Jacinta had had an amazing career in Hollywood – first as a pretty young actress, then later as a talent scout, an agent, and finally as a producer. But of all the work she had done, the thing she was most proud of was the “reality clause”.
She had started it at her own production company, and gradually convinced the major studios to adopt it too. It was now a standard term in the contracts of all female actors, and it contained two simple requirements: all sex scenes would involve real nudity and sex, and actresses would perform in the scenes the director of the movie required of them.
It was Jacinta’s response to the #MeToo movement. When Jacinta was a young actress, she had sucked every cock that had been pointed at her for the chance to appear on the silver screen. She had been raped by ever major director and producer in the industry. There wasn’t a man of significance in Hollywood who didn’t have a private photo of Jacinta naked and decorated with his cum.
So why should these ungrateful young sluts think that they were better? Why should they think that they should achieve fame and fortune without becoming the same kind of sex-doll for their male colleagues that Jacinta had been? They should be thanking men for thinking they were pretty enough to rape – there were millions of girls who dreamed of fame who never even got the chance to be used as a cum-receptacle by a famous film mogul.
And so Jacinta instituted the reality clause. Many actresses, of course, would not sign. The more famous actresses in particular thought they didn’t need to accept such humiliating terms. But Jacinta was influential, and if she wanted someone blacklisted, they would find it increasingly difficult to find roles in A-list productions. And so the girls who wanted to be famous signed the contracts, and the girls who didn’t soon found they weren’t quite so famous anymore.
And it immediately reaped Jacinta huge profits. It turned out that audiences would pay in droves to see a famous teen sex symbol actually lose her virginity on screen shortly after her 18th birthday. They loved to know that when an actress undressed on screen, her humiliation was real, and that when she was fucked by the male co-star, her tears were real, her moans her real, her orgasm was real.
It was the profits that convinced the rest of the industry to back Jacinta’s idea. At the end of the day, no one in Hollywood could say no to money. Not even the actresses.
And there were other benefits. Studios found actresses to be *much* more compliant and eager to please now – both professionally, and sexually. After all, it was the studios who provided the birth control and contraceptives. And it was the studio who decided what sex scenes should be filmed, and how. Good girls got steamy, loving fuck sessions on camera where they were allowed to be on the pill, and their partner wore a condom. Bad girls got violently gang-raped on screen, with cocks plunging bareback into unprotected cunts and ejaculating into the girl’s fertile womb. Bad girls ended up burdened with a baby that had no father. Bad girls found the only films they got offered were pregnant rape porn bookings where the producer told them they could sleep in a dog cage between shoots to save on housing costs.
Jacinta organised publicity tours with some of her prettier actresses, getting them to go on talk shows and say how grateful they were for the reality clause, how real sex on screen was just so much more authentic than simulated sex, and how much fun they had fucking all their co-stars.
The actresses hated doing this – they felt like traitors to their gender – but they all remembered the recent horror movie that Jacinta had made, where the villain had raped the heroine’s cunt with a cattle prod. It had all been real – every last electric jolt to her pussy – and Jacinta had insisted on re-shoot after re-shoot until the actress had been able to deliver an authentic orgasm from the abuse.
No one wanted to be that girl. And so the actresses were eager to do as they were told, and keep Jacinta happy.
They particularly praised the men who fucked them the hardest, who used them the roughest. She trained them to giggle and laugh about sex scenes that had left them in tears at the time, and act like their most traumatising sexual experiences were golden Hollywood moments that they would cherish forever.
After all, Jacinta needed a steady supply of pretty young naive girls who wanted to be actresses.
It was common, of course, for directors and producers and investors to get “cameos” in movies with pretty actresses. The cameo would inevitably involve a sex scene, even though these scenes would somehow never make it into the finished movie. The actresses knew what was expected of them – spread their legs, let the important man fuck them, be a good girl and make him cum, and the high-profile film roles would keep being offered.
Sometimes Jacinta even took a turn. She wasn’t a lesbian, but sometimes these conceited young actresses with their “feminism” and their “equal rights” just really pissed her off, and on these occasions she wanted nothing more than to rub her cunt against their stupid faces and slap their tits and kick them in the cunts until they cried and admitted they were nothing but a pair of tits and a face for men to dream about ejaculating on.
She kept photos of herself raping some of the more famous actresses in the industry up on the walls of her office, so new actresses would have no illusions about who held the power.
Nevertheless, one actress in particular had tried to defy her. After starring in the superhero film “Power Tits”, sexy young redheaded actress Ella Bryce had gone on a tour of the talk shows to talk about how she had been raped on set, how awful it was, and how the industry was misogynistic and women shouldn’t stand for it.
Jacinta had been furious. She had made Ella Bryce synonymous with the name “Power Tits” in the minds of the world, and this was the gratitude that Ella had to show?
So she called Ella’s agent and said that she needed reshoots on “Power Tits”. Yes, the film had already released in cinemas, but Ella’s contract allowed for reshoots up to five years after principal photography, regardless of whether the movie had been released. And yes, the reshoots would happen on a small island in international waters.
Why in international waters? Well, they needed somewhere to film where it wouldn’t be illegal to make a woman fuck an animal. And where it wouldn’t be illegal to force her, if she refused to comply. The reshoots shouldn’t take long – no more than a month or so.
Jacinta was prepared to threaten lawsuits to get Ella on that plane – but as it turned out, Ella’s agent was more than cooperative. After all, Ella had refused to fuck her agent, even after all her agent had done for her. So he was more than willing to put Ella on a plane without telling her where she was going or why she was going there – that is, if there might be a role for him in these reshoots, that involved him fucking his pretty young client, preferably while she struggled and cried?
Jacinta was certain there would be such a role. In fact, she said, he could bring any friends who wanted similar roles.
She thought for an ungrateful bitch like Ella, she might even take a role herself.