This nearly four-hour junker from Bree Mills' Girlsway & Adult Time labels could charitably be blamed on the current Covid-19 pandemic, as it was shot cheaply in mainly one-shot compositions, taking social distancing very, very seriously, though a couple of lesbian sex scenes are staged normally with the players actually in frame together and (duh!) touching.
But what makes it annoying and difficult to watch is Fistopher Nolan's dreadful screenplay, which pays token plagiarism to mocking the huge Netflix TV hit "Tiger King" but actually spends most of the dreary talklng-to-the-camera footage on self-serving moronic satire of the so-called "Lesbian Porn Industry" in which Mills slaves away for a living.
Nolan's script zeroes in on three female Lesbian Porn moguls: title character Serene Siren, hamming it up with a fake country girl accent as Jill Erotic -star and owner of GW Films (note: Bree's real company is Girlsway Films); Cherie DeVille as Cheryl Badsin, owner of "Big Clit Rescue", a porn outfit crusading for what she terms ethical lesbian porn, looking after the welfare of her actresses; and Reagan Foxx as Bigavag 'Dot' Scandal, running C. O. U. G. A. R. S.
Casey Calvert, who co-directed the miniseries here, interviews the cast in her uncredited role as documentary producer Erin Badde. Basically static-camera shots of solo talking heads comprise the show's footage, plus some amateurishly-shot scenes of hammy Siren outdoors making moves as if to spoof an outdoorsy character like the original Tiger King, but having nothing to do with the porno mogul subject at hand. And of course there is XXX sex content comprising nine sex scenes spread over three TV episodes, six being solo masturbation by Foxx, Siren, porn industry expert Kira Noir, busty undercover cop Lexi Luna and porn actress in the manner of webcam girl Scarlett Sage and porn director (with an exaggerated old-timey thick bush) April O'Neil. The three lesbian scenes feature Katie Kush & Kenzie Madison as dimwitted actresses working as "volunteers" (i.e., unpaid) for Cheryl; Whitney Wright and Gianna Dior as ex-wives of Jill having sex on a couch when supposedly Erin's camera is turned off; and for Covid-19 historical purposes a mutual masturbation at long-distance scene for Cheryl and her wife Aaliyah Love, hooked up by a tablet conference call. This make-do in an epidemic technique has been used by Bree and her talented competitor Missa X for some content during the summer of 2020.
Plot elements concerning murder and attempted murder among the three moguls are unconvincing, and the general level of overacting is cringe-worthy, especially if one is a fan of real documentarists like Ken Burns or Alex GIbney. Low point occurs shortly before Kira Noir's masturbation scene, where she enthuses about Girlsway to such an extent that even the producer Calvert objects. For me, the idea presented here that modern lesbian cinema began in 2014, coincidentally with the launch of Mills' own Web Young and Girlsway labels, as represented by the three warring factions depicted, manages to ignore the launch of Girlfriends Films, the prolific lesbian sex content label launched in 2001, which remains Bree's top competitor and inspiration for her work, as well as overlooking Nica Noelle's important and still competitive Sweetheart Video label, dating back to 2007 (as well as lesser competitors like Filly Films and Abigail Prods.).
A key subtext which apparently escaped the consciousness of Nolan, Mills and directors Calvert and Eli Cross/aka Bryn Pryor, is the script's satire of "ethical" porn and even Cheryl's supposed pyramid scheme of not paying her talent at all ("taking money for sex would be prostitution") as well as pretentiousness, latter clearly something which Mills obviously practices without apology. So instead of being self-effacing, the show's attempted humor is in fact closer to being self-promotion.
But what makes it annoying and difficult to watch is Fistopher Nolan's dreadful screenplay, which pays token plagiarism to mocking the huge Netflix TV hit "Tiger King" but actually spends most of the dreary talklng-to-the-camera footage on self-serving moronic satire of the so-called "Lesbian Porn Industry" in which Mills slaves away for a living.
Nolan's script zeroes in on three female Lesbian Porn moguls: title character Serene Siren, hamming it up with a fake country girl accent as Jill Erotic -star and owner of GW Films (note: Bree's real company is Girlsway Films); Cherie DeVille as Cheryl Badsin, owner of "Big Clit Rescue", a porn outfit crusading for what she terms ethical lesbian porn, looking after the welfare of her actresses; and Reagan Foxx as Bigavag 'Dot' Scandal, running C. O. U. G. A. R. S.
Casey Calvert, who co-directed the miniseries here, interviews the cast in her uncredited role as documentary producer Erin Badde. Basically static-camera shots of solo talking heads comprise the show's footage, plus some amateurishly-shot scenes of hammy Siren outdoors making moves as if to spoof an outdoorsy character like the original Tiger King, but having nothing to do with the porno mogul subject at hand. And of course there is XXX sex content comprising nine sex scenes spread over three TV episodes, six being solo masturbation by Foxx, Siren, porn industry expert Kira Noir, busty undercover cop Lexi Luna and porn actress in the manner of webcam girl Scarlett Sage and porn director (with an exaggerated old-timey thick bush) April O'Neil. The three lesbian scenes feature Katie Kush & Kenzie Madison as dimwitted actresses working as "volunteers" (i.e., unpaid) for Cheryl; Whitney Wright and Gianna Dior as ex-wives of Jill having sex on a couch when supposedly Erin's camera is turned off; and for Covid-19 historical purposes a mutual masturbation at long-distance scene for Cheryl and her wife Aaliyah Love, hooked up by a tablet conference call. This make-do in an epidemic technique has been used by Bree and her talented competitor Missa X for some content during the summer of 2020.
Plot elements concerning murder and attempted murder among the three moguls are unconvincing, and the general level of overacting is cringe-worthy, especially if one is a fan of real documentarists like Ken Burns or Alex GIbney. Low point occurs shortly before Kira Noir's masturbation scene, where she enthuses about Girlsway to such an extent that even the producer Calvert objects. For me, the idea presented here that modern lesbian cinema began in 2014, coincidentally with the launch of Mills' own Web Young and Girlsway labels, as represented by the three warring factions depicted, manages to ignore the launch of Girlfriends Films, the prolific lesbian sex content label launched in 2001, which remains Bree's top competitor and inspiration for her work, as well as overlooking Nica Noelle's important and still competitive Sweetheart Video label, dating back to 2007 (as well as lesser competitors like Filly Films and Abigail Prods.).
A key subtext which apparently escaped the consciousness of Nolan, Mills and directors Calvert and Eli Cross/aka Bryn Pryor, is the script's satire of "ethical" porn and even Cheryl's supposed pyramid scheme of not paying her talent at all ("taking money for sex would be prostitution") as well as pretentiousness, latter clearly something which Mills obviously practices without apology. So instead of being self-effacing, the show's attempted humor is in fact closer to being self-promotion.