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.
To enter the fanciful kingdom of Arcadia, in Constellation Theatre's delightful, if uneven, musical romantic-comedy Head Over Heels, is to fall in love again with the music of The Go-Go's. If you ever loved them, and were around in the '80s when the quintet was fresh and riding high on the charts, the songs sound solid here, maybe in need of a little octane.
The reputed most successful all-female rock band of all time provides the music for this madcap romance, conceived and with a book by Avenue Q Tony-winner Jeff Whitty, based on Sir Philip Sidney's 16th-century classic The Arcadia, and adapted by D.C. native James Magruder.
Do we never tire of Stephen Sondheim's music? Not if it is performed with flawless finesse by a troupe of performers who breathe fresh interpretations into the songs that musical theater lovers have heard umpteen times.
Lucky for us, this is the case with the new Broadway revue, Stephen Sondheim's Old Friends, a two-and-a-half-hour soiree that showcases the late composer.
Director Matthew Bourne was tasked with a near-quixotic challenge to whittle down Sondheim's body of work into one show. Some will leave the theater not having heard their favorites.
Still, there is more than enough to satisfy even the most ardent acolyte. Even the three shows for which Sondheim contributed only the lyrics: West Side Story, Gypsy, and The Mad Show are represented.
Dark comedy done well can be so delicious. It takes a certain alchemy to lace tales of death and desperation with unabashed humor, but the Coen Brothers hit the target dead-center with Fargo, and then off to the side with Burn After Reading.
Danny DeVito, when he was directing movies, nailed the tone of black comedy with the homicidal shenanigans in Throw Momma from the Train, then again by pushing a divorcing couple off a proverbial cliff in The War of the Roses. In that bitter anti-romance, the jokes, both achingly sad and viciously funny, cut deeper the bleaker the Roses' battle becomes.
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
You must be logged in to post a comment.