All models were at least 18 years old at the time of their performance. 18 U.S.C. 2257 Record-Keeping Requirements Compliance Statement.
| Released | Sep 17th, 2018 |
|---|---|
| Running Time | 106 Min. |
| Directors | Craven Moorehead, Bree Mills |
| Company | Pure Taboo |
| Distribution Company | Pulse Distribution |
| DVD Extras | Still Gallery(ies), Trailer(s) |
| Cast | Tommy Pistol, Michael Vegas, Alison Rey, Nina North, Jill Kassidy, Whitney Wright, Carolina Sweets, Gracie May Green |
| Non-Sex Roles | Nina Hartley |
| Genre | Feature |
A double feature, scripted by Bree Mills, about how technology can enable lust, now and in the future. “The White Room” is a virtual reality space inhabited by Michael Vegas, a bus driver for what looks like a private girls’ school. He manages to get DNA samples (hair, discarded lollipops) from his riders and has them populate his VR space.
At home he dons a VR headset and reviews four of the cute girls he’s been driving around. They all say, in so many words, that they’re 18. He has sex with his latest catch, Carolina Sweets, who looks really innocent. The others are miffed that she’s getting fucked first. He tells them to “stand over there and watch.” After he fucks her he suddenly rips off his headset, looking anguished and exhausted.
Back on the bus a new girl, Whitney Wright, figures out what Vegas is up to, tells the girls they’ve been programmed. “I promise, none of this is real.” She figures out how to screw up his game. This time when Vegas logs in all the girls descend on Vegas, take turns sucking his dick. It’s more than he was expecting, or wants. He has to fuck them all—nice excuse for a group sex scene. Suddenly an “internal server error” makes the VR go haywire.
“Artifamily” is introduced by the quote “Will robots inherit the earth? Yes but they will be our children.” It’s the year 2095. Nina Hartley plays the take-charge director of an organization called Artifamily, a self-styled “global leader.” It turns out they make robot replicas of departed loved ones with DNA provided by their survivors. Tommy Pistol has lost his daughter (not stepdaughter), resurrected as Jill Kassidy, who grins robotically.
Tommy is shocked when she comes on to him sexually, babbling like the bot she is and, being synthetic, physically more powerful than him. “Fuck me daddy, fuck fuck fuck,” she babbles.
It’s all made believable by Pistol’s virtuoso performance, one of his best ever, veering from grief to lust to madness. “Why did you drive the car that night? Nobody fucking drives anymore.” He curses her for having “fake hair and fake eyes.” Nevertheless he fucks her, in several positions.
The ending is part funny, and an even bigger part scary.
