by Rich Moreland, September, 2015
With the Daddy’s Girls series, B Skow employs his Progressive Porn framework to explore a well-scripted vision of irony and self-deception. By weaving the story around psychological dynamics, he examines a sexual fetish that is often quickly labeled without being well understood. Skow succeeds by focusing on the allure of the daddy complex that draws men into relationships with willing younger women. The results can disrupt and restructure families, changing the interactions of step relatives and opening up an array of sexual options that challenge our definition of what is acceptable.
Having said that, here’s the summary of my interpretation of the Daddy’s Girls saga as it stands now. This analysis is only one way to look at these intriguing films and I encourage you to watch them and reach your own conclusions.
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B Skow
Photo courtesy of AVN
The Illusion
Quincy is bedeviled by her identity and her own fetishes. Emotionally crippled by her daddy complex, she compensates by being a faux prostitute while denying such a label would ever describe her.
Before her sex scene with Marla, Quincy screams “Why?” in a self-indictment that begs her to be a “good girl again.”
Quincy’s conundrum shows up repeatedly. She loses her Goodneighbor51 customer when Samantha’s father Dale passes away. With a dose of twisted irony, Skow tells us Dale was Quincy’s real father who masturbated to his daughter’s naked performances.
Later Quincy learns that Mr. Jefferies is also an online voyeur, another “daddy” customer, and offers him sex under the auspices of doing it for Bob. As we have seen, it becomes a threesome in which Marla, the true angel of the tale, quiets Quincy’s demons by also giving herself to the boss.
And don’t forget the unethical Tom, who uses his profession to “persuade” Quincy to act out her daddy desires with him. Just put his name on the list.
At no time until the final minutes of the film does Quincy actually stare down her internal torment, her longing for sex with Bob. Lost in a morass of daddies, the real perversion is Quincy’s forced sex with her own father, Dale, in the first film. It’s done through her own volition, a deliberately controlled moment in which Quincy bullies every metaphorical “father” who has left her fetish wanting.
Quincy
In effect, Skow tells us Quincy’s behavior is really self-loathing generated by her inability to control her demons.
Because Quincy refuses motel sex with Goodneighbor51 and the prostitute label that goes with it, she violates Samantha in response to his demand for a show. Captured on her cellphone, it’s her own sister Quincy unknowingly ravages for her father’s entertainment. It’s Dale’s family, not Bob’s, that is plagued by the incestuous carnality of the narrative.
In the end, Quincy wears her own mask. How do we know? She pleads with herself “to be a good girl again.”
The illusion of Daddy’s Girls 2 collapses in that instance. Quincy, who has traded a Biblical “eye for an eye” with Samantha–the sadly misguided righteous angel at the end of the first film–finally seeks genuine redemption.
What confronts Quincy is a harpy in an orange prison jumpsuit, a blind girl incarcerated for her own evil deeds, that stands between her and peace. The irony? It’s Quincy’s own sibling that tortures her, a part of herself revealed in a creepy hand dawn picture in a bedroom that now seems so far away.
Siblings in better times.
Like school girls on a playground, Samantha taunts Quincy with a repeated chorus of “you fucked your father,” the never to be forgiven sin.
The Real Daddy’s Girls
So a story that began in contrast, ends with similarity. Quincy is partially blinded and Sam has no vision. The bright airy colors of the first film that stood for hope and happiness are gone in the second.
Are Sam and Quincy the real daddy’s girls after all, sisters now devoid of a father?
Not quite, because Daddy’s Girls 2 offers up a positive message.
The prostitutes Marla and Oralee, honest and caring, are the real Daddy’s girls, metaphorical “sisters” and professional fuck buddies in their own right. To put it another way, whoredom holds no deception. It hasn’t throughout history and it doesn’t here. As mentioned earlier, Marla and Oralee serve as the Greek chorus, commenting through their actions and words on the truth behind the façade Bob structures to excuse his Lolita fascinations.
Quincy’s redemption is to join them one day, at least in the spirit of their humanity.
Quincy becomes one with Marla and Oralee.
The Dance of Deception
The Daddy’s Girls saga exists on several levels.
First we have the biological sisters of Samantha and Quincy, both fathered by Dale.
Marla and Oralee represent a second level. They are Bob’s prostitutes, sympathetic figures in serving his perversions albeit for pay. Unlike Samantha and Quincy, they “see” the truth and aren’t afraid to express it, as we have noted.
On a third level, Daddy’s Girls is about younger women and older men, the May-December duality. Skow’s comment on these arrangements is terse. Sometimes they are a forbidden test of faux incest that can be exciting if acted out in the manner Quincy seeks. At other times, the pay-as-you go arrangement Bob establishes with his hookers serves up the sexual menu.
And, don’t forget to include Marla and Quincy in the mix. As step relations in a dysfunctional family, they lend some legitimacy to the combination of mother/daughter and as age contemporaries, a pairing of sisters. Are they the real daddy’s girls, after all?
Closely related to the age play is simple lechery illustrated by two power players: Mr. Jeffries, the boss whose fantasies are fed via webcam and Tom the therapist jacking off before screwing his patient . Oh yes, remember Dale, DaddysGirl95 customer? He joins the group.
All things considered, B Skow leaves the viewer with a final level. Everything sexual is a fantasy. We conjure up whatever amuses our personal fetishes.
Simply put, deception dances everywhere and everyone wears a domino mask just like Carnival party goers centuries ago.
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As I did with the first film, I have waited until the final installment of Daddy’s Girls 2 to salute the performers who brought the script to life.
Riley Reid, Maddy O’Reilly, and Alec Knight reprised their roles as Quincy, Samantha, and Bob.
Capri Cavanni is marvelous as Marla as is Kassondra Raine as Oralee. They are the unsung performers in the film.
Anthony Rosano (Tom) and Ryan McLane (Mr. Jeffries) are widely recognized in adult entertainment for their acting acumen, reliability, and on-screen adaptability . . . true veterans in every sense.
A final nod goes to B Skow for elevating these films to art. Unfortunately the original Daddy’s Girls made in 2013 was not recognized with industry awards. Here’s hoping the sequel avoids that fate.
