On Set with Jacky St. James for New Sensations’ “Boss Fantasies” and “I Love My Hotwife”

October 13, 2014
ALFIE

“Would I wear this to a corporate job interview?” Karla Kush asks.

The young starlet sits atop a desk taking selfies of her costume as though intending to update her online resume.

“Basically,” answers New Sensations director, Jacky St. James.

Kush’s skirt rides a bit too high, her heels stand slightly too tall, her blouse is a shade too transparent, and a few too many of her buttons are undone for any job in which sex is not the primary commodity.

Otto Bauer scrapes at a cloudy stain on the crotch of his slacks.

“I think they dry-cleaned the semen into my suit,” he says, grinning.

There’s something poetic about sex workers pretending to be white-collar professionals who fuck at work. The popularity of the “office porn” genre hints at just how many people spend their nine-to-fives daydreaming about sex, about fucking coworkers on the clock while they sit caged in constricting clothes and sterile workplaces.

The “office” for today features a large desk with an empty pencil holder, a phone that isn’t plugged in, and a metal inbox that holds the script for the scene.

St. James is in charge today, directing two scenes for New Sensations. The scene between Kush and Bauer is for Tales from the Edge: Boss Fantasies. Despite the film’s name, St. James won’t be getting banged on set. She does however fill in as Bauer’s boss, scolding his character over speakerphone. She also provides a slurp-heavy voice-over to denote where the script calls for a blowjob. She knows the script by heart because it’s a creation of her imagination, carrying shades of her own fantasies of sex at work. Dressed in a loose t-shirt, yoga pants, and running shoes, St. James is the embodiment of sexual desire, the invisible third party in the impending sex scenes. She provides the motivation for these office romps. She tells the actors what to say and how to fuck.

“I want this to be kind of a hate fuck,” St. James says. “A struggle for power.”

Bauer begins his interview of Kush’s character by bitching about how he’s underpaid for his experience level. He then asks why her character would want to work under him.

“I’m ambitious and young, and one day I want your job,” Kush’s character says.

To some degree these roles parallel reality. Kush is an aspiring starlet who sees potential in this competitive field. Bauer, a veteran with over 1,000 scenes under his belt, is slightly jaded about declining profit margins in the adult industry.

“Play it like you’re either about to knee him in the crotch or go down on him,” St. James instructs Kush. “As soon as he stands, Karla, you go down on your knees, like a teeter-totter of power.”

The scene can be viewed with two opposing narratives: a man using his position to take advantage of a naïve employee, or a young woman using her sex appeal to climb the corporate ladder. How you interpret the plot reveals which gender you believe has the upper hand when it comes to sex.

St. James debates with Bauer about what his character should say to Kush when transitioning from fellatio to sex—which command is more subjugating: “bend over” or “turn around.”

The actors briefly move through the sex positions they will hit. This pantomime demonstrates how much of sex is a dance of dominance with the performers kneeling, lying prostrate, and choking each other. Bauer tells Kush to use his necktie like reigns.

“Men are like horses,” Bauer says. “We take the lead from the rider.”

St. James calls for action. Bauer clears the desk with a sweep of his hand, knocking off the vacant pencil holder and unplugged phone to accommodate Kush’s ass.

“Fuck that young ambitious pussy,” Kush says. “Show me you’re in control.”

“You don’t want me to lose control,” Bauer groans.

“I think you’ve already lost it,” Kush says, jerking Bauer about by the tie.

St. James tells Bauer to bind Kush with the tie—the leash of the white-collar world. Kush doesn’t want the sweat soaked silk in her mouth so Bauer binds her ankles.

“I really want him to cum on your face” St. James tells Kush. “ I’m really sorry Karla, but I feel that’s what his character would do.”

While the cameras are off, Bauer licks Kush’s pussy and strokes himself toward orgasm. Everyone on set waits in silence, subservient to Bauer’s cock and its ability to deliver a payload on command.

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The power dynamic on set shifts abruptly when the next pair of adult stars clock in to film a scene for I Love My Hotwife. From the moment Romi Rain strides into the room with her stilettoes nailing the hardwood floor, her beauty takes over the set. Rain is the kind of sexy where even her driver’s license picture looks photo-shopped. Her attractiveness never stumbles into cute, awkward, or bitchy. Her sex appeal is too polished and professional for it not to be a major component of her chosen trade. Porn simply provides the most direct route for her to utilize her sensual skill set.

Bauer changes clothes to play Rain’s cuckolded husband who gets off on watching his wife fuck other men. During the scene, Bauer will stand behind a bookshelf in Rain’s office and watch her fuck a coworker. In the dialogue building up to the sex, Bauer’s character tells his wife exactly how she should have her coworker fuck her.

“The line is,” St. James says, correcting Bauer. “ ‘I want you to sit with his cum in your underwear for the rest of the day.’ ”

The dynamic on set shifts again when Toni Ribas swaggers into the office. His thick, muscular body is outfitted in a sharp suit with tight slacks hugging his oversized erection. As if they’re alone in the room, Ribas holds Rain close, whispers in her ear, and leads her through a few steps of a slow dance. He knows the quality of the scene is dependent on his ability to facilitate a sexual connection. He also knows that if he wants Rain to request future shoots with him, he must win her affection.

“I’m a gentleman,” Ribas tells Rain in his thick Spanish accent. “I’ll slap you but only if you want me to.”

Off screen, Ribas is suited to take the lead, but during the impending scene he must swap roles with Rain. Utilizing the power of her position and sex appeal, Rain’s character summons Ribas into her office. She must act like his superior, dominating him during sex.

“The line is,” St. James says, popping an orange Tic Tac. “ ‘Eat my ass Tony.’ ”

Rain delivers the line as she pulls up her skirt and bends over her desk. Ribas accidentally rips his tight pants, which were never designed for kneeling to literally kiss the boss’s ass. The sex that follows demonstrates the many practical concerns of sex at the office. Sweat pools, turning the laminate desk into a slip n slide. While riding Ribas, Rain constantly readjusts to keep from falling off the desk.

“We can switch positions if it hurts too much,” St. James tells Rain.

“It’s fine,” Rain says without slowing her stride. “I’ll do whatever it takes to get the shot.”

This highlights one of the fundamental ironies of porn. To create an appealing fantasy, performers must often endure unappealing realities.

Rain’s character instructs Ribas on how to fuck her in accordance with her husband’s instructions, which are predicated on St. James’s directions, which are influenced by what porn consumers will pay to see. This convoluted chain of command helps solve the riddle of who ultimately controls the image of sexuality presented by porn.

The fallacy underlying this question is the presumption that sexual desire can be controlled. This is the same misconception that leads HR departments to enact increasingly stringent sexual conduct policies, to attempt to contain sexuality behind button-up business wear and restrictions on interoffice dating. Sexual desire dictates its own code of conduct. It has its own agenda. The more we try to divorce the politics of sex from the complex power structures that exist within any bureaucratic organization, the more sex will continue to pop up in the fantasies of office workers, on their computer screens, and atop sweaty desks in the boss’s office.