn't hurt that Amelia Jane Rutherford looks utterly gorgeous writhing under splashes of hot red wax:
The movie is called Pandora's Initiation, and is episode one of our new BDSM/spanking series, The Morpheus Club.
New slavegirl Pandora is nervous, untrained and intimidated by the experienced Amelia. She endures bondage, nipple clamps, humiliating inspections and punishment, culminating in a painful double caning.
So much happens in this 37-minute BDSM epic that there was no hope of me squeezing it all into the short scene description above. I decided to focus on my character's journey, but you only need to look at the tag list or trailer to get a sense of just how much else is packed into this movie. (The tag list is so long it almost breaks the page layout!)
Specifically, the scene description fails to mention any of Amelia's myriad kinky activities, including gruelling slavegirl postures, strapping, spanking, hot wax and a flogging on her back and bottom - all of which she submits to with sublime grace and poise.
This is one of my oldest fantasies. It's got a dark non-consensual edge (the implication that my character has consented to be enrolled in this establishment out of desperation, rather than because she is kinky) but otherwise it's absolutely classic. The idea is not original in the slightest: this scene has echoes in dozens of erotic novels.
I'm honoured to have had the help of the talented Hywel and Amelia in bringing this fantasy to life, and indebted to Hywel for his expertise behind the scenes, particularly in taking over the direction from me to allow me to concentrate on performance.
In our version of this classic concept, the Morpheus Club is an underground society with a faintly historical flavour. Members are kinky men and women with a range of tastes; all of them top, and some of them switch. Male and female 'pets' are recruited by fair means or foul - some are the equal partners of members who give full consent; others have less choice in the matter. Members have equal access to all pets, and training is undertaken collectively, but new pets are often mentored by their recruiter. As a natural consequence of the cast, this scene is pure M/F, but there's more to the Morpheus Club than that, and we'll see more of it in future episodes.
For me, the hottest parts during filming were the inspections, both kneeling before the Doctor, and exposed on all fours on the table with my new employers dispassionately discussing my body and reactions. That moment is the hardest part of this scene for my character, and undoes some of the confidence she gained during the bondage. This was the first time I'd played with Hywel (exciting!) and my nervousness about whether he'd find me pleasing was quite real. But I also had a lot of fun with the nipple clamps, slave training, picking things up in my teeth, and watching my handsome boyfriend flog beautiful Amelia. And, of course, the spankings!
Watching the finished film back, more things leap out at me. Amelia's hot wax sequence is one of the most glorious pieces of D/S play I've ever had the privilege to film. Her grace is just astonishing, and the genuine chemistry between her and Hywel is a joy to watch. Oh, and there are quite a lot of shots of both Amelia and I crawling on all fours with our bottoms in the air, which I hope some of you will enjoy.
You can find more of Hywel and Amelia's work at Hywel's bondage website Restrained Elegance, where Amelia is the resident slavegirl as her alter ego Ariel Anderssen. They have also made several bondage and spanking feature films which can be found at Elegance Studios. Their work is artistic, imaginative and beautifully executed, with the highest production values of any kinky studio in the UK. Spanking fans will particularly enjoy their domestic discipline movie Amelia's Sunday Spanking, which I've reviewed on my other blog here.