Episode S03E02 “When the Battle is Over” Aired 22 Sep 2017
Jiz Lee returns as Pony, having regular domination sessions with Sarah.
Sara struggles with joining the board of her Jewish temple, and says some slut-shaming things about her ex-husband’s Millennial girlfriend. She’s insecure about being a wife and mother with her ex-husband in all ways except sexually.
In session with Pony, Sara is miles away. She’s on a St. Andrew’s cross, in her underwear, being spanked by Pony, rambling about flyers for her temple. Shot of her face in the cross.
Transparent Episode S02E09 “Man on the Land”, aired Dec 11, 2015.
In this episode, mainly set at a women’s festival in the woods, Maura, a transwoman, has a difficult experience when she finds that the festival is supposed to be for “women-born-women” only, and her adult daughter Sarah hooks up with a kinky woman named Pony (played by Jiz Lee).
Shooting of season 5 of Billions was interrupted by COVID, and the second half of the season didn’t air until 2021. Of the various plot threads picked up, the only one that concerns us is Chuck’s sex life. We last saw him involved with the sexually adventurous Cat, but as of S05E08 “Copenhagen”, it’s over.
Chuck: “I liked it. Of course I liked it. Give me pistachio ice cream, I’ll eat it and smile, as Diamond David Lee Roth would say. But it was uncomfortable. Just too many limbs. Too many questions. Oh, what to do? Give me rum raisin, on the other hand, I’ll inhale the whole point and root around the fridge to find another one. Then that’s what I was missing.”
Other guy: “Cat seems pretty liberated. Have you broached the subject of what you really want?”
Chuck: “As you said, she’s smart and she’s sensitive and she saw, she saw that it would never work, not all the for me, not without, you know… [clicks tongue] And so she said something along the lines of, ‘We’ll always have Paris.’ Only the words she used were harsher, and all about wasting her time.”
Earlier seasons of Billions made Chuck’s masochism a major part of both his personality and his relationship with Wendy. Now it’s been demoted to the same importance as his taste in ice cream. Apart from snide comments from other people, Chuck’s sex life doesn’t come up again.
Note that trailers for season 6 suggest that Chuck will continue to practice kink and he may even see Troy the pro-domme again.
“Twenty-Five Acts”, aired October 10, 2012 IMDB
The Law & Order franchise often fictionalizes real-world events. In this case, it alludes to the publication and popularity of the Fifty Shades trilogy, in an episode aired only 6 months after the trilogy was re-released by Vintage. (FSOG was first published May 25, 2011 by Writers Coffee Shop, and the trilogy was re-released by Vintage in April 2012.)
I thought that this episode also referenced the case of Jian Ghomeshi, a Persian-Canadian radio host and interviewer who allegedly strangled his girlfriend and excused it as consensual BDSM. However, in an odd moment of life imitating art, I found that this episode actually aired 2 years before the allegations about Ghomeshi went public in 2014.
The author of the hot new erotic novel Twenty-Five Acts, Jocelyn Paley, appears on a talk show. The host, Adam Cain, meets her for dinner, and she secretly gives him her panties under the table. They go back to his place. After some sex she initiates, he crosses the line, throws her on the bed and chokes her with a belt.
Fifty Shades of Black (2016) (IMDB) is a comedy/romance film directed by Michael Tiddes and written by Marlon Wayans and Rick Alvarez. Obviously, it’s a parody of the wildly popular Fifty Shades of Grey franchise.
Beyond just parodying Fifty Shades, Black derives comedy from juxtaposing sadomasochism, long seen as a “white thing”, with blackness.
Moon Charania’s essay “The Promise of Whiteness: Fifty Shades of Grey as White Racial Archive” in Intensities: The Journal of Cult Media (Issue 8, January 2016) hypothesizes that the book and film’s story can only work because the two leads are extremely white and heterosexual. It presents a kind of hetero-white utopia in which all the cultural anxieties of the 2000s and 2010s are almost entirely absent. Almost no non-white people means no racial violence and inequality, and almost no queer and no trans people means no challenge to the primacy of heterosexuality.
The significance of Grey’s emotional torment, Ana’s romantic attachment to Grey, and the familiarity of white heterosexual domestic love render this (attempted) violent domination both palatable and melancholic. [Pg. 84]
To excite and placate the audience, Ana and Christian as lovers and antagonists could only be white. The sudden excitement found in a powerful white man beating an empowered white woman for sexual pleasure establishes an inextricable link between racial formation and sexual subjectification. [Pg. 85]
In Charania’s view, whiteness excuses everything: Christian’s domination and sadism, Ana’s infatuation and naivete. Remove Christian’s whiteness, his wealth and privilege, from the narrative, and he’s just an abuser. Remove Ana’s whiteness, and she’s just a helpless victim. It’s not a love story anymore.
So what happens if the analogs of Christian Grey and Anastasia Steele, “Christian Black” (Marlon Wayans) and “Hannah Steale” (Kali Hawk), are black?
The Story of Joanna (IMDB) is a 1975 X-rated drama directed and written by Gerard Damiano and starring Terri Hall in the title role and Jamie Gillis as Jason.
Joanna comes from the “Golden Age of porn” in the 70s and early 80s when some hardcore adult films were made with higher production values for release with X-ratings in mainstream theatres, trying to reach a broader audience. This was also the heyday of mainstream softcore erotica films like Just Jaeckin’s Histoire D’O (1975) and the original Emmanuelle (1974), and edgier material like Nazisploitation classics The Night Porter (1974), Ilsa: She-Wolf of the SS (1975) and Salon Kitty (1976). (I’ve heard that Damiano wanted to film Story of O but couldn’t get the rights, and made his own knock-off.)
Bitter Moon (IMDB) is a 1992 erotic/romance film, directed by the notorious Roman Polanski, based on the novel Lunes de Fiel by Pascal Bruckner
Nigel goes on an ocean cruise with his wife, Fiona, where he becomes fascinated by a beautiful, mysterious woman named Mimi. Her husband, a paraplegic would-be writer named Oscar, demands that Nigel listen to his story of his obsessive love with Mimi before Nigel has an affair with her. Like another tale of twisted love, Nabokov’s Lolita, we shouldn’t take the narrator at face value. Mimi privately tells Nigel: “You musn’t believe all he says. He’s a sick man. He imagines things.”
In Oscar’s story, he is a self-consciously literary archetype, an independently wealthy young American living in Paris to become a writer. On a bus trip, he becomes smitten with Mimi, a young French woman.
Mimi is a cipher, with almost nothing more to her than being a beautiful French dancer, at least in Oscar’s telling. The early stages of their romance go from sweetly romantic to an adolescent’s idea of eroticism.
Oscar: (to Nigel) “I’m only going into such detail to show you how completely enslaved I was, body and soul, by this creature whose dangerous charms have made such an impression on you.”
S&M Judge, originally titled SM Rechter, is a Belgian 2009 drama based on a true story. (IMDB)
Before there was Dyanne Thorne as Ilsa, there was Audrey Campbell as Olga.
The Olga films were a series of exploitation “roughies” or “kinkies” released in the 1960s, all directed by Joseph P. Mawra, and starring Audrey Campbell as the sadistic mob boss, Olga. These films were released under several different titles and release dates.