In this four-part limited series, the year is the not-too-distant future and the Girlsway Corporation is in the business of manufacturing synthetic women. Think of Westworld but in a dystopian future. Abigail Mac, wearing a gas mask and looking very Mad Max, plays a guard who hunts down straying fembots and returns them to the Fantasy Factory for reprogramming. She breaks up a perfectly nice relationship between Georgia Jones and her MILF-bot Alexis Fawx.

Girlsway producer (and screenwriter) Bree Mills appears as the hard-nosed head of the corporation who orders Abigail to “bring my product back.” Cherie DeVille plays the more sympathetic head programmer who doesn’t appear until the final episode.

The story really gets going in Part 2, subtitled “The Hero.” April O’Neil (excellent performance) plays a biologist collecting plant samples in the Wasteland (California desert) who runs into escaped bot Kenna James, known as VX13.

The problem is that once the “units,” as the fembots are called, become sexually aware, they want to be free. April falls in love with Kenna, unaware that she’s synthetic, and tries to rescue her from the helmeted hoods led by Abigail who’ve been sent to bring her in and erase her memory. The last two segments are “The Capture” and “The Escape,” which indicate the plot trajectory.

There are a lot of lengthy dialogue scenes that don’t really register, but the action sequences are very well done, as are the frequent special effects. The sex is up to the company’s high lesbian-porn standards, especially the scenes between brunette April and blonde Kenna, which have tenderness as well as heat.

A plus for fans are brief cameo appearances by stars like Carter Cruise, Angela White, Kristen Scott, Shyla Jennings and quite a few more in the Girlsway Pleasure Palace. There’s a lot of wink-wink references to the actual Girlsway production company. The movie, by the way, “is dedicated to ALL the sex workers in our society, be they performers, escorts, cam girls, strippers ... or Pleasure Bots.”