"Hey guys.. not sure if you mentioned this on your site but the recent Paula Marshall nude scene in Californication was digitally altered. Fake breasts and pubic region (despite her not showing bush still that region was altered) were applied to her using CGI. This is very noticeable in HD caps that are zoomed. It's also obvious to an experienced graphic illustrator that her breasts have been digitally illustrated. There are a few other blogs that have noticed this, though it seems few people who capped this scene are aware of it. Take a closer look at the pics and you'll see what I mean.

Dang, sure hope this isn't the future of nudity. But it probably is with many actresses.

This really is an interesting issue, I think. If this becomes perfected and therefore common it would never matter if they told you they were using CGI or not. If this does get perfected it will not be secret. Everyone will know that nudity is fake because even the keenest eye will not be able to tell the difference. It probably would just be assumed that all nudity is faked. It will then become the big question to the actress "did you do it for real or cgi fake it?"... they can answer "real" but still nobody would know.

So, what would that mean?

I would love to hear your thoughts on if you give two turds about the issue. "

Scoop's notes:

I don't like it, but then again I don't like body doubles, either. I don't even like breast implants, lip collagen, nose jobs, or even shaved crotches.

And there's nothing I can do about any of them.

We live in a culture that defines beauty by its level of perfection. There's really nothing that can be done to stop the drive for artificial perfection unless we stop paying for it. Go only to strip clubs with all-natural breasts. Don't buy any magazines that employ airbrushing or hire women with implants. Refuse to watch movies which employ CGI inappropriately.

Yeah, that'll happen.

Every guy I know says he dislikes implants, but more and more women keep getting them. Doesn't add up, does it?

World keeps turning.



"Straightheads" is British gangster slang for "those who live outside the criminal life." Gillian Anderson and Danny Dyer play a couple of straightheads who are pushed across the line into crooked territory. Dyer portrays a working-class guy who makes his living installing security systems, and the installation in well-to-do Gillian's house comes with a bonus - Gillian herself. When he tests the closed circuit television, he's surprised to see her undressing for him. They are soon in bed together, and even somehow manage to continue the relationship after sex and form an unlikely couple.

Gillian takes her new prol boyfriend to a posh weekend in the Shropshire countryside, and that proves to be a mistake on many levels. First, all of her stuffy friends condescend to him. Second, as they escape the stifling atmosphere of the aristocrats, they find that the local prols are much worse company. Gillian and Danny are beset by some violent rural yokels who rape her and beat him so hard that he loses an eye and the ability to do his manly duties. The victims soon come to realize that they will never receive any form of justice through the legal process, but a fortuitous circumstance gives them a way to track down the identity of the yobs who hurt them, so they resolve to extract their own "justice" ... read "revenge." Between Danny's technical wizardry and Gillian's skill with a rifle, they manage to take a violent toll on the gang.

The film became notorious in the UK for its use of extreme and realistic violence to manipulate and involve its viewers, but in terms of character development and audience identification, the graphic violence can be justified contextually. Gillian was cold and unsympathetic when she was a straighthead, and she easily takes to her new role as a violent huntress. Since she goes so far as to use the rifle for ... um ... more than just sharpshooting, it would be virtually impossible to identify with her unless we gain some sympathy by witnessing the brutal details of her earlier abuse at the hands of her victims. In essence, the film comes from the same school of emotion-driven feminist revenge as the notorious B-picture I Spit on Your Grave, mixed with a healthy dose of Peckinpaugh's Straw Dogs, as updated for the new millennium.

More than just an exploitation film, the film has something to say about the nature of violence. It demonstrates how easily we can turn to violence when provoked, and it shows how we can actually sympathize with others when they do - at least up to a point. Where the film differs from the usual Charles Bronson film is that we don't really keep cheering the execution of their revenge. Oh, we may be rooting for them at the outset of the hunt, but when we see their extreme measures in detail our cheers die out and we are left with the realization that violence and revenge can be too ugly even when exerted upon those who truly deserve comeuppance, and that realization is followed by the uncomfortable feeling that just about any of us can cross the line from straight- to crookedhead. In that sense, the extreme documentary-style violence is entirely necessary to leave us feeling our own guilt at having wanted to see an awful revenge in the first place. We're supposed to get that feeling of, "I didn't realize it would be like this. This isn't what I wanted," and we are supposed to feel shock at the realization that violence is so similar to sex in one fundamental way - it comes much easier to people after their cherries are broken. If the revenge were to be sanitized to Hollywood levels, or glamorized to the comic book level of A History of Violence, or if the tone of the film had been jokey like a Guy Richie gangster film, it would not be possible for Straightheads to make its points. The emotional thrust of the film requires us to be watching real violence, not film violence.

One must acknowledge the film's effectiveness at involving the audience, and that is, after all, one of the most basic things a director is supposed to accomplish. Unfortunately, it's one of those films where you wish it was not as effective as it is. If you have seen I Spit on Your Grave, you can probably remember how you got emotionally involved in one way or another, despite the amateurish acting and production values. Imagine how much more effective that film could have been if the star had been Agent Scully and it had been made by an experienced documentary director. Well, there you have imagined Straightheads.

Can I justify the film's ugliness? Yes, I think so. Do I want to watch it again? No. Absolutely not. I didn't enjoy it the first time through. But then again, I wasn't supposed to.

Gillian Anderson (film clips)



* Yellow asterisk: funny (maybe).

* White asterisk: expanded format.

* Blue asterisk: not mine.

No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.








Ski School



A bunch of rich creeps have taken control of the ski school and are planning to sell it to a corporate entity at a huge profit if they can win one more tournament. They are opposed by a bunch of irreverent party animals who believe that skiing is just another form of partying.

You should recognize the standard genre plot by now from Animal House, all the "Nerd" films, every Rodney Dangerfield film, Up the Creek and dozens more. Ski School is a Canadian take on the "snobs versus slobs" film, with a storyline very derivative of a 1986 film called Hot Dog the Movie, down to the newcomer who ends up being an excellent skier and competes head to head with the lead creep at the end.

Of course, formulas are used over and over because they work. One obvious example is Romeo and Juliet; another is this nerd model. Most of us relate to the party nerds, and hence feel great when they bring down the rich snobs. Moreover, the premise always provides ample room for fun in the form of sex, nudity, comedy and dirty tricks. This particular example, while not being terribly original, has all the required elements, making it a quick watch.

IMDb readers say 4.6.  It is a C.



Darlene Vogel



Ava Fabian












Normal Life

Today a short Time Machine trip back to 1996 for Normal Life, which starred Luke Perry and Ashley Judd. Of course we will focus on Ashley who did some rather nice nudity. She played a completely whacked-out chick, but looked really hot, except when she was cutting herself up with knives.








Notes and collages

The January Man, Part 2

As they used to say in vaudeville, "never work with small children or animals," because they are so unpredictable they steal the show. The kitten stole this scene, but the painter's model still caught my eye.







Sister Blue

Remember that movie where a woman is all happy and suddenly her sister shows up and starts screwing everything up? Well, they made another one.

Lanalee (Clare Lapinskie) is a happy woman. She is successful and just got engaged to her boyfriend. That would make a terribly boring  movie, so sis' Blue (Stacy Fair) pays her a visit. Lanalee had run away from her evil sister and =never even told her friends and fiancé that she had a sister. Blue is unhappy and wants to spend the weekend with Lanalee and their respective boyfriends. If the good sister doesn't agree, the bad sister will unveil a terrible secret from the past.

(She bit off a important part of her father.)

It hurts me just to think about it!




Claire Lipinskie


Stacy Fair










¿Quién puede juzgar a 10 chicas, casi adolescentes, del Este de Europa que quieren buscar un futuro mejor en Bélgica? Nadie, incluso aunque sea aceptando un contrato muy sospechoso de unos hombres que les ofrecen una vida de glamour como bailarinas de una compañía, incluso aunque les adviertan de que esos hombres lo que pretenden en realidad es prostituirlas. Sólo quieren una vida mejor, aunque puede que el viaje que inician vaya directo a un infierno del que no podrán escapar.

Esto es Matrioshki, la cruda, terrible, pero realista historia de un puñado de chicas arrancadas de sus hogares con mentiras y condenadas a ser esclavas sexuales por una despiadada banda de delincuentes que no tienen el menor problema por traficar con mujeres, obligarlas a prostituirse e, incluso, matarlas. A lo largo de los 10 episodios de Matrioshki, acompañaremos a estas jóvenes en su viaje hacia el infierno.


Ten Eastern European girls, barely past adolescence, take a chance on a better future in Belgium, even though it involves being bound by a very suspicious contract to men who offer a glamorous life as dancers, but intend to force them into prostitution.

This is Matrioshki, the crude and horrifying but realistic history of a handful of girls uprooted from their homes with lies and turned into sex slaves by ruthless criminals who would not hesitate to kill them. Throughout the 10 episodes of Matrioshki, we will accompany these young people on their trip towards a hell from which they may not be able to escape.



Capítulo 5 / Chapter 5


Eugenia Hirivskaya


Mila Lipner


Ailika Kremer


Indre Jaraite


Lyubov Tolkalina


Indre Jaraite and Lyubov Tolkalina









Young Triffie's Been Made Away With


Overlooked Newfie comedy released to DVD recently.

Marthe Bernard: topless as corpse.
Suezn Carpenter: very nice topless.
Cathy Jones: ugh, big butt while mooning.
Sherry White: bare back.



Forbidden Fruit


Dumb romance about forbidden Catholic love.

Nadia Mansouri: topless.
Bree Williamson: partial boob by soap actress.




"Rene Levesque"


French-Canadian miniseries with Julie La Rochelle and Lucie Laurier showing partial boob.

Julie La Rochelle
Lucie Laurier




Episode: Erroneous Zone


Stephanie Mills almost falling out of her top in this risque episode.



"Ariana's Quest"

(2002) (TV) (aka Arianin souboj)

PG-rated Czechploitation only available in Eastern Europe and Japan. It was supposed to be a pilot for a television series starring Rena Mero. It is often confused with "Sins of the Realm" because it was shot at the same time and recycles much of the cast, costumes and set.

Rena Mero: cleavage
Eva Aichmajerova: wet blouse
Daniela Krhut: sexy
Katerina Brozova: cleavage
various: fully clothed sex.



A film clip of Coco Brown in Antibodies (sample right)
A film clip of Nina Proll in Antibodies (sample right)
A film clip of Karin Viard in Les_Ambitieux  

About the film clips:

The incomparable Darlene Bennett in a couple of clips. One takes in both scenes from Rent-A-Girl. She gets hosed down and then loses a game of strip pool. Whole new definition for the term, side pocket. June Roberts joins Darlene in the strip pool game.

Three clips from Roommates, a short that follows Darlene and Dawn Bennett around one morning as they drink coffee and eat some stuff and put some clothes on and take them off. Dawn Bennett is not Darlene but she had a bodacious set of tatas.


Sample collages:

Darlene Bennett in Rent
Darlene Bennett in Roommates
June Roberts



Paris Hilton gives it up in the German GQ
Two more looks at Cameron Richardson in Rise


In 1974, female director Liliana Cavani (one of the most respected female directors in Italy at the time) made a movie called "The Night Porter," which was a film that dealt with a S&M relationship between a Nazi officer and a woman whom he saved from the concentration camps, thereby forcing her into the relationship with him. Thirteen years after the war they meet up by chance and rediscover their love for each other and their fetish.

This movie was controversial at the time for a variety of reasons.

First because it dealt honestly with a S&M relationship, something seldom done in the movies.

Secondly, it used a concentration camp background to establish the relationship, thereby offending many people in the movie industry.

The most famous scene in the entire movie is pictured in this film clip. Charlotte Rampling, then 28, does a song for a room full of Nazi officers including her lover. She does it topless in clear lighting (caps and video clips attached) and the scene lasts for over four minutes, the kind of scene that comes along once in a lifetime, and in its way every bit as memorable as Sharon Stone's leg crossing scene in Basic Instinct. That one scene was so memorable that fetish stores are still selling the Nazi hat and suspender outfit (33 years later) for people who wear them to fetish parties.

Cavani's casting of Rampling as the young woman was a stroke of genius because she delivered a performance that would establish her as a cinema icon for years to come, and the movie, even to this day, is considered by most reviewers to be one of the top ten fetish films of all time.

Collages follow: