In "Stars in Her Eyes," Lilly Bell and Parker Ambrose watch the sunset in a romantic montage before viewing a fireworks show as Ambrose makes romantic comments in voiceover. They kiss in the bed of a pickup truck as the camera wobbles around them, catching a string of bare light bulbs strung in the background. He relieves her of her Daisy Dukes, then teasingly pokes an ice pop in her mouth and runs it down her torso, licking up the sugary trail as their breathing fills the soundtrack. She kisses her way down, teasingly blowing some spit on his cock, then sucking it off, taking charge as she gets on all fours for oral attention from behind and then climbing on for a cowgirl ride as we overhear her whispering, "It's so big, I can feel it in my asshole." Bell pep-talks him sotto voce all the way through the scene, adding an intimate touch, straight through to the facial pop. Dynamite scene.

In the middle of a photo shoot, "Big Bad Wolf" photographer Christian Clay orders model Nina White, "Take off your clothes," and inspects her naked form before telling her, "Lay down," and placing roses next to her as he shoots nudes. He asks, "Is this your first at the company?" to which she responds, "No ... but it's my first time being under the big bad wolf," with a sly smile. SPOILER: She gets on top of him too. 

When Dan Damage, sizing up a painting in an art gallery, asks about the artist, he's told, "She prefers to remain anonymous," and only works on commission: "Each piece is unique to the buyer. She must deem you worthy." Cut to Mia Molotov, in white overalls, spreading a canvas on the floor of her studio and deliberately pouring a large circle of paint on it. Damage enters her studio—we seem to have skipped some steps here—and she asks him, "What color would you pick next?" 

"I want red." 

"Where do you want it?"

"You're the artist, you decide."

She rolls her eyes—Philistine!—and pulls down the overalls as he grabs a bowl of red paint and smears it across her breast. She smears it around, then lies on the canvas as he spanks more red paint on her upturned butt. When she reaches for him, he recoils. "Are you afraid to get dirty?"

"Not at all ... but a patron should treat his artists like an artist should treat their brushes."

A smile of recognition. "I don’t treat my brushes very well." 

He slowly towels the paint off her and they add their own artistry to the canvas. 

Aubrey Lovelace surveys Victor Ray as he signs the restaurant check, languidly lighting a cigarette as Ray asks, "Where to?" There's a blue-lit montage of erotic images before she gets up and walks away, looking over her shoulder to ask, "You coming?" The blue-lit montage resumes as she reclines on a bed, now only wearing an ice-blue thong which she removes as he kisses his way down from her clavicle to start the scene as the blue lighting changes to something brighter.

Director W.C. Walker gets in close with the camera—really close, like a screen-filling close-up of Lilly Bell's eye with fireworks reflected in it—and builds scenes at an unhurried pace with scene-setting lighting and magnified sounds including whispered between-performers asides giving a you-are-there experience to the viewer.