Taya plays a modern-day Scheherezade, spinning tales for viewers' pleasure. Telling setups, really. Like the one about princess Dee, who goes to bed with her crown on and wakes up with Ken Ryker at her bedside. You can imagine what happens after that, although her finishing him off with a handjob might be a surprise. "The farmer's daughter" leads to a b/g in a hayloft. Erik Everhard tosses a coin in a fountain and finds a half-dressed and horny Savanna Samson nearby. Dru Berrymore has her way with Rafe in a dungeon. And, in "Happy Ending," Taya gets to do what she - and we - have been watching for the last hour.
As usual, La Rue offers deliberately-paced sex scenes that don't follow a predetermined course but build and flow in unexpected ways (When Erik Everhard comes on top of Savanna Samson's pussy, then licks it off her clit, then kisses her, that's a surprise, as is the rimming and light dom play in the Rafe/Berrymore scene.) and with creative camera angles and points of view. Like when a wall covers the bottom of the frame for a vertiginous look at a stairway and the couple coupling on the handrail. Unexpected production values, like the star filter enhancing every highlight off Taya's jeweled headband, keep the eye entertained. Music also adds value and couples-friendliness.