{"id":166744,"date":"2024-02-16T11:22:14","date_gmt":"2024-02-16T16:22:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=166744"},"modified":"2024-02-16T11:22:33","modified_gmt":"2024-02-16T16:22:33","slug":"porn-america-moore-chloe-cherry-bianca-censori-maison-margiela","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/02\/16\/porn-america-moore-chloe-cherry-bianca-censori-maison-margiela\/","title":{"rendered":"Porn: America Moore, Chloe Cherry, Bianca Censori, Maison Margiela"},"content":{"rendered":"
\"\"

Screenshot of Baz Luhrmann\u2019s movie for the Maison Margiela Artisanal Collection<\/a>.<\/p><\/div>\n

America has a perfect round ass. We watch her mount a McMansion staircase from a low angle, the framing as deliberate as it is haphazard. The camera is handheld. America has been ironing; the green polo shirt she was pressing, however, looks like it was made from the kind of polyester blend that\u2019s spared wrinkles no matter how badly you treat it. She carries the green shirt in one hand. With the other she grips the metal railing for balance. Her stilettos click loudly on the terra-cotta tile. Each step is measured. In the background, a sparse but funky beat.<\/p>\n

The home in which America Moore performs is Mediterranean, or maybe Tuscan. The walls are a luscious cream with butterscotch undertones. Iron balusters with rounded knuckles adorn a winding staircase spanning at least three floors. The statement windows flanking the staircase are tall, narrow, and arched. The camera struggles to compensate for the sunlight beaming through them, resulting in blown-out portions of the image. America disappears momentarily behind a support beam that\u2019s been drywalled over and painted the same tea-stained-paper shade as the walls. There\u2019s a potted fern at the edge of the frame.<\/p>\n

The action between America and her costar remains contained to the staircase, though we catch glimpses of a living room suite beyond the fern. Two cream sofas with wooden feet are arranged opposite each other, creating a conversational setup. Between them is an oval coffee table placed on a rectangular area rug that\u2019s an ebony shade of brown. In some frames, in which just a corner of the rug is visible, it could be mistaken for soil strewn on the tile floor. It\u2019s difficult to discern the material of the coffee table, as one of the decorative objects resting on it produces a glare that obscures most details. Perhaps it\u2019s polished mahogany. The configuration of furniture positioned to face the table includes a Biedermeieresque upholstered stool the performers also avoid, though it is perhaps the piece that would best accommodate a scene. We know America doesn\u2019t live here. Most likely someone has rented the house for the shoot.<\/p>\n

\u2014Whitney Mallett\u00a0<\/strong><\/p>\n

As in the teen TV drama Euphoria<\/em>, whatever plot there is in porn is insubstantial. Personally, I always let the pool boy say his lines to the bored housewife because I enjoy this artifice in the same way I do the lead-up to a real kiss: no matter what\u2019s said, I know what\u2019s going to happen. Chloe Cherry does, too. Every day at 11:11 and whenever Cherry finds a penny on the ground, she repeats a mantra of gratitude: \u201cI am wealthy, I am healthy, I am thriving, I am rich, I am famous, I am loved.\u201d<\/p>\n

Cherry was born not with that SEO-friendly nom de plume but under the Christian name Elise, in the famously Amish region of Lancaster, Pennsylvania. Souvenir shops in Lancaster are stocked with bonneted, faceless dolls, which the Amish give to little girls because, per tradition, \u201call are alike in the eyes of God.\u201d This is the material culture against which the contrarian Cherry chose to exaggerate her already giant facial features: eyes, teeth, cheeks, lips.<\/p>\n

Cherry starred in an adult parody of Euphoria<\/em> before joining the actual show as the streetwise, dope-sick sex-trafficking victim that brought her from Pornhub to HBO. She says this had nothing to do with her casting. This frictionless self-invention through porn reminds me that women are magical, sex work is work, and life is a gift. The camera adores Cherry not because she\u2019s pretty and skinny but because she has an unbeatable attitude, and she\u2019s better than any of her peers at showing it a good time. Perhaps work can love you back!<\/p>\n

One gets the sense watching Cherry that she is at once laughing and fucking her way to the bank, her good humor evident in the impishly titled She Is Sunburned but Still Horny<\/em>, a film she wrote and produced herself. When Cherry is cumming she often mimics ahegao<\/a>, an expression of pleasure derived from Japanese hentai<\/em>, crossing her eyes in a heavenward gaze and letting her long tongue drape from her mouth. It looks so good on her, even though it\u2019s not the immediate physiological expression of an orgasm, but rather a reference to cartoons. Is all sex acting? No, but great sex is. Are the stakes of sex higher\u2014is sex realer\u2014when the camera intervenes? Definitely, yes. What\u2019s a nympho to do in this world? Live her best life.<\/p>\n

It should be said that Cherry makes some rookie errors on Euphoria<\/em>, her TV debut. Her emotional range is restricted to one doe-eyed, vacant stare, an incredulous look whose function is to seduce. She\u2019s incredibly good at making that face, and it\u2019s fun on the show because Euphoria<\/em> is a poor vessel for realism. A heroin addict who never nods off, Cherry as Faye cannot help but break the fourth wall: It\u2019s me bitch, the chick from Naughty Book Worms Vol. 57<\/em>. When we watch Cherry play a hooker on HBO, we are in fact watching her get off on how easily fame can come to hot girls who fear nothing. Which is also what she\u2019s getting off on in, say, Two Cocks are Better Than One<\/em>.<\/p>\n

\u2014Signe Swanson<\/strong><\/p>\n

The best thing to happen so far in 2024 is Kanye West\u2019s January 6 Instagram birthday tribute to Bianca Censori: a (since-deleted) series of posts showing his \u201csuper bad iconic muse inspirational talented artist masters degree in architecture 140 IQ\u201d wife in an array of outfits that occasioned the <\/span>Page Six<\/span><\/i> headline \u201cShe\u2019s enslaved to him.\u201d (Actually, most of Censori\u2019s styling seems to be done by her longtime best friend, <\/span>Gadir Rajab<\/span><\/a>, and the article concedes that \u201cnot all think Censori is under West\u2019s mind control, with some noting that she is an adult and can think for herself.\u201d) The main styling concept for Censori seems to be, simply, \u201c<\/span>no pants this year<\/span><\/a>,\u201d but <\/span>yes<\/span><\/i> to gimp masks, full-body tights, and small strips of black tape. West himself has been favoring all-black outfits that say \u201cPOLIZEI.\u201d People are so mad! A couple of weeks later, West posted <\/span>a paparazzi photo<\/span><\/a> of Censori getting into a car, wearing a camisole that said \u201cWET\u201d (since revealed as a Yeezy product\u2014twenty dollars). The paparazzi pic is a genre with which we\u2019ve mostly lost touch; instead, we see celebrities on Instagram, the medium with which West\u2019s ex-wife, Kim Kardashian, is synonymous. But all of Censori\u2019s best outfits\u2014memorably, the <\/span>purple pillow<\/span><\/a> held strategically over her midsection on one outing in Italy; or the <\/span>stuffed animal<\/span><\/a> she clutched to similar ends at a party in Dubai\u2014would be aesthetically and sexually impotent were they presented to us within her home. Their impact comes from the fact that she <\/span>actually <\/span><\/i>wore that, <\/span>in public<\/span><\/i>! Never mind that West, of course, <\/span>turned out to be<\/span><\/a> the one directing the photographers waiting outside that tanning salon. At a time when our image culture is saturated by the uberpornographic yet wholly unsexy selfies of the Kardashian-Jenners, \u201creal\u201d moments of direct-to-consumer domesticity staged in their mansions, Censori\u2019s papped pictures shows us that the erotic actually requires exteriority.<\/span><\/p>\n

I thought of Censori and West while watching <\/span>footage<\/span><\/a> of John Galliano\u2019s 2024 Margiela couture show, a thirties-inspired spectacle presented on the last day of Paris Couture Week this January. If the collection itself, which hinged on the ultratight corsets also favored by the couple, was a thesis on clothing-as-fetish-object, the runway show, like \u201cWET,\u201d was an homage to streetwalking. The evening began with a black-and-white film interlacing a series of soft-core vignettes (bondage via corsetry, a street chase following a passion-fueled jewelry robbery), out of which the first model seemed to literally stumble, appearing before the audience, breathless, as the film\u2019s thief-protagonist. The models who followed walked jerkily, as though filmed in the low frame rate of an old silent movie. This was a runway fantasy situated not in the past, but within film itself. Galliano\u2019s primary inspiration was Brassa\u00ef\u2019s voyeuristic photography of Parisian nightlife; in the show\u2019s faux-speakeasy setting, the insistently anachronistic glare of the audience\u2019s own cameras rendered every onlooker a street photographer. Surrounded by iPhone screens, the models\u2019 prosthetically cinched waistlines recalled not so much the century past as the surgically enhanced hourglasses of the Kardashians. It was these moments\u2014in which the contemporary was made to appear in the past, and vice versa\u2014that gave a real edge to what might have otherwise have felt like a cute historical cosplay. Like West, Galliano tells us that fashion requires a crowd. It does not take place at home. Although his show was billed as \u201ca walk through the underbelly of Paris, <\/span>offline<\/span><\/i>,<\/span>\u201d it reads as a canny commentary on the present articulated through outmoded technologies, as well as a reframing of the \u201csocial\u201d medium as explicitly \u201cpublic.\u201d Both the Margiela collection and West-Censori\u2019s styling project were meant to be sexy, which they are. But they\u2019re exciting because they seem to signal, finally, a cultural shift: not only out of the 2016-era suppression of sex but back into the world, back into mediation, and away from false interiorities and intimacies of all kinds. At least, that\u2019s my fantasy.\u00a0<\/span><\/p>\n

\u2014Olivia Kan-Sperling, assistant editor<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201dShe Is Sunburned but Still Horny.\u201d<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68759,67827,10844,1497,8258,180,6382],"class_list":["post-166744","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-euphoria","tag-featured","tag-john-galliano","tag-kanye-west","tag-porn","tag-pornography","tag-valentines-day"],"acf":[],"yoast_head":"\nPorn: America Moore, Chloe Cherry, Bianca Censori, Maison Margiela by The Paris Review<\/title>\n<meta name=\"description\" content=\"February 16, 2024 \u2013 \u201dShe Is Sunburned but Still Horny.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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