The Krampus and the Wild Women

In April 2022, the Filmmakers Company, based in Austria, released a trailer for what they described as a new experimental film, Der Krampus und die wilden Weiber (translation above). It was said to be an 80-minute movie, directed by Peter Citti and shot in three days, April 1 through 3 – which would mean they shot more than 25 minutes’ worth of final-cut footage every day! That slightly incredulous exclamation mark is because commercial films used to operate on the basis of one or two minutes per day, though I guess advancing technology may have made miracles more achievable. And anyway, these are the same people who produced Hot Spanking Rod, another Krampus movie which made what we shall politely call inventively economical use of footage, so it’s not impossible that heavy recycling enabled them to squeeze 80 minutes of screen time out of markedly less content.

You’ll gather that I haven’t seen the film itself, and so can’t really say anything for definite. There was talk of (and may actually have been) a private screening for friends and investors at the Cannes Film Festival in May, and then nothing more was heard of it up to the time of writing.

What I can tell you is that the early publicity mentioned the names of three girls who appear in the film: Sanja Domainko, Nikoletta Popadiyna and Sofia Dorosh, shown here in that order:

As a bonus, I can also show you another angle on Nikoletta:

And, not at all as a bonus but rather the main event, I can show you two of the girls meeting the Krampus. Let’s start with Nikoletta:

He’s not an entirely docile Krampus…

… as Nikoletta discovers to her cost:

Sofia’s next:

She reveals what precautions she has taken, or rather hasn’t…

…. and maybe regrets her lack of foresight.

That means Sanja can go home unspanked for now, though let’s hope she had an interesting role in the movie itself.

All that remains is to direct you to where you can see the trailer, here, and hope the finished film is worth waiting for! If it is, it may well get some more coverage here…

Kiss Me Kate: 1969

We make a splendid start in Finland on January 30, at the Jyväskylä City Theater:

Now it’s across the Atlantic to meet Janie Eyler. She’s going to be spanked. You know why.

Of course, she’s playing Lilli in the KMK production by Frankfurt American High School, which had its first run of performances from March 27 through 29. Here she is with her costar, Mike Horak:

And the musical made quite an impression, because three weeks later it was brought back for two more shows on April 17 and 18. It seems Janie’s spanking also made an impression, because the new playbill for the new run had a new cover:

And that wasn’t the only school KMK spanking that spring. On March 14, at Terra Linda High School, San Rafael, California, Dan Jones did this to Marcia Bunney:

On March 20 and 21, at Oneonta High School, New York, senior Steve Sweet ended his high school acting career spanking Priscilla Truman:

On March 22, at Alhambra High School in Pasadena, California, the school’s arts festival included the following:

At Fayetteville High School, Arkansas, it was Jim Woolley spanking Jane Scott from May 7 through 9:

Also in the school year 1968-69, at E. E. Root High School, North Royalton, Ohio, Jim Kneaskerm spanked Linda Hohenfield, later a noted professional soprano:

And at Ocala High School, Florida, Steve Marko spanked Rusty Cole:

In England, the 1-12 July production at the Marlowe Theatre, Canterbury, starred Ian White and American star Pat Michon. ‘The kissing has yet to start,’ commented the caption to this newspaper picture:

And separated from it by a split-second was this one, headlined ‘A Spanking Good Time’:

September 11-13 saw Indiana’s Madison County Dramatic Players tackle KMK. And here’s Stan Ray tackling Barbara Finley, in rehearsal…

and in costume:

That costume was also the subject of an unusual story in the local newspaper:

The gowns for Barbara Finley, who will play Kate, must be attractive and comfortable for dancing, but also with ‘protection’ built in for the numerous times she will be spanked by Stan Ray, who plays the male lead.

Strange to tell, that sentence was then repeated almost word for word, save for the substitution of the names Felicie Brett and Ron Ruzzy, in a Connecticut paper’s account of preparations for the Naugatuck Footlighters production in December. And I guess that makes it a legitimate question whether the fair Mrs Brett, described as ‘delightful’ in a review of the production, actually had any such ‘protection’ at all!

And finally it’s back to Scandinavia to see Sten Gester spanking Berit Carlberg in a Stockholm production:

So ends the 1960s; and the 1970s start here.

Soapy, Talky, Spanky

I once heard a whisper that the 1976-77 spoof soap opera Mary Hartman, Mary Hartman, set in the fictional town of Fernwood, Ohio, featured a scene in which the unscrupulous Mayor Jeeter (Dabney Coleman) spanks his wife Wanda (Marian Mercer).

But the trouble with soaps, even parodic ones, is that they are not only huge but homogeneous, making it difficult to locate a particular incident without already knowing more or less which episode it happened in.

Occasionally, these scenes found their way into newspaper roundups of soap goings-on. So, for example, we know that in late November or early December 1981, The Young and the Restless featured the following:

‘Nikki turned the other cheek in gratitude when Victor spanked her for being a sex tease.’

That’s stripper Nikki Reed (Melody Thomas), spanked by her future husband, mogul Victor Newman (Eric Braeden).

Likewise, in Guiding Light in early October 1982:

‘After giving Vanessa a well-deserved spanking, Tony quit Wired for Sound.’

She’s the spoiled heiress Vanessa Chamberlain (Maeve Kinkead), who had a fling with dance club manager Tony Reardon (Greg Beecroft).

Now, it’s all very well knowing that these ladies were spanked, and more or less when it happened, but getting to see the episodes themselves is often a taller order. Occasionally, in the age of domestic video, viewers might set their recorders to tape the daytime soaps while they were out at work, and not record over them afterwards. That’s how we are able to see a later spanking in The Young and the Restless (Episode 9403, May 21, 2010), in which Daniel Romalotti (Michael Graziadei) has an argument with Abby Newman (Marcy Rylan), estranged daughter of the aforementioned Victor, after she attempts to become famous by posing nude on social media. You may or may not be disappointed that I can’t show you her nude…

but at least I can show you her being spanked!

A quarter of a century earlier, some time in 1985, someone’s VHS tape was running when Tony Dimera (Thaao Penghlis) had a row with his wife Anna (Leann Hunley) on Days of Our Lives:

And in Santa Barbara, Mason Capwell (Lane Davies) has a disagreement with his future lover Julia Wainwright (Nancy Grahn).

The outcome is:

The moment ends with a ‘Don’t you dare!’ which, unusually, succeeds in preventing him from following through, which is a pity. It’s also a shame that nobody thought to make a note of exactly when the scene happened, so we don’t have any sense of the context, though it can be deduced from what they say that it’s early on in their relationship, so maybe 1985 or 1986.

And when we don’t have the scene itself, that kind of vagueness is a problem. Take this character, Rita Jacks (Patricia Morrow) in Peyton Place:

It is said that Norman Harrington (Christopher Connolly) took her over his knee and spanked her in one episode – but which episode? The series ran for five years (1964-69) and 514 shows…

Similarly, there was talk of teenage Michelle Fowler (Susan Tully)

being put across someone’s knee in an early edition of the British soap EastEnders (launched 1985 and still running), but what chance is there of tracking that down? And as for reports that a cheerleader was spanked in One Life to Live (1968-2013)… well, I’d love to see it if it actually happened, but there were 3,697 episodes, and I’ve only got one life to live!

And that brings us back to the problem we started with. Mary Hartman, Mary Hartman ran for 325 episodes, and then, minus Mary Hartman herself, was retitled Forever Fernwood and ran for a further 130 episodes in 1977-78. To watch the whole series from end to end, continuously and without a break, would take more than nine days; if you whittle it down by excluding episodes in which the Mayor does not appear, that still leaves 278 episodes (or just under six days), and reducing it further to only the episodes with Wanda Jeeter gets us to 248 (still more than five days’ continuous viewing). That’s a lot of time to invest in a genre that isn’t much to my taste, in search of a scene that may be nothing more than a phantom.

There’s a more certain reward if we turn to the series’ temporary summer replacement, which aired while the production team was rethinking the show to accommodate the absence of the title character. This was a spoof chat show, Fernwood Tonight (or, with a sardonic nod to the usual media abuse of the English language, 2-Night), supposedly broadcast to the nation live from Ohio, and combining jibes at the awful triviality of small-town television with satire about matters of wider public interest.

One of these was school corporal punishment, ruled legal by the US Supreme Court in April 1977 and so a topically controversial subject among parents and teachers alike. The July 7 edition of Fernwood Tonight invited the local high school’s principal, Marshall Petty (Dave Cameron), to put his side of the argument and reassure concerned families that school spanking, as practiced in Fernwood, was wholly humane.

The sketch involves him giving a demonstration, using a pupil selected at random to be spanked live on air: Debbie Dunbar, played by Kathy McCullen.

He contends that spanking is ‘a warm, pleasant experience’ which simply shows the recipient that somebody cares about her and her behavior. And it doesn’t hurt, because no paddles or straps are used, only the fleshy flat of the hand.

He is also at pains to point out that Debbie is an A student who has done nothing wrong, and is not being punished: it’s only a demonstration.

But afterwards, the show’s cheesy host, Barth Gimble (Martin Mull), casts just a little doubt on the claims that it doesn’t hurt a bit by thoughtfully providing a pillow for her tender sit-upon:

There follows a phone-in discussion in which both callers are irate: the first thinks there are better candidates for corporal punishment than an A student like Debbie; the next is angry because she is Debbie’s mother, nuff said – and the embarrassment of the moment crashes them out of the item.

But that wasn’t the end of Debbie Dunbar. In the very next show, on July 8, Barth reveals that there has been a lot of viewer reaction to the item: many callers were for corporal punishment, many were against and some ‘just wanted to see more spanking’. There was also a death threat from Ma Dunbar (Jan Stratton); but instead of killing Barth, she has been persuaded to come on the show with Debbie to talk it out.

Mrs Dunbar admits that she may have overreacted: she changed her mind after receiving several phone calls from people who had seen the spanking – and who wanted to offer Debbie lucrative modeling contracts, including an advertising campaign centered on her bending over in a pair of tight jeans. And that just goes to show that every concerned mother has her price, and perhaps also that sometimes a good spanking really can do a good girl good…

Debbie then gets changed for the show’s finale, performing as a cheerleader while Barth gives an excruciating performance of the Morris Albert song ‘Feelings’.

Her quick-working mom has already set up Mother Dunbar’s Star Agency, and now tries to pull off the same trick twice with her other daughter, Stacey (Stacy Steffans),

by spanking her during the closing singalong!

Barth’s efforts to promote Debbie in a showbiz career featured in a later show, which only revealed the young lady’s painful absence of talent. Maybe it would have helped if, instead of singing, she’d gone back to being spanked…

She didn’t, but the expanding Fernwood media empire had one last shot at the subject, in the spin-off book Fernwood USA, published in December 1977. This included a reproduction of the ‘secret scrapbook’ of Mary Hartman’s daughter Heather, including a nice picture of her high school principal dealing with ‘the creep who sits behind me in Social Studies’. The principal is Mr Hall rather than Mr Petty, but his disciplinary methods are not at all dissimilar…

The second one, by the way, is a smaller variant that appeared as part of the book’s cover montage.

Note: The original July 7 sketch may be viewable here. The talky part of the July 8 followup is here, and the final section, with Stacey Dunbar spanked at the end, is here. Good luck to anyone trying to track down any of the rumored and unlocated soap scenes; if you find them, please tell us!

The Doctor Who Girl 19: Rose

Rose Tyler, brought to life in a rich and varied performance by Billie Piper, accompanied Christopher Eccleston’s and David Tennant’s Doctors in 2005-6. Some may remember her for her toothy smile or her heavy mascara or even her appealing personality and emotional intelligence, but one notable feature is especially clearly and directly established. Several characters pass comment on her

‘Excellent bottom!’

So says her future fellow traveler Captain Jack (John Barrowman), zooming in for a closer look in ‘The Empty Child’ (2005). Or, putting it another way and quoting the villainess of ‘New Earth’ (2006), she has a

‘Nice rear bumper.’

That rear bumper is one of the very first parts of her that we see, at the start of her very first episode, ‘Rose’ (2005), as she gets out of bed in her pajamas.

She’s next seen fully dressed, rushing out to work with a black thong peeking over the top of her jeans waistband.

And later in the episode, her boyfriend Mickey (Noel Clarke) affectionately greets her with an audible smack on the bumper.

So began the second attempt to reactivate Doctor Who after the original 26-year run ended in 1989, the first being the unsuccessful American pilot of 1996. In the stewardship of Russell T Davies, it proved phenomenally successful for four years, until Davies ran out of steam and wound down on a year of lackluster specials, and the series was then passed on to other hands that, sadly, steered it into a slow, terminal decline (as depressingly described and critiqued in earlier/later articles in this ‘backwards’ series). At the time of writing, it remains to be seen whether Davies will succeed in bringing Doctor Who back from the dead for a second time in 2023…

Key to the original Davies revival was the decision to jettison almost all the baggage and back-story that tend to enthuse the series’ hardcore fans and bore the wider audience, and concentrate instead on connecting with contemporary life. An important element of this was Rose, plucked by coincidence out of the mundane world of a tower-block estate to join the Doctor in seeing the wonders of the universe, and reinforcing Davies’ favored theme of the specialness of ordinary people.

Not at all key to Rose’s authenticity as an ordinary, relatable girl, but contributing just a tiny bit to the effect, is the intermittent ‘chavvy’ visibility of the top of her underwear above the top of her pants. Most often it’s a whale-tailing thong,

but occasionally it’s proper girls’ panties.

You might think those are just random wardrobe malfunctions during production, and in the series’ earlier days they would have been. But in modern times, everything is calculated and deliberate. Costume departments today log absolutely every garment a performer wears, even those not seen on screen: the logs for the pair of episodes that gave us the last set of pictures (2006’s ‘The Impossible Planet’ and ‘The Satan Pit’) not only listed the fuchsia-pink panties you can see, but also the black thong Billie Piper wore underneath them. In the event, even the thong made a guest appearance:

That probably was merely accidental, but the plentiful pink panty peeks were undeniably intentional.

They may, indeed, have been ‘political’ panties. Davies’ Doctor Who was socially progressive in all the right ways, favoring inclusiveness and diversity and human enlightenment; but it also achieved it in the right way, subtly and unobtrusively so that the audience could get on with enjoying the story, rather than be distracted with the kind of smug, divisive virtue-signaling that regrettably crept in later and helped to bring about the series’ destruction. So maybe it’s not altogether far-fetched or irrelevant to remember that in 2005, when the ‘Satan Pit’ episodes were being set up for production, there was a lot of press attention given to attempts in certain redneck states to criminalize the ‘lewd’ phenomenon of panties appearing above pants waistbands. Rose’s sartorial choices, which are so incidental and yet so repeatedly obvious in the ‘Satan Pit’ story, could have earned her jail time in illiberal Louisiana or Virginia.

The new series’ liberal take on sexual matters was described at the time as a ‘gay agenda’ (and Davies himself is gay), but it is better understood as a ‘sexual freedom agenda’ for all, regardless of orientation. The aspect of this that’s most relevant to the long-term development of the Doctor Who girl emerges clearly by contrast with the line taken by the previous production regime, also headed by a gay man, which controlled the series throughout the 1980s.

One of the big anxieties of that period concerned the Doctor’s sexuality. This had hitherto been a non-subject, but the ’80s production office went out of its way to declare that there was ‘no hanky-panky in the TARDIS’, and discouraged even the most innocent physical contact between the Doctor and his female companions. But this wish to make the character positively asexual was compromised by Doctor Who‘s long-term continuity, which needn’t have mattered if the series hadn’t also been going through a period of obsessive past-worship. The problem was that, back in 1963, the original Doctor had been a grandfather, which necessarily meant that, horror of horrors, he must once have had sex! They tried to force Carole Ann Ford, who played Susan, the granddaughter, to deny the blood relationship, but she refused…

The 2005 revival actively rejected this nervy stupidity and tentatively embraced the idea that the Doctor might be sexual and might have a romantic relationship with a fellow TARDIS traveler. It helped that, in the abortive 1996 reboot, Paul McGann’s Doctor, in a moment of sheer joy, kissed Grace, the one-off character who served the ‘companion’ function. Kissing the companion, not always romantically, became an ongoing trope in the new series, and the relationship with Rose in particular was overtly written as a developing love story. Partway through the first series, it was said that ‘the world doesn’t end because the Doctor dances’.

It’s obvious, to those old enough to understand, that dancing is a circumlocution for something else. Doctor Who is a family show, so the ‘sexual freedom agenda’ had to be pursued with a light touch, respecting the limits of what you could portray with a young audience watching. To see how skillfully that was done, it’s worth placing the minor issue of Rose’s intentionally visible underwear in the context of the rest of Billie Piper’s career.

She started out as a teenage pop star in the late 1990s,

then moved into acting in the 21st century, with a notable appearance in the modernized television version of the Canterbury Tales (2003),

and a less generally memorable role as an ex-inmate of a children’s home in Bella and the Boys (2004), which is worth mentioning for one particular flirtatious moment. Ready for your close-up, Miss Piper?

In Doctor Who she confounded some critics who thought she was just a pop celebrity casting stunt, and achieved fame and all that goes with it, including glamor shoots for magazines,

and long-lens pap snaps:

And after Doctor Who, she played the title role in four series of The Secret Diary of a Call-Girl (2007-11).

So unless you’re a demented conservative in Virginia or Louisiana, those Doctor Who panty peeks probably now look a whole lot more restrained: nothing to get the show moved to after the watershed, even if it is a slightly naughty phenomenon, for those inclined to take that kind of pleasure in it. (Remember: sexual freedom is for everyone, of every orientation!)

It’s the same story with that excellent bottom. Sometimes it just happens to be there when her back is to the camera.

But from time to time it’s overtly a featured part of the episode,

notably in a sequence in ‘The Satan Pit’ when Rose and some crewmen are crawling through a confined space. She makes a sarcastic comment on the unflattering angle of the man in front, at which the man behind remarks approvingly on the view he’s getting.

To which, rather sweetly, Rose responds with a protesting ‘Oy!’

Russell T Davies’ Doctor Who wasn’t perfect, but then Doctor Who never is: there are always some stories that are better than others. But this phase of the series was produced with love and respect by people who simply wanted to make Doctor Who, rather than wanting to possess Doctor Who by making it into something else that they could call uniquely their own. And that meant it always felt like Doctor Who, which meant in turn that there was scope for fantasizing scenarios along our preferred lines.

‘You’re not too old for a slap, you know,’ Rose’s mother tells her at one point.

A slap doesn’t necessarily mean a smacked bottom, though we can happily imagine that it might, especially as it’s presented as a maternal punishment ongoing from earlier life. And though, of course, the series never actually served up anything beyond that first smack from Mickey, at least the indefatigable Texas Jim can help us out there.

Whale her tail, Doctor!

This series continues here.

Ten Green Bottles

Wilfred Massey was not only a prolific playwright, including four comedies with spanking scenes, but also a prolific publisher of plays for the amateur market. Among the other authors whose work he published was Rosemary West, who naturally had nothing at all to do with the serial killer of the same name. This non-lethal Rosemary was much less prolific than Massey, with only two-and-a-half plays to her name between 1956 and 1965. The half-play was the latest, Spring and the Oakleys, which she co-wrote with Massey himself, and which contains the following mention of an offstage spanking that didn’t quite happen:

‘I put her across my knee and if my wife hadn’t come in I’d have given her something she’d never have forgotten!’

But the main object of our attention is Rosemary West’s earlier farce, Ten Green Bottles (1958), about a pharmacist, Ernest Dokes, with an inclination to propose to completely unsuitable women. His bossy daughter Rowena is anxious to get him wed in a hurry, to the right sort of wife, because her employers are about to transfer her to a posting in South Wales and she wants to go secure in the knowledge that he won’t be left alone and vulnerable. The danger is acute, because right now he is making advances to the brassy, plebeian Cynthia Boyle, whom Rowena finds all the more unwelcome a prospective stepmother because she comes with a daughter of her own: Dolores.

The stage directions describe Dolores as a ‘Teenage Terror who looks as though she had escaped from St Trinian’s’ – the notorious girls’ school created by cartoonist Ronald Searle in 1946, whose fearsome pupils were the basis of seven film comedies between 1954 and 2009. It is further suggested that she may, if casting allows, be bigger than her mother. And that’s important, because the author’s production notes are very clear about the question of what kind of performer should play the teenage terror:

‘Dolores must, of course, be played by an adult actress as no child-player could invest this part with the sinister malevolence it must have. Dolores should have no redeeming feature whatsoever; it is not enough that she should be played merely as a mischievous, high-spirited girl. She must be a perfect horror.’

She is indeed a frightful brat, whose crimes include tormenting the cat, savagely biting Rowena’s would-be fiancé Tony Middleton and throwing green paint at Ernest’s niece Steve, who happens to be wearing tennis whites at the time. Early in the play, most of the other characters make dark suggestions about the reprisals they would like to take, only to be firmly cut off by Mrs Boyle. Also defending Dolores is Lady Fitch, the influential sister of Tony’s prospective employer and someone who’s very firm in her disapproval of corporal punishment. So it takes a while before anything gets said out loud and directly, and surprisingly the one who says it is Ernest’s timid, elderly, good-hearted assistant, Miss Mirabel Primrose, after Dolores seems to be escaping retribution again by calling for her mother:

CYNTHIA: What does Mum’s girlie want?
MISS MIRABEL: If you don’t know what Mum’s girlie wants, then you’re the only one in the whole town who doesn’t.
CYNTHIA: What did you…
MISS MIRABEL: What Mum’s girlie wants is someone with a strong right arm to turn her over and tan her bottom till she can’t sit on it!
CYNTHIA: Why, you – you–
MISS MIRABEL: And I give you solemn warning that if she plays any more of her little pranks on me – only one – that’s what she’ll get, so make no mistake about it!

This out-of-character behavior has happened because she has just been given a dose of the smelling salts she has been making up in green bottles (you guessed it, ten of them), using a series of recipes devised by her great-great-great aunt, who happened to be the local witch. The salts have also turned the tormented cat into a tiger, and that’s not the end of their strange powers…

Ernest has many quirks of personality, but his most story-significant peculiarity is that he will only ever propose marriage in writing, rather than in person. Hitherto Rowena has always managed to intercept the letters, but this time he bypasses the postbox and gives Mrs Boyle’s letter to Dolores instead. Before it goes into its envelope, Dolores mischievously contrives to swap the proposal letter for one written at the same time, a rude brush-off to a troublesome client. She then tucks the letter into the back of her school knickers, but before she can leave to deliver it, she is stopped by Rowena and friends, out to retrieve the missive and stop Ernest from making a terrible mistake. Tony, the only man in the posse, advances on Dolores, only to be is fazed when he realizes where the letter has been secreted.

MISS MIRABEL: Oh, go on, Tony! You hold her, we’ll get the letter.
TONY: Oh – right!
(Seizes Dolores)
DOLORES (yelling): Let me go – let me go!
STEVE: Turn her over, Tony.
(Tony, holding Dolores, sits on settee or chair and pulls her across his lap.)
DOLORES: I’ll tell my Mum! Leave me alone! You’re hurting me! (Etc ad lib, her feet kicking.)
ROWENA: I’ll hold her feet.
(Down on one knee she does so. Dolores, unable to kick, sinks her teeth in Tony’s wrist.)
TONY (yelling): Oh! She’s bitten me to the bone again! Right!!
(Lifts his hand high to wallop Dolores. Miss Mirabel, having heard a noise, has gone to French windows to look off.)
ROWENA: No.
TONY: Just one.

Rowena tries to remind him that their main objective is retrieving the letter from the seat of the brat’s knickers, not administering a spanking to the same general area. But the noise that attracted Miss Mirabel’s attention was Lady Fitch arriving. She is horrified to see a spanking about to happen and unconvinced by Tony’s explanation that it’s ‘just harmless fun and games’. So Dolores escapes unspanked to deliver the letter, and Tony seems to have lost his chances of a job.

The misunderstandings pile up frenetically in the rest of the play, but are ultimately sorted out by cunning use of the ten different magical properties of the salts in the green bottles. The main things to register are that Tony does get the job after all, Ernest finally realizes that Miss Mirabel is the woman for him… and Dolores still doesn’t get spanked. Though on that last point there is a little something to report from the farce’s two-decade stage history.

Like Massey’s plays, Ten Green Bottles was primarily intended for amdram groups and, so far as I know, has never had a professional production. But I do know of 29 amateur productions over the years, starting in 1958 with the Greenbank Players of Renfrew from November 20 through 22, and continuing up to a production at Seaford Little Theatre in 1976. The only known picture is from the second earliest production, mounted by St George’s Players of Taunton on November 24 and 25, 1958, the week after the play was seen at Renfrew. It featured David Cooke as Tony and Maureen Hex as Dolores, though sadly you don’t have much chance of making out their features in the available print:

The less sad news, except possibly for Maureen Hex, is that the production didn’t play the scene as written: Miss Fitch arrived later than in the script, and it was Tony’s enthusiastic spanking of Dolores that prevented Rowena and Steve from retrieving the letter out of the knickers. And what’s more, a mere letter doesn’t have the same protective powers as the traditional book down the seat of the pants…

Farruko’s Back

Karina Perez has been getting spanked a lot lately, thanks to her recurring role as Cuquita, the naughty student of Professor Farruko in the sketch show El Reperpero, one of the Dominican Republic’s recent contributions to the joy of the world. But alas, it looks as if her days in the role may be numbered…

As we embark on this third helping of sketches, Farruko has been teaching Cuquita for a whole year, but without any obvious sign of improvement. One positive step from our point of view, however, is the pretty summer dress that is revealed when she removes her negligee and lies down to be spanked.

And in another definitely positive move, Farruko lifts her skirt to expose her big black panties,

whereupon naughty, incorrigible Cuquita begins to twerk!

(Note the unscheduled appearance of Karina’s own panties underneath!)

Will twerking distract the Prof from his disciplinary duties? Don’t count on it, Cuquita!

The video is here.

That was Karina’s last performance as Cuquita for a while; reportedly health issues forced her to temporarily give up the role. Happily, the producers decided that Farruko was too popular to drop. Less happily, there began an unsettled period for the series. In part this was because of repeated collisions with YouTube’s censorship policies: some sketches were marked as ‘adult material’, meaning that, to watch them, you had to supply the platform with the kind of personal and financial information that nobody in their right mind would post freely on the internet; and one sketch was published in cut form, with the excised action being, with awful predictability, the spanking. Some sketches were never published at all, only streamed as part of the whole program. And in part, it meant a lot of chopping and changing of girls, which at least brought the virtue of variety.

So it’s time for the Prof to take on a new student, and time for us to meet Adenz Naranjo:

She’s also a fitness guru, and is evidently well aware of the appeal of her rear aspect:

Here she is in costume for her introduction as the Professor’s new student.

In her first lesson, she talks back to him,

and swiftly learns how he deals with misbehaving students

The video is here.

Alas, some viewer reactions were unenthusiastic, with comments to the effect that Adenz wasn’t as funny as Karina. So they kept the schoolgirl outfit but put it on another girl, in the shapely shape of Yadsi Henriquez Reyes.

We’ve encountered her before, under the discipline of both El Mano Negro and Farruko himself. But to make sure she is under no illusions about what the Prof’s tutelage will entail, let’s have a publicity shot:

The viewers still preferred Karina, but that wasn’t the worst problem this time round. This was the video that was censored: the sketch went up to the moment when Yadsi is putting herself in position for the spanking, whereupon there was a 20-second cut, and the sketch resumed with her getting up afterwards! But thankfully they opted to publish the complete sketch a few months later, enabling us to see what happened in between!

The complete video is here. If you’re interested, you can also see the censored version here.

Next up is a third new student in as many sketches: meet Natalie Cordobao.

She may at first seem a little less prepossessing in costume for the sketch,

and she’s as dim as all of the others when it comes to answering Farruko’s very simple questions. But it seems she does know something about the proper way to get spanked. When Farruko loses his temper, sits down and orders her across his knee, the first thing she does is not to assume the position, but strip off to her lacy underwear.

Thus self-prepared in the most literal sense, she presents her bottom to the Prof for punishment:

The video is here.

She returns for more in the next sketch, the first one that was only streamed and not published as a separate entity in its own right. This time she has abandoned her glasses, but the white miniskirt is the same, and so is its ritual removal before she takes the spanking in her undies.

Farruko’s fans were still dissatisfied, with one or two making the slightly peculiar criticism that Natalie wears pantyhose (it seems they wanted bare legs). But the main cause for complaint was, as usual, that Cuquita was funnier. So the next sketch hopefully went down better, though once again it was only streamed. Karina Perez is back from her hiatus – and this time it’s epic!

One person who’s not delighted by Cuquita’s return is Farruko himself. That means fireworks, and when friction first erupts, Cuquita shows that she too hasn’t forgotten how to be spanked properly: she takes the Prof’s ‘smacker’, whips up her own skirt,

then bends over and vigorously whacks herself.

Farruko’s response is to rearm himself,

then order her into position so that she can be spanked even more properly.

Cuquita whips her skirt back up and dives over his knee.

Those who don’t care for pantyhose may be disappointed to see that she too is wearing it, with fishnets on top.

But those who like a good, sound, nonconsensual-seeming spanking will enjoy an especially animated performance from Karina:

It’s an uncommonly extended Farruko spanking: she’s in position for just over a minute, with 15 whacks administered (plus a lot of general hilarity). And it’s not over yet. When the lesson continues to go badly, Cuquita’s next move is to grab the pouffe, raise her skirt yet again and bend over:

And so, with a lot more wriggling, she gets her third spanking of the sketch!

This is also quite a long one, 16 whacks across just under 30 seconds in position. So counting the self-administered ones, she gets a total of 40, all on her panties, and around 20% of the running time of a 10-minute sketch is directly taken up with spanking.

Remarkable Reperpero!

Wait Till Your Mother Gets Home!

Meet Viktoriya Bliss, a pretty young woman from Moscow, of variable hair color but constant talent.

What’s she doing here? Well, it might just possibly involve…

Since 2015, she and her friend Denis Flin have been running the MyPack YouTube channel, which was originally dedicated to video gaming, but eventually found its niche with wry observational videos and sketches.

In most of the videos, Viktoriya and Denis play all of the parts, with a little help from their cat Batters, so the completed sketches are often intricately put together like a jigsaw in the editing suite, and some of the casting is a little… unexpected. For example, in the sketch that we’re going to be looking at, Viktoriya plays two sisters who are almost never in shot together, and Denis plays… their mother!

The story of the sketch concerns Mom going to a parents’ evening to find out how things are at school. She learns that her daughter is a persistent truant and, when she is present, a serial misbehaver. The payoff is what she does about it when she gets home.

In the closing chat, Viktoriya reveals that the sketch is semi-autobiographical: she always used to worry how much trouble she would be in when her mother got back from a school parents’ evening. That doesn’t mean she ever got spanked, but it might well mean she worried about it as a possibility!

It’s a good scene, with Viktoriya first carried over Mom’s shoulder, getting spanked as she goes,

followed by the full OTK treatment:

And the payoff to the payoff? Well, don’t forget that she’s the mother of two daughters…

What’s refreshing is how sanely this handles a trope that has been made so difficult in recent decades: this is overtly a nonconsensual punishment spanking that makes the recipient cry, but even so it is treated as something that’s funny and sexy, not something to get umbrageous about.

So hurrah for Viktoryia and Denis!

The video is here. Make sure you watch to the end for some spanking outtakes. And if you are interested in MyPack’s other videos, please visit their YouTube channel.