“Fuck Me First, Daddy”: A Little Too Real

By: Val Williams
Fuck Me First Daddy

So there's something special about Pure Taboo's "Fuck Me First, Daddy", and it's not about porn or even the hydraulics of fucking. "Fuck Me First, Daddy" is standard porn when it gets down to …

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"Fuck Me First Daddy" Movie Details

Title: "Fuck Me First Daddy"
Studio: Pure Taboo
Director: Bree Mills, Craven Moorehead
Stars: Charles Dera, Jaye Summers, Piper Perri, Tyler Knight
Overall Rating:

4.5 stars


So there’s something special about Pure Taboo‘s “Fuck Me First, Daddy”, and it’s not about porn or even the hydraulics of fucking. “Fuck Me First, Daddy” is standard porn when it gets down to the nitty-gritty, but before that, in the setup, it is terrifying. I’m going to be up front here about something: I don’t care about incest porn. None of it is especially taboo, since the makers always take care to distance themselves from any actual prosecutable activity, and it’s rare that the acting chops of the players involved are up to making up for the lack of real tension – they’re usually not good enough to make me forget that the movies they’re in are dancing around the edge of danger rather than engaging in any. Consequently, “family roleplay” porn is kind of hollow; compounded with the fact that I don’t have any interest in incest myself, it just makes me sigh and wish I had more orgy to check out. “Fuck Me First, Daddy” has something going for it, though. For one thing, fifteen minutes into the movie, we still haven’t seen any sex, but that fifteen minutes is some of the most compelling work I’ve ever seen in porn.


I haven’t made a study of Piper Perri before this, but I can say that in “Fuck Me First, Daddy” she has something going on that seems much more dangerous than anything I’ve ever seen from her before; she looks and acts like the kind of girl who would set out to seduce an older man in the full knowledge that when the whole goddamn thing comes crashing down, she won’t be the one whose life will be in tatters. There’s nothing innocent about her. On the contrary, she seems cold, calculating, and sharp, like a teenage version of the parts of Ann Coulter that you want to fuck in spite of yourself – possessed of a shortsighted, spiteful cunning, hot enough and nubile enough to get excited over but so obviously insane and dangerous that you’d be frozen in place trying to decide what to do (which doesn’t speak well of your instincts for self-preservation, by the way – just get out while you can). Watching her scene in “Fuck Me First, Daddy” is like turning on a ten-minute Youtube video titled “Awful Car Accident” – you know something terrible is coming, but you don’t know exactly when. The vicious, conscious carelessness in her voice when Daddy tells her to put on something besides panties and a thin shirt and she says “but I’m just wearing my pajamas, like I always do” is scary. The selfish brutality of her blackmail scheme will terrify you if you’ve ever thought about the consequences of a false accusation, and she’s the perfect girl to play it. When Tyler Knight finally does break down and start fucking her, his barely leashed rage seems all too real (which brings up some other issues about violence and angry sex, but we can get to that another time).



By contrast, the setup for the second scene – “The Bad Uncle” – is almost ridiculous, although it’s played a little more for the creeps. Charles Dera has grown and is maintaining a hugely comical bushy moustache that echoes nothing less than Harry Reems in his prime; he’s also cultivating a smirky, one-eyebrow-constantly-raised gruffness that’s almost cartoonish. His Bad Uncle is so overblown and obvious that it’s impossible to take seriously, even given the ominous music and the tension of the fear we assume Jaye Summers‘ is feeling. He’s known her since she was born, and he’s always been her favorite uncle, but when she turned eighteen, things changed, and now he looks at her differently – hungry and predatory – and he sets up a situation where she’s off for a weekend camping trip, all alone with the Bad Uncle. When he makes her share a bed with him, takes his cock out in the middle of the night and starts groping her, it’s just what you expected. There’s no subtlety and no finesse. She wakes up, feels it against her ass, and he says “I’m gonna put it inside you now, princess”, and we’re off to the races. The scene feels rote, silly, and cliched, but the impact of the Piper Perri scene made me wonder if maybe in the same way that that one speaks to men’s fears of false accusations, our anger about manipulation, and an impulse toward punishment – hatefucking, they call it – the Jaye Summers scene might speak to women’s feelings about the progress of molestation, the animal urges of the men who force themselves on women, and the inevitability of helplessness when a man maneuvers them into situations they can’t get out of.

I try to stay aware; I wouldn’t describe myself as woke, partly out of a fear that, as with “zany” and “classy”, it’s a word you can’t use about yourself without instantly proving that it’s not applicable. I try to keep an eye on what’s obviously wrong and right and stay clear of the former, but I also understand that there are things I can’t understand because I just don’t have the right set of life experiences to see the framework, like people who don’t understand how they can be benefiting from white privilege when the jobs in their towns are all gone and their water catches fire out of the tap. I started out feeling like “The Bad Uncle” part of this movie was silly and unskilled, but it occurred to me that I might be failing to see a framework. Piper Perri, in the first scene, was very good at projecting a character and creating a situation that I found deeply uncomfortable, and I wonder if Jaye Summers would be doing the same thing for me in the second scene if I were a woman and had feelings about that situation that I could only have if I were a woman and had a woman’s fears.


“Fuck Me First, Daddy” invokes a female power that men fear – capricious, lustful, and careless, ruinous and spiteful; it shows up in literature and film, sometimes legitimately, but unfortunately all too often in the canon of Men’s Rights Activism as a pre-emptive excuse for resenting and quelling women’s voices, and while it does come into play in the world, it does so far less often than we fear it will, whereas the predator in “The Bad Uncle” is much more real and much more common than we choose to acknowledge. But I can’t tell if my first instincts were right and the porn moustache is the avatar of the scene – comical, stupid, cliched – or if there’s something there that I just can’t see.

So I asked a female coworker to watch them both and tell me what she thought, and a surprising answer came back. The first scene was crazy and uncomfortable for her as well, in that she felt like the movie was tacitly condoning rough, vengeful sex by making the female protagonist bitchy, spiteful, manipulative and eminently hateable – a justification of borderline abusive behavior that stood out from the great mass of porn we have to look at every day. The second scene, though – she thought it was cheesy and dumb, but she also saw the silliness of Charles Dera’s predator and passed on feeling threatened or triggered by it because it was so boringly commonplace – in other words, a molesting uncle is so pedestrian to her that it’s basically just the price of doing business for a woman in the world. The scene didn’t trigger any fears or emotions except an eyeroll at how unremarkable it was. And as much as a scheming, ballbreaking Lolita is a terrible stereotype to perpetuate, a violation of trust from a close family member being so unremarkable that you don’t even react to it any more is much more awful.

Val Williams