Skins S04E01

We can't, my mum will hear...

Television Series: Skins(S04E01- Thomas)
Release Date: January 2010
Actress: Lisa Backwell
Video Clip Credit: DeepBlueSea
Video Clip Info: [h264 at 3466Kbps; 21Mbs for 58s]



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Spartacus: Blood and Sand S01E02

I will always be with you; the Gods themselves could not keep me from your side...

Television Series: Spartacus: Blood and Sand (S01E02- Sacramentum Gladiatorum)
Release Date: January 2010
Actress: Erin Cummings & Lucy Lawless
Video Clip Credit: raziel02
Video Clip Info: [24,50 Mo; 3 min 16 sec; 2 videos]



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Spartacus: Blood and Sand S01E01

There is no life without you...

Erin Cummings discusses her graphic role in an exclusive interview with iesb.net...

Did you ever have any hesitation in doing the nudity on this series, or was it just about the context of it?

Erin: The way I feel about nudity, and how I think a smart actor approaches it, is that nothing can be done without putting thought into it. Every nude scene, for me, is on a case by case, show by show, episode by episode and even scene by scene basis. I don't think that there should be a general assumption of, "Oh, she'll do nudity," for any actress or actor. And, if you're going to do nudity, there is a way to do it.

In Spartacus, I'm the love interest to the lead actor and I am playing a character that is very well-rounded. Sura is not just there for the purpose of showing a naked body. She is there for showcasing a relationship, and it takes a very strong actor to be able to portray that role. The sex scenes are just one small part of that. In that context, I went, "Yeah, okay." I always look at it and say, "Is this a role that I would play otherwise? If she didn't have the love scene and there wasn't any nudity, would I really want to play this role?" And, if the answer is, "Yes," then you really have to go, "Okay, well then let me figure out what they're asking me to do, sexually speaking, and what I'm comfortable with."

IESB: Did it help that you knew and had worked with so many of the people involved with the series?

Erin: Knowing that Rick Jacobson had been brought on really made it a lot easier for me because I knew that Rick would never put me in a position of doing something that I felt uncomfortable with. And, I had read the script, so I knew how it was described. There was love scene that I had read, in a very early draft, and I called Steven DeKnight and said, "I am not doing that. That is not going to happen." Starz and the producers never made me feel pressured to do anything that I didn't feel was right and true for the character. When there was something that I went, "You know what? I don't know if this is really how Sura would go about this," they were very open and willing to make it work for the character. With most actors, if they want you to do X, Y and Z, whether it's sexual, physical or whatever, unless you give the actor a reason why their character would do it, they're not really going to be interested.

For me, playing the wife of Spartacus, I felt like the love scene was integral to telling the story of who they were. If you have the perfect marriage, it's not just about communication or having an understanding of one another. It's also about the chemistry and the passion that two people have for one another, and I think our scenes really showcase that. It was beautifully shot and I'm very proud of those scenes because I think they were very well done. I never found any of the love scenes to be gratuitous, in any way. Also, because of the fact that Andy was with me, every step of the way, wearing just as little clothing as I was, we went into it together. We said, "If we're going to do this, we're doing it together," and it made it a lot easier to be able to have him going through that with me.

Television Series: Spartacus: Blood and Sand (S01E01- The Red Serpant)
Release Date: January 2010
Actress: Erin Cummings & Viva Bianca
Video Clip Credit: raziel02
Video Clip Info: [25,60 Mo; 3 min 20 sec; 3 videos]



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Sex on TV

Sex on TV: It's increasingly uncut — and unavoidable
By Gary Strauss, USA TODAY

If sex sells, TV programmers are adding inventory to an already humongous sale.

Viewers are about to see full-frontal male nudity, heterosexual, homosexual and group sex, and graphic scenes rarely — if ever — seen on mainstream TV. And that's just on pay-cable Starz's fornication-heavy, 13-episode Spartacus: Blood and Sand (premieres Friday, 10 ET/PT), a 300-meets-Caligula epic about the Roman Empire's notorious slave/gladiator.

MTV plans a June launch of The Hard Times of RJ Berger, a scripted comedy about a nerdy 15-year-old whose cool quotient heats up when his anatomical gift is accidentally exposed. And basic-cable network Spike's just-launched raunchy college-sports comedy Blue Mountain State (Tuesdays, 10 ET/PT) showed a masturbating school mascot on the Jan. 12 premiere, while last night's episode featured a scene suggesting oral sex between a coed and jock before the opening credits.

"You need to get eyeballs. You need to be loud," says Spike programming chief Kevin Kay, who is pairing Blue Mountain with reruns of HBO's sex-centric Entourage. "Our viewers are experiencing content on other cable channels or the Web. Movies and video games are going after this audience, too."


TV's latest sexually charged offerings add to the current wave of attention-seeking — if less visually explicit — reality and scripted programs filled with frank themes and content, such as MTV's hookup-focused reality hit Jersey Shore.

ABC's Cougar Town — which had a memorable scene that implied Courteney Cox's character administering oral sex to her date — premiered last fall. Also new in the past year: HBO's Hung, a dramedy about a well-endowed teacher moonlighting as a prostitute; National Geographic TV's adult-themed documentary series, Taboo; and VH1's titillating Sex Rehab With Dr. Drew.

"You can definitely see an arms race," says FX programming chief John Landgraf, whose groundbreaking series such as Rescue Me and Nip/Tuck set new standards for mature content on basic cable.

Established shows are amping up, too. Nip/Tuck is wrapping its sixth and final season with boundary-pushing themes centered on its often sexually compulsive plastic surgeons, and ABC's Desperate Housewives has cast former Dexter star Julie Benz as a stripper for the series' fifth season.

Showtime's Secret Diary of a Call Girl returns Monday with hooker Belle (Billie Piper) looking for source material for another book through new sexual experiences with clients.

Showtime's aptly titled Californication recently ended its third season with sex-addicted Hank Moody (David Duchovny) getting more booty than ever — juggling three women while pursuing a fourth. Moody's best friend and manager (Evan Handler) grappled with an ex-wife and randy boss (Kathleen Turner), while guest star Rick Springfield, playing himself, had several solo and group conquests.

A long history

The subject of sex has been part of the medium almost since its start. But displays of sex, intimacy and even body parts, for the most part, have been evolutionary, not revolutionary.

In the 1950s, TV couldn't show married couples sleeping in the same bed. In the '60s, exposing the bellybutton of I Dream of Jeannie's Barbara Eden was verboten. Braless jiggles on Charlie's Angels were considered daring in the '70s. But by the '90s, the expanse of adult-themed content on premium channels such as HBO and sex-infused music videos on MTV made baring the derriere of a hefty NYPD Blue cop acceptable to the masses on ABC.

"It's funny what's considered risqué these days," says Audrey Landers, whose sexpot image, burnished by eight seasons on '80s hit Dallas, led to a Playboy pictorial in 1983. Last year, the actress, singer and fashion designer was developing a cable reality show, which was rejected for its tameness. "They suggested my mother, 18-year-old niece and I sex things up by posing for Playboy," says Landers, 53.

Critics such as the Parents Television Council decry the mushrooming sexual content. "It's become downright ubiquitous," says council president Tim Winter. "Families are under siege, teenage girls are under siege. You don't know what the cultural impact will be down the road."

Others, such as Fordham University media observer Paul Levinson, say TV merely mirrors life. "It sounds radical, but this is healthy for popular culture," Levinson says. "Mainstream TV has been frozen in a very puritanical position by Congress, the FCC and the Supreme Court — all who don't seem to understand the First Amendment. Sex is part of life. If people are offended, there's a simple remedy: Don't watch."

Taste standards and broadcast guidelines aside, sexual content — and where to push boundaries — is largely established by programmers seeking traction among fickle viewers, then benchmarked by others who want to push the envelope.

"When advertising dollars are down you have to cut through — you have to get attention," says JD Roth, producer of NBC reality hit The Biggest Loser.

ABC programming chief Steve McPherson says he has faced no pressure to edge up content but acknowledges late prime-time slots offer opportunities. "If you can get a loud broadcast-acceptable 10 p.m. show, it's a time to take chances," McPherson says.

Moreover, broadcast executives acknowledge that premium-channel and basic-cable-channel rivals are altering the TV landscape.

"We don't want to be out of touch with the way society is going," says NBC's Angela Bromstad. "At the same time, you have to be careful what you put on air."

Says Doug Herzog, president of MTV Networks entertainment group: "The line moves every day, so you got to move with it. You can't put the genie back in the bottle."

'Spartacus': Roman hands

Initially pitched to NBC in tamer form, Spartacus: Blood and Sand oozes explicit content.

"The whole thing was pushing the boundaries on pretty much every level," says co-executive producer Robert Tapert, who is married to Spartacus star Lucy Lawless. "Once we wound up on (premium pay cable), we were able to really push the envelope."

Lawless portrays a conniving social climber who is nude in some scenes, commits adultery in others and uses sex to manipulate frenemies and family. One episode shows Lawless' character and her gladiator-camp-owner husband (John Hannah) manually stimulated by slaves before having sex. Upcoming episodes feature orgies and a gladiator whose large endowment ultimately leads to his downfall.

Noting the potentially off-putting content, the former Xena: Warrior Princess star concedes Spartacus isn't for everyone: "Pretty quickly, the audience has to realize they aren't in Kansas anymore. There will be (viewers) who are truly horrified and switch this off."

Of course, Starz executives hope for the opposite effect, and they believe Spartacus' underlying sex-and-gore themes will be provocative attention-grabbing devices to bolster viewership. They've already ordered a second season.

"People are going to stop in their tracks and say, 'Wow, that's something really different' — whether they approve of it or not," says Starz programming chief Stephan Shelanski. Starz is comfortable with content such as full-frontal male nudity because it has become more explicit in theatrical releases that eventually arrive on premium cable, such asBorat and Sex and the City , and on premium-cable originals such as HBO's Tell Me You Love Me.

Ironically, Showtime (The L Word , The Tudors , Weeds ) and FX, whose programming helped pave the way for harder-content offerings on rival networks, say they're pulling back on sexually provocative shows and stories.

"In terms of edginess, our content is less edgy today," Landgraf says. "Nip/Tuck is the edgiest show we've ever had, and we just haven't found a program to replace it with. Sons of Anarchy is less edgy than The Shield. At the end of the day, what makes a show like The Shield work is the quality from a storytelling standpoint. You watch because it's compelling, because it's good."

Says Showtime's Bob Greenblatt: "We're not trying to do things just to get attention and sell subscriptions. I'd say the network is a lot less sexy than it used to be. There's very little on United States of Tara, Nurse Jackie and Dexter. For me, its really just about having the freedom to go to those places if the stories and characters demand it."

'Natural evolution of things'

Californication creator Tom Kapinos says there'll be consequences for the central character's sexual rambunctiousness next season, and perhaps more of an attempt to keep his pants zipped. "I don't know how much further you can push things," Kapinos says. "But this is still a show about a single guy in L.A. There's a lot of trouble to get into."

Greenblatt notes Spartacus could raise the bar — or lower it — when it comes to both the pervasiveness and explicitness of TV sex. "I'm sure after Spartacus, there'll be more," he says. "It's the natural evolution of things."

Blue Mountain State producer Brian Robbins, whose credits include Smallville and One Tree Hill, says he's not surprised by the explicit sex on air these days.

The irony isn't lost on Robbins, perhaps best known as the long-haired lothario Eric Mardian on ABC's '80s sitcom Head of the Class. "I was the stud on that show, but I didn't get to do anything," Robbins says. These days, "anything goes."

And as far as Blue Mountain State? Says Robbins: "I'd be way too embarrassed to sit in a room with my mother watching it." Read more on this article...

Explicit sex returns to TV

Explicit sex scenes are in vogue again on TV, with new series such as True Blood — and this time women are calling the shots
By Andrew Billen

When was it that I realised that Percy Filth — as Jack Rosenthal’s sitcom The Lovers called sex around the time that television invented it — had made a return to the box?

Was it in the early minutes of Rome four years ago when Polly Walker as the voluptuous Atia energetically turned a freeman into her sex slave? Was it two years later when Californication debuted with a nun performing oral sex on David Duchovny? Or was it during this summer’s run of Desperate Romantics , a riskily unstuffy drama about the Pre-Raphaelites that required its actors, in the interests of historical authenticity, to agree to wear pubic hair wigs?

Actually, I think it was in August in Midsomer Murders. Detective Constable Jones became transfixed by an undraped model at a modelling class, and so did the camera. Objectors would have got short shrift. Within weeks Ofcom, television’s regulator, had rejected 37 complaints attracted by nudity on a Channel 4 programme called Life Class, and that went out at 12.30pm. But if Midsomer Murders, the darling of Middle England, was casually showing naked breasts before the watershed then truly had television exorcised the spirit of Mary Whitehouse.


Let me be frank. I was a child of the Sixties, which made me an adolescent of the Seventies. I may have now reached the age when I want to fast-forward sex scenes to get back to the plot, but bliss was it in that dawn to be male and pubescent. Sex was saturating the culture. Sitcoms such as The Lovers tittered about it (pre-marital sex was the joke), documentaries agonised over it, American imports such as Charlie’s Angels traded on it, but the canny British teenager knew where to find it: on native drama productions shortly after the bewitching hour of 9pm.

Sometimes the female nudity — and it was always female in those days — was more or less integral. Few upmarket viewers in 1976 thought any less of I, Claudius for its nude scenes. You would not have had to be Dennis Potter (although it actually was) to write sex into Casanova in 1971. You might even argue that ITV’s tale of family incest Bouquet of Barbed Wire, described by Clive James as “The House of Atreus transferred to Peyton Place”, demanded more nudity than it actually got — years later the columnist Richard Littlejohn confidently averred Susan Penhaligon had taken her kit off, forcing her to protest, flattered, that she hadn’t. But what of the 1972 intelligent supernatural thriller The Stone Tape? Why 80 minutes in, did a breast poke from a dressing gown worn by an actress who was not even credited?

This may have been the era of clean-up TV campaigns, but deep within the cocoon of television, Kenith Trodd, who produced some of its most memorable and sexiest plays, recalls fighting very few battles about sexual explicitness, aside from the hard case of Dennis Potter’s Brimstone and Treacle in which a disabled woman was raped. He does recall receiving a note from a suit regarding Dennis Potter’s Pennies from Heaven that read: “Please cut Eileen’s tits and all of Bob [Hoskins]’s cock.” “But I suppose what I am saying is that it came down not so much to policy as to individual quirks when dealing with sex.”

In 1989, however, a Potter series (not, after a falling out, produced by Trodd) delivered such an orgy of misogynistic sex that it provoked a rapid detumescence in television drama. Blackeyes told the story of an elderly male novelist making a lurid sexual fantasy out of his niece’s life. “His motives on Blackeyes were to speak up apologetically for all men,” Trodd recalls, “and he got it wrong. There was a discussion programme, some residue of Late Night Line-Up, after the first episode where everyone extolled it. But by the second, the feministic voices had got their act together and realised it was not friendly to them.”

Percy Filth did not suddenly cower and disappear. In 1990 A Sense of Guilt by Andrea Newman, the writer of Bouquet of Barbed Wire, required the very young actress Rudi Davies (who later left the business) to strip in front of a much older man (Trevor Eve, who did not). Two years later, The Camomile Lawn, directed by Peter Hall, featured Jennifer Ehle in a remarkably nude lovemaking scene. The same year Between the Lines, a gritty series about police corruption, rapidly earned the nickname “Between the Loins”.

It was quite a way to go out and the three series showed how sex bestrode the dramatic range: an upmarket soap, a historical saga and a piece of social realism (realism has always claimed nudity as a credential). But thereafter, there was less and less female flesh for the adolescent to admire.

Professor Jonathan Bignell, in An Introduction to Television Studies, notes that “although it had become common to discuss sexual activity in current affairs, documentary and other public service discussion genres, the dramatic representation of sexual activity had become increasingly self-censored by broadcasters as a result of the Aids crisis”. Television became as scared of sex as everyone else. The adaptor Andrew Davies earned in those years a reputation for slipping sex into the classics, but the sexual content of his Pride and Prejudice was actually confined to Colin Firth’s damp shirt. For Jennifer Ehle as Elizabeth there would be no romps on a lawn, camomile or otherwise.

There was explicit sex on TV but to make sure of finding it you had to buy a satellite dish or wait for the arrival of Channel 5 and its avowed early policy of showing “films, f***ing and football”. On the main channels you were more likely to see a nude female stretched out cold on a mortician’s block than warming a bed. What that said about the period was a cause for concern all by itself. Inspired by the big screen’s hip new purveyors of violence such as Quentin Tarantino and Guy Ritchie, television thrillers from Prime Suspect and Cracker on, became increasingly bloody and explicit. Gore replaced groping.

Meanwhile, internal structures were changing in TV, leaving programme-makers with less autonomy and more bureaucracy, the management method that likes to say no. Trodd recalls that by the mid-Nineties he would go to a script meeting with the late Mark Shivas, Head of BBC Drama, and find an assistant head of drama sitting there too — “and what she was doing there was to try and second-guess and pre-guess what we were up to”.

It would, more and more, be a she. And here we reach a paradox. The first wave of women television executives frowned on their sex being exploited by middle-aged male writers. They are now in charge — and the corsets are being thrown off once more. Hilary Salmon, of the BBC, executive producer of Desperate Romantics, explains: “We are all women now and we can do what we like. We closed the male toilets on this floor! I just don’t think we have to wave flags about where we stand on these issues. There is a shared sensibility.”

Salmon believes that it is The Line of Beauty , made in 2006, that really demonstrates the change between sexual explicitness then and now. “The sex in it is very explicit and between men. We did think very carefully before showing men having sex in the park but we felt it was important to show it quite explicitly because the book and the adaptation took the view that homosexual sex was as natural as heterosexual sex.” One of four female producers on the serial, Salmon notes it was a long way from the day when as a junior programme-maker she rowed with Charles Denton, then Head of BBC Drama, over his opinion (probably correct at the time) that full-frontal female nudity was acceptable to audiences but full-frontal male was not.

So when it came to Desperate Romantics this summer, there was considerable freedom for a male writer, Peter Bowker, and a male director, Paul Gay, to produce explicit sex scenes. “We had,” Gay says, “many discussions about not wanting to make a dry, dusty period drama and to make it sexy and contemporary, fun and playful.” Far from there being no-nudity clauses in the actors’ contract, it was made clear during casting that full-frontal nudity might be required, although merkins would be provided, where necessary, to ensure pubic authenticity. The fair-share of filth policy resulted in an upmarket audience led by women.

But this autumn the surest way to see sexual explicitness is to watch imported American shows such as Californication, The Tudors and, a newcomer, True Blood, starting tomorrow on Channel 4 after its run on FX. Much more sexy than scary, its star Anna Paquin, who plays the telepathic waitress Sookie Stackhouse, is regularly to be seen in hot sex scenes, which are then posted on the net. After decades in which American television, fearful of the Bible Belt and advertisers’ sensibilities, was our prudish cousin, the arrival of HBO changed everything. Indeed, even the most ardent admirer of The Sopranos might wonder why quite so many scenes were established with shots of topless pole dancers at the Bada Bing. Equally, the revered men who made The Wire displayed a strong preference for nude scenes featuring top-heavy young actresses. The influence of the mores of these prestigious cult dramas on British directors should not be underestimated.

And the fact is that if they show it, we are unlikely to complain. Research for Ofcom in 2005 concluded that sexual imagery was less of a worry to viewers than explicit language and nudity, per se, was no longer a concern at all. “While there is some concern about the prevalence of sexual imagery, particularly with regard to children, many regard it as a sign of a more open and tolerant society,” it reported.

Cynicism is an issue for us all. Executives know sex reaches those elusive young viewers (look at the early nude locker-room scenes in Skins). It is also true, as Ofcom also found, that older viewers can still be upset. When I recently wrote in a television review that I would be campaigning for more sex on television, an older reader wrote to me: “I feel that I am being made a compulsory voyeur, so I tend to close my eyes until the grunting is over.”

But although I am probably nearer my correspondent’s age than the Skins demographic I disagree. It seems to me that for once television is moving in the right direction, away from gratuitous violence and towards a more relaxed, more continental and less sexist attitude to one of the most pleasurable facts of life. That naked artist’s model in Midsomer? She attracted a solitary complaint to Ofcom. Quite right too. Long live Percy Filth, I say.
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Nudity And Sex Makes You Feel Dirty

Violence, sex and nudity - expect a double dose of it all when the raciest Underbelly series yet screens next year. Raunchy scenes will be the centrepiece for Underbelly: The Golden Mile, which revolves around the tales of three different characters. The 13-part series explores John Ibrahim's rise to become King of the Cross, the story of police corruption whistleblower Deborah Locke and former prostitute-turned-police trainee Kim Hollingsworth.

After four months acting out the cruel and harrowing life of Hollingsworth, actress Emma Booth will take a rest from the most exhausting role of her career. No prude when it comes to getting her gear off, Booth, who won an AFI for her performance in 2007 film Clubland, said showing off her assets for Underbelly had left her disgusted.


"Doing the nude scenes in this one has made me feel a little dirtier," the 27-year-old Perth-raised actress said. "Playing a prostitute has given me a new-found respect for prostitution because there are days I go home and just feel dirty. I think I've come to terms with the fact I do feel a bit violated in this role and that's fine because that is how she felt, so I just use it."

The rising star, who shed her clothes to play feminist Germaine Greer alongside British actress Sienna Miller in yet-to-be released film Hippie Hippie Shake, said playing Hollingsworth had consumed her life. "I don't cope with it really. It's hard to leave behind characters and she's going to be hard to shake," said Booth, who grabbed the attention of producers by doing a topless scene in her first audition tape.

"There are times when I feel completely dirty and and that's hard because it doesn't always feel comfortable and it doesn't always feel nice, especially when you're not feeling that great in your body. I go up and down with my weight so if I am having a great day great, but sometimes when you feel bloated it's horrible to have to do."

Underbelly: The Golden Mile is set in Kings Cross in 1989 where bent cops, criminals and colourful characters all converged to make their mark and ends with the 1995 Wood Royal Commission.

The Channel 9 drama is expected to return on Sunday nights at 8.30pm in March.
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Californication S03E12

I think I'm sinking down...

Television Series: Californication (S03E12- Mia Culpa)
Release Date: December 2009
Actress: Eva Amurri
Video Clip Credit: Scoopy
Video Clip Info: DIVX (1280x720)

Eva Amurri



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Californication S03E11

There's a good girl, off you go...

Television Series: Californication (S03E11- Comings and Goings)
Release Date: December 2009
Actress: Christina Ulloa
Video Clip Credit: DeepAtSea
Video Clip Info: DIVX (1280x720)

Christina Ulloa



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How sex came of age on television

Rated TV-MA: How Sex Came of Age on Television
By Mr. Skin, Huffington Post

Sunday's 61st Primetime Emmy Awards saluted television's finest accomplishments this year, and it was a daunting task, to be sure -- but perhaps not in the way it seemed for most of the previous six decades.

For whereas FCC chairman Newton Minow famously declared the medium a "vast wasteland" all the way back in 1961, today's TV landscape has blossomed - here a Lost, there a Mad Men - to supersede movies as popular culture's premiere venue for, indeed, culture.

Or, as Newsweek noted: "Film has always been The Four Seasons to television's Motel 6. Not anymore."

Another way of looking at it is that TV long ruled as the "electronic babysitter", programmed to pacify while mom and dad enjoyed a night out at the theater.

Now television is what adults stay home to do while the tykes get their brains blown out by the latest CGI humungous at the multiplex.

TV has grown up and, as with all maturation processes, a lot of that has to do with sex.


Of course, sex has illuminated the boob tube -- pun, of course, intended -- probably since the first Miss America Pageant aired and most notoriously during the 1970s "jiggle TV" phenomenon of Three's Company and Charlie's Angels.

But consider that point of view -- leering, giggly, adolescent and, it seemed at the time, permanent.

By the 1980s, sitcom couples, married or otherwise, could share a bed (a hard-line taboo in the days of I Love Lucy and relegated from there to The Munsters and The Flintstones until, in the revolutionary year 1969, Mike and Carol snuggled a blow for liberation on The Brady Bunch).

Broadcast outlets kept sex in the background while pay cable channels such as HBO and Showtime put it sharply in the forefront, first with subscriber-baiting softcore concoctions such as The Hitchhiker and Red Shoe Diaries and, then, in the programs that have come to define the great mass-consumed art of the modern era.

You know: the ones that contain nudity.

Many cite HBO's 1999 debut The Sopranos as the genesis of this modern, previously unimaginable phenomenon. And it's certainly hard to argue against what that moment made possible: The Wire, Six Feet Under, Big Love, Damages, Entourage, In Treatment, Sons of Anarchy, and so on.

And in a clear case of competition proving to be a good thing, the networks followed suit with House, Grey's Anatomy, The Office, 30 Rock, Gossip Girl, etc.

Now think about the quality of Hollywood movies congruent with that same decade. We can even extend that challenge even to independent and foreign films.

Can you name one title that you'd group in the same league as those programs? Indeed, what was your last experience in a theater that moved you in a manner typical of what one can find these days with a remote control?

Has there been a suspense film as nerve-rattling as 24? A comedy as uproarious as Curb Your Enthusiasm? A police saga as intense as The Shield? A chiller as sardonic as Dexter?

As for the heady pleasures of on-screen sex and nudity, cinema is not the place to look. At least not at those prices! So let's follow the money.

Observers point out that big-screen movies cost so much that studios dare not diminish the size of the largest possible (paying) audience. Television, by contrast, can afford to take risks. It can fund creative visionaries (Aaron Sorkin, David Milch, Denis Leary) and their often palpably adult visions (The West Wing, Deadwood, Rescue Me).

In the event of failure -- which almost all TV shows prove to be -- reality programming saves the day and keeps the machine fueled, literally, by cheap thrills.

Another issue arises as to what it precisely is, then, for which we wish to pay.

Movie-going today is very often about experiencing sensory overload: astounding visuals and gut-shaking sound-effects that are not possible on even the most elaborate of home theaters. Explosions and mechanical mayhem have supplanted plot and character at the movies and, thus, the simple art of storytelling has moved into living rooms (and bedrooms).

And where plots develop and characters grow, sex happens (particularly when there are no giant robots rampaging in the way).

Underlying all this is that all on-camera erotic entertainment -- from hardcore porn to Baywatch -- has been automatically consumed at-home since advent of the VCR a quarter-century ago.

Just compare the prospect of paying to view a fleeting nude scene in public, surrounded by strangers, to the same opportunity at home, behind a closed door, with fast-forward, pause, and rewind buttons.

Nudity is no longer a draw at the box office, but it does remain a tantalizing sales-point when a customer considers making the leap from basic to premium cable.

As such, naked vampires on True Blood will grab more eyeballs (and dollars) than any equivalent playing at a theater, even if Kate Beckinsale were to lose her leather catsuit in those Underworld movies.

This circumstance also indicates why the film Powder Blue (2009) - which contains the debut nude scene of universally lusted-after A-lister Jessica Biel -- just barely warranted a theatrical release in three small markets, and why it is guaranteed to run on cable in perpetuity.

Had the former TV sweetheart of Seventh Heaven deigned to first bare flesh on an episode of Entourage, for example, her revelation would have generated record ratings and word-of-mouth on par with, say, Sharon Stone's leg-crossing in Basic Instinct from all the way back in the olden days of 1992.

In time, TV nudity will doubtlessly be supplanted by technology that may very well beam images of unclothed starlets directly into our brains.

But that's then. TV is now. And it is the height of what's hot to remain tuned in and turned on. Read more on this article...

Californication S03E08

Wake up, sleepy head...

Television Series: Californication (S03E04- Zoso)
Release Date: September 2009
Actress: Eva Amurri, Bridgetta Tomarchio & Alyssa LeBlanc
Video Clip Credit: Vidman
Video Clip Info: XVID (1280x720)

Eva Amurri, Bridgetta Tomarchio & Alyssa LeBlanc



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Misfits S01E02

Do you always pull that face when you have an orgasm?

Television Series: Misfits (S01E02)
Release Date: November 2009
Actress: Amy Beth Hayes
Video Clip Credit: In The Best Possible Taste
Video Clip Info: [36.3MB for 3m 17s]



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Californication S03E05

The best; you've got a great cock...

Television Series: Californication (S03E05- Slow Happy Boys)
Release Date: October 2009
Actress: Eva Amurri
Video Clip Credit: DeepAtSea
Video Clip Info: H264 (1280x720)

Eva Amurri



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Californication S03E04

Making the most of what I got while I still got it...

Television Series: Californication (S03E04- Zoso)
Release Date: September 2009
Actress: Eva Amurri
Video Clip Credit: DeepAtSea
Video Clip Info: H264 (1280x720; 3 Clips includes slo-mo and short version-68 MB)

Eva Amurri



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Californication S03E03

That is a prime example of what's wrong with the younger generation today; you leave nothing to the imagination...

Television Series: Californication (S03E03- Verities & Balderdash )
Release Date: September 2009
Actress: Eva Amurri
Video Clip Credit: Maverick

Eva Amurri



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Californication S03E01

Did you just fall asleep?...

Television Series: Californication (S03E01- Wish You Were Here)
Release Date: September 2009
Actress: Kristine Blackport
Video Clip Credit: DeepAtSea

Kristine Blackport



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Shameless S06E12

Wanking material for perverts is not a career...

Sarah Byrne has banned her big brother from watching this series of Shameless because she flashes her boobs a lot. The 19-year-old spends most of series 6 of the controversial drama with her top off after her character Meena Karib becomes a glamour model. During filming, embarrassed Sarah had to undress while 20 production staff watched her co-star Nicky Evans grope her breasts.

But the Manchester lass wouldn’t let her older brother and mum’s boyfriend watch – placing a strict no-boobs policy on them both. "My mum is actually fine about it," she laughs. "She knows I’m acting and is quite open-minded. It’s my brother I don’t want to watch it. I go topless quite a bit in this series and I don’t want my 28-year-old brother seeing my boobs. Or my mum’s partner, for that matter. I’m going to have to ban them from watching – maybe make it a girls-only evening!"

Minx Meena becomes more of a central character this year when she moves out of Yvonne’s home and into Lillian’s brothel. She said: "At first I was nervous about taking my top off on set but you get used to it. At the end of the day, it’s only acting and they are just boobs. Though I did feel really weird when Nicky was feeling my boobs and about 20 production staff were all stood around staring at me."

Sarah admitted she got off lightly compared to her co-stars. "I’m lucky, really, because I haven’t had a sex scene yet," she joked. "Though I know it’s coming. Everyone else is banging away all the time. There’s more sex than a porno! Every time I read the script I think, ‘Is this when it’s going to happen?’"

And while single Sarah is happy without a man in real life, she’d like a boyfriend on screen. She said: "Being single is so much easier when you film Shameless. You don’t have to keep ringing your boyfriend to tell him you’re getting your boobs out or having to snog someone."


Television Series: Shameless (S06E12)
Release Date: April 2009
Actress: Sarah Byrne
Video Clip Credit: In The Best Possible Taste



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Explicit sex returns to TV

Explicit sex scenes are in vogue again on TV, with new series such as True Blood — and this time women are calling the shots, writes Andrew Billen.

When was it that I realised that Percy Filth — as Jack Rosenthal’s sitcom The Lovers called sex around the time that television invented it — had made a return to the box?

Was it in the early minutes of Rome four years ago when Polly Walker as the voluptuous Atia energetically turned a freeman into her sex slave? Was it two years later when Californication debuted with a nun performing oral sex on David Duchovny? Or was it during this summer’s run of Desperate Romantics , a riskily unstuffy drama about the Pre-Raphaelites that required its actors, in the interests of historical authenticity, to agree to wear pubic hair wigs?

Actually, I think it was in August in Midsomer Murders. Detective Constable Jones became transfixed by an undraped model at a modelling class, and so did the camera. Objectors would have got short shrift. Within weeks Ofcom, television’s regulator, had rejected 37 complaints attracted by nudity on a Channel 4 programme called Life Class, and that went out at 12.30pm. But if Midsomer Murders, the darling of Middle England, was casually showing naked breasts before the watershed then truly had television exorcised the spirit of Mary Whitehouse.


Let me be frank. I was a child of the Sixties, which made me an adolescent of the Seventies. I may have now reached the age when I want to fast-forward sex scenes to get back to the plot, but bliss was it in that dawn to be male and pubescent. Sex was saturating the culture. Sitcoms such as The Lovers tittered about it (pre-marital sex was the joke), documentaries agonised over it, American imports such as Charlie’s Angels traded on it, but the canny British teenager knew where to find it: on native drama productions shortly after the bewitching hour of 9pm.

Sometimes the female nudity — and it was always female in those days — was more or less integral. Few upmarket viewers in 1976 thought any less of I, Claudius for its nude scenes. You would not have had to be Dennis Potter (although it actually was) to write sex into Casanova in 1971. You might even argue that ITV’s tale of family incest Bouquet of Barbed Wire, described by Clive James as “The House of Atreus transferred to Peyton Place”, demanded more nudity than it actually got — years later the columnist Richard Littlejohn confidently averred Susan Penhaligon had taken her kit off, forcing her to protest, flattered, that she hadn’t. But what of the 1972 intelligent supernatural thriller The Stone Tape? Why 80 minutes in, did a breast poke from a dressing gown worn by an actress who was not even credited?

This may have been the era of clean-up TV campaigns, but deep within the cocoon of television, Kenith Trodd, who produced some of its most memorable and sexiest plays, recalls fighting very few battles about sexual explicitness, aside from the hard case of Dennis Potter’s Brimstone and Treacle in which a disabled woman was raped. He does recall receiving a note from a suit regarding Dennis Potter’s Pennies from Heaven that read: “Please cut Eileen’s tits and all of Bob [Hoskins]’s cock.” “But I suppose what I am saying is that it came down not so much to policy as to individual quirks when dealing with sex.”

In 1989, however, a Potter series (not, after a falling out, produced by Trodd) delivered such an orgy of misogynistic sex that it provoked a rapid detumescence in television drama. Blackeyes told the story of an elderly male novelist making a lurid sexual fantasy out of his niece’s life. “His motives on Blackeyes were to speak up apologetically for all men,” Trodd recalls, “and he got it wrong. There was a discussion programme, some residue of Late Night Line-Up, after the first episode where everyone extolled it. But by the second, the feministic voices had got their act together and realised it was not friendly to them.”

Percy Filth did not suddenly cower and disappear. In 1990 A Sense of Guilt by Andrea Newman, the writer of Bouquet of Barbed Wire, required the very young actress Rudi Davies (who later left the business) to strip in front of a much older man (Trevor Eve, who did not). Two years later, The Camomile Lawn, directed by Peter Hall, featured Jennifer Ehle in a remarkably nude lovemaking scene. The same year Between the Lines, a gritty series about police corruption, rapidly earned the nickname “Between the Loins”.

It was quite a way to go out and the three series showed how sex bestrode the dramatic range: an upmarket soap, a historical saga and a piece of social realism (realism has always claimed nudity as a credential). But thereafter, there was less and less female flesh for the adolescent to admire.

Professor Jonathan Bignell, in An Introduction to Television Studies, notes that “although it had become common to discuss sexual activity in current affairs, documentary and other public service discussion genres, the dramatic representation of sexual activity had become increasingly self-censored by broadcasters as a result of the Aids crisis”. Television became as scared of sex as everyone else. The adaptor Andrew Davies earned in those years a reputation for slipping sex into the classics, but the sexual content of his Pride and Prejudice was actually confined to Colin Firth’s damp shirt. For Jennifer Ehle as Elizabeth there would be no romps on a lawn, camomile or otherwise.

There was explicit sex on TV but to make sure of finding it you had to buy a satellite dish or wait for the arrival of Channel 5 and its avowed early policy of showing “films, fucking and football”. On the main channels you were more likely to see a nude female stretched out cold on a mortician’s block than warming a bed. What that said about the period was a cause for concern all by itself. Inspired by the big screen’s hip new purveyors of violence such as Quentin Tarantino and Guy Ritchie, television thrillers from Prime Suspect and Cracker on, became increasingly bloody and explicit. Gore replaced groping.

Meanwhile, internal structures were changing in TV, leaving programme-makers with less autonomy and more bureaucracy, the management method that likes to say no. Trodd recalls that by the mid-Nineties he would go to a script meeting with the late Mark Shivas, Head of BBC Drama, and find an assistant head of drama sitting there too — “and what she was doing there was to try and second-guess and pre-guess what we were up to”.

It would, more and more, be a she. And here we reach a paradox. The first wave of women television executives frowned on their sex being exploited by middle-aged male writers. They are now in charge — and the corsets are being thrown off once more. Hilary Salmon, of the BBC, executive producer of Desperate Romantics, explains: “We are all women now and we can do what we like. We closed the male toilets on this floor! I just don’t think we have to wave flags about where we stand on these issues. There is a shared sensibility.”

Salmon believes that it is The Line of Beauty , made in 2006, that really demonstrates the change between sexual explicitness then and now. “The sex in it is very explicit and between men. We did think very carefully before showing men having sex in the park but we felt it was important to show it quite explicitly because the book and the adaptation took the view that homosexual sex was as natural as heterosexual sex.” One of four female producers on the serial, Salmon notes it was a long way from the day when as a junior programme-maker she rowed with Charles Denton, then Head of BBC Drama, over his opinion (probably correct at the time) that full-frontal female nudity was acceptable to audiences but full-frontal male was not.

So when it came to Desperate Romantics this summer, there was considerable freedom for a male writer, Peter Bowker, and a male director, Paul Gay, to produce explicit sex scenes. “We had,” Gay says, “many discussions about not wanting to make a dry, dusty period drama and to make it sexy and contemporary, fun and playful.” Far from there being no-nudity clauses in the actors’ contract, it was made clear during casting that full-frontal nudity might be required, although merkins would be provided, where necessary, to ensure pubic authenticity. The fair-share of filth policy resulted in an upmarket audience led by women.

But this autumn the surest way to see sexual explicitness is to watch imported American shows such as Californication, The Tudors and, a newcomer, True Blood, starting tomorrow on Channel 4 after its run on FX. Much more sexy than scary, its star Anna Paquin, who plays the telepathic waitress Sookie Stackhouse, is regularly to be seen in hot sex scenes, which are then posted on the net. After decades in which American television, fearful of the Bible Belt and advertisers’ sensibilities, was our prudish cousin, the arrival of HBO changed everything. Indeed, even the most ardent admirer of The Sopranos might wonder why quite so many scenes were established with shots of topless pole dancers at the Bada Bing. Equally, the revered men who made The Wire displayed a strong preference for nude scenes featuring top-heavy young actresses. The influence of the mores of these prestigious cult dramas on British directors should not be underestimated.

And the fact is that if they show it, we are unlikely to complain. Research for Ofcom in 2005 concluded that sexual imagery was less of a worry to viewers than explicit language and nudity, per se, was no longer a concern at all. “While there is some concern about the prevalence of sexual imagery, particularly with regard to children, many regard it as a sign of a more open and tolerant society,” it reported.

Cynicism is an issue for us all. Executives know sex reaches those elusive young viewers (look at the early nude locker-room scenes in Skins). It is also true, as Ofcom also found, that older viewers can still be upset. When I recently wrote in a television review that I would be campaigning for more sex on television, an older reader wrote to me: “I feel that I am being made a compulsory voyeur, so I tend to close my eyes until the grunting is over.”

But although I am probably nearer my correspondent’s age than the Skins demographic I disagree. It seems to me that for once television is moving in the right direction, away from gratuitous violence and towards a more relaxed, more continental and less sexist attitude to one of the most pleasurable facts of life. That naked artist’s model in Midsomer? She attracted a solitary complaint to Ofcom. Quite right too. Long live Percy Filth, I say.
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The Tudors S03E08

I left her as good a maid as I found her...

Television Series: Tudors (S03E08- The Undoing of Cromwell)
Release Date: May 2009
Actress: Tamzin Merchant
Video Clip Credit: DeepAtSea



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The Tudors S03E06

I've just been fucked by the Pope...

Television Series: Tudors (S03E06- Search for a New Queen)
Release Date: May 2009
Actress: Emma Hamilton
Video Clip Credit: DeepAtSea



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The Tudors S03E05

Fornication is to follow the devil willingly into the mouth of hell...

Television Series: Tudors (S03E05- Problems in the Reformation)
Release Date: May 2009
Actress: Charlotte Salt
Video Clip Credit: DeepAtSea



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The Tudors S03E03

That was quite entertaining...

Television Series: Tudors (S03E03- Dissension and Punishment)
Release Date: April 2009
Actress: Charlotte Salt & Emma Hamilton
Video Clip Credit: DeepAtSea
Video Clip Info: [DIVX;1280x720]

Charlotte Salt



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Emma Hamilton



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The Tudors S03E01

She would kindle your lust even higher with one touch...

Television Series: Tudors (S03E01- Civil Unrest)
Release Date: April 2009
Actress: Charlotte Salt
Video Clip Credit: DeepAtSea



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True Blood S01E09

First, we have to thank the vampire for the gifts that he's bestowed upon us...

Television Series: True Blood (S01E09- Plaisir d'amour)
Release Date: November 2008
Actress: Lizzy Caplan
Video Clip Credit: DeepAtSea
Video Detail: (hd720p at 5889 Kbps; 48Mio for 1mn06s; 1280 x 720 (16/9) at 23,976 fps)



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True Blood S01E08

It felt like the whole world came together...

Television Series: True Blood (S01E08- The Fourth Man in the Fire)
Release Date: October 2008
Actress: Anna Paquin & Lizzy Caplan
Video Clip Credit: DeepAtSea
Video Detail: (hd720p at 5965 Kbps; 1280 x 720 (16/9) at 23,976 fps)

Anna Paquin



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Lizzy Caplan



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True Blood S01E07

Lizzy Caplan makes her spectacular True Blood entrance in this episode. She plays Amy, a sociopathic earth mother and vegan who’s addicted to vampire blood (“V”). A good bit of Amy’s storyline involves the enhanced sex made possible by V, so Caplan spends much of her on-camera time sans clothes. Here are her thoughts on vamp blood, the right way to kiss and showing her boobs on TV...

So how's it going on "True Blood"?
The best thing about it is that it's really really different from anything else that I've ever done, ever. Girls that speak in metaphors about the Earth and shit I'm equally as annoyed by them as anybody else, so it's especially weird to play that.

What's up with all the nudity?
I've never done nudity before so it is kind of traumatic to do it, but after the first time it was like 'Oh, this is not bad at all.' Then I realized, 'Oh, fuck, this is gonna be on television. And people are gonna see this. Jesus.' So it was a little scary but I think I'm kind of over it now. I'm glad I did it. "It was sort of a moment of invincibility like 'Oh, shit, I can pull this off. It's fine.'

Are you worried people are going to approach you and be like "Hi, I've seen your boobs?"
I really have never been cast in a role like this so I'm kind of unprepared for what it may yield. I guess the strange thing is my friend's fathers are watching this. That's gotta be weird. My father is adorable and he called me last night and was like, "Is this an episode that I can watch?" and I was like, 'No, Dad, you do not want to watch this.' He's super uncomfortable. We kind of tiptoe around the issue.

Is it strange to have weirdo creeps like us ogling you on the Internet?
It seems to be complimentary so I guess that's alright. I think if people were saying really nasty shit about me I would probably lock myself in the closet. I haven't really dug too deep into the message boards because I know I'll just find one comment that's mean and I'll cry.

Is it weird to shoot the sex scenes?
It's surprisingly fun, actually. You'd think you'd feel awkward because there's just a bunch of dudes standing around watching. But it's this weirdly liberating thing. It's preposterous that you show up and you're in a room full of people watching you simulate sex.

What makes a good makeout scene?
I always think it's totally bizarre when you're in your 20s or older and you haven't figured out how to kiss properly. I guess the basic no-no is you don't do the stabby tongue and you don't do the hard tongue. It's shocking when that happens. I want to be like are you kidding? Or are you for real?

What real drug do you think doing vamp blood is like?
I think that the most accurate thing would be like ecstasy with like mushrooms maybe. You definitely see a lot of crazy shit but very ecstasy-based.



Television Series: True Blood (S01E07- Burning House of Love)
Release Date: October 2008
Actress: Anna Paquin & Lizzy Caplan
Video Clip Credit: DeepAtSea
Video Detail: (hd720p at 6020 Kbps; 1280 x 720 (16/9) at 23,976 fps)

Anna Paquin



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Lizzy Caplan



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