Stormy Daniels welcomes OUTtv viewers to a McMansion full of gay singles, and perhaps their latest guilty pleasure, as host of the reality dating series For the Love of DILFS (★★☆☆☆).
Splitting its diverse cast into hot, young Himbos and distinguished Daddies, the show blurs the lines between pursuer and pursued as the two groups circle each other in hopes of finding love, and leaving with a $10,000 prize.
DILFS falls squarely into that FBoy Island subset of reality series that send sex-crazed singles in thongs and bikinis to frolic in tropical locations — in this case, a Ft. Lauderdale waterfront estate dubbed DILF Mansion.
Executive-produced by Artie Shaw and Topher Cusumano, who also directed several episodes of season one, the series doesn’t necessarily innovate or add anything radical to the format.
In fact, the show’s bizarre conceit of having Daniels guided in her matchmaking duties by unseen gay relationship expert “Dr. Dilf,” constitutes a miss. Dr. Dilf delivers directives over the phone, honking like a grownup in a Peanuts cartoon, and Daniels — playful, professional, and looking fabulous, in spite of some unfortunate two-toned hair extensions — can’t help sounding preposterous enacting their one-sided conversations.
The production value of what surrounds her, with the exception of the multi-million dollar mansion, registers as early-season Drag Race, well-considered but rough around the edges.
For the Love of DILFS — Photo: OUTtvFor the Love of DILFS — Photo: OUTtv
Where DILFS succeeds in bringing something fresh to the format (in the three episodes available for review) is in how it takes advantage of the ways gay men date differently.
For one thing, these guys, like most guys, are not at all subtle in signaling who really turns them on, or who doesn’t. While more than one seeking single in the mansion talks about having tried every other possible way to meet Mr. Right, and being open to all the romantic possibilities, it’s still physical attraction — inexorably, ruthlessly — that plays the most visible part in how the pairings ebb and flow.
Personalities are the flip side of that coin. Despite the obvious, contrived un-reality, a good share of the cast comes across as being earnestly themselves.
And, though organized by type, the Himbos (“muscular, kind-hearted, ready to party, and maybe a little chaotic”), and Daddies (“distinguished, insightful, nurturing, and maybe too set in their ways”) represent a decent array of bodies, backgrounds, and motivations for being on the show.
For the Love of DILFS — Photo: OUTtvFor the Love of DILFS — Photo: OUTtv
Even the Himbo who introduces himself as Tony Cannoli, and appears to be a walking, pompadoured cliché of a Jersey Italian mama’s boy, has moments of sincere longing and connection with his first Daddy date, Alex.
Unapologetic porn performer and sex worker Alex — “I make my entire living fucking people” — brings an interesting dilemma into the house for Tony, or any other Himbo who might be interested in getting serious.
The show finds space to, of course, have fun with the subject of dating a sex worker, but also for serious, brave discussion about living beyond or adverse to societal norms.
Then again, if that’s too heady for you, there’s always self-described “bad bitch” rapper Tokeyo, a Himbo who derives all he needs to know on his first date with Daddy Gordon from Gordon’s response to Tokeyo’s dating dealbreaker: Are you Team Nicki Minaj or Team Cardi B.?
For the Love of DILFS — Photo: OUTtv
That’s a serious, brave discussion for Tokeyo, who also stirs up drama with his real frenemy from WeHo, Phoenix, who also happens to be cast as a Himbo. Phoenix dates around a bit, as do most of the other guys, which is exactly the messiness you’d expect and want to see on a show like this.
One or two pairs, though, appear destined for more than a Dr. Dilf-prescribed hookup, offering an opportunity to watch the reality show version of true romance blossom, at least until some queen tries to come between a Himbo and his DILF.
Every week a new Himbo or Daddy enters the house, and one of the old ones is kicked to the curb. Episode two adds Andrew Christian underwear model Matt Palmer to the Himbo harem, sparking a feeding frenzy that could cast established couples asunder.
Sex and suspense linger over DILF Mansion like a steamy night in paradise — or like last call at your local dive. Choose your adventure.
For the Love of DILFS episodes are available for streaming on OUTtv, with new episodes dropping every Tuesday. Visit www.outtv.com.
Blessed with a sweet yet sturdy redemption story, Sister Act, based on the hit 1992 film starring Whoopi Goldberg, is a natural fit as a screen-to-stage musical.
The tale of lounge singer Deloris Van Cartier hiding out from her murderous crime boss boyfriend in the last place he'd think to look for her -- a convent full of singing nuns -- eagerly lends itself to set-pieces full of singing and dancing.
Composer Alan Menken and lyricist Glenn Slater's score of catchy original tunes are paired with a solid book by Cheri Steinkellner and Bill Steinkellner, and additional material by Douglas Carter Beane.
Her parents call her Vivian, but she won't stand for anyone else calling her that. She's Twinkie, a 17-year-old, self-described "master of sarcasm" just poking her head out of the closet in writer-director Sarah Kambe Holland's engaging autobiographical debut feature, Egghead & Twinkie.
Based on Holland's eponymous 2019 short, the feature re-teams Sabrina Jie-A-Fa as baby dyke Twinkie and Louis Tomeo as straight dude Egghead, Twinkie's best friend since fourth grade, when his family moved in across the street.
Now the pair are wading into their last summer together in the Florida burbs before Egghead heads to Stanford to study engineering, leaving Twinkie at home still figuring herself out. She's already figured out that she doesn't want to be like her conservative, yet separated, adoptive Mom (Kelley Mauro) and Dad (J. Scott Browning).
Like life imitating art and art imitating life, Synetic Theater currently has rather a lot in common with the subject of their production of The Immigrant, a riff on Charlie Chaplin and his tragic-comic character known as the Little Fellow.
Not only are Synetic's founders themselves immigrants, but the company is now as homeless as Chaplin's character. Add the fact that the headlines don't go a day without covering the plight of immigrants of all stripes, and it's all happening here under the bowler hat.
Of course, having no space to call home is no laughing matter -- especially since Synetic must move between area theaters, even mid-run, as in the case of The Immigrant. This must be taking its toll.
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