Gay Erotic Video Index
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The time: 1963.
The place: Southern California, somewhere near the beach.
The players: Gossipy neighbors, hunks with surfboards, neighbors with secrets.
Is it "Beach Blanket Bingo" or "Peyton Place," perhaps? No, it's "There Goes the Neighborhood," a clever spoof of everything from sand-and-surf epics of the 1950s to the Rock Hudson-Doris Day classic "Pillow Talk," but one hell of a sexual escape, too. And it's all scripted and directed with care by Rick Tugger.
Picture a quiet California suburb in 1963. Neighbors don't lock their doors. Surfer dude Brad Benton, the so-called Kahuna, is taking sexy Kate Patrick, as Annie Margaret, and doing one heck of a kittenish routine, out surfing, much to the dismay of their straitlaced parents. However, just as this somewhat normal day is unfolding, up the street drives Paul Johnson, who, with a car full of guys, loads up their just purchased house with a ton of camera equipment. "Looks like frat boys, Marty. I smell trouble!" sniffs Rowdy Carson to her husband, Mark Broadway. A swarm of gay stereotypes (that was still okay in 1963) parade in and out of the house, to the confusion of the neighbors. Kate dumps Brad to check them out. (All I can say is that if Paul moved into my neighborhood, I wouldn't be worried. I'd petition to have the property values increased.)
You see, Paul is a movie director, who makes racy underground movies, but who is resisting actual porn. In the scene he's first shooting in his living room, Rod Barry plays a Roman soldier (complete with a pleated skirt), who is torturing buff blond Zach Hunter, tied to two columns. Just as the scene is about to begin, Rowdy and Mark arrive to welcome Paul to the neighborhood, introduce themselves, and hopefully snag some acting roles ("I'm pretty good with accents," says the hysterically nerdy Mark Broadway). Rod and Zach start to wrestle to pass the time until Paul returns. The anxious Rod barks at him to turn off the camera before planting a wet kiss on Zach. After they kiss, Zach rims Rod's ass, still in the skirt. He laps up the entire somewhat hairy bum as Rod gyrates his ass to make Zach work harder. Rod then settles into a chair so Zach can blow him, which is done with an all-out force and a winning deep-throat. Paul watches, coming close to the action and undoing a few buttons, but never entering the scene. After Rod has finished with Zach's face, he tosses him on his stomach to get fucked. Rod, sporting a very angry face, gives a fuck that follows suit. Moments later, Zach is riding Rod, still snarling as Zach bounces his way into stealing the scene with his ability. After turning around fully inserted, Zach, still riding, pumps out a load that lands on Rod's chest, followed by a nice blooming popper from Rod. The scene is actually rather short, minding the filmmaking theme and comedy buzzing around it.
Rowdy and gal-pal Vanda Ward discuss Vanda's husband Deacon Frost, who apparently has a delightful penchant for musical theater. Deacon himself is outside watering his lawn and making eye contact with one of the gay studs from next door doing the same, only more suggestively. Rowdy tells Vanda that she has a party line to Paul's house and they listen in, eavesdropping on plans for the movie that are completely gay in meaning but taken as completely harmless by the clueless ladies. Shades of Rock Hudson and Tony Randall in any movie they made together.
Paul's next filming is a pirate scene by the pool in his backyard where brunet cutie Chris Bolt and blond super-bottom Jay Ross are the stars. Cameraman Andy Dill, a bald and hairy daddy, wants Paul to do fuck flicks, but Paul refuses. Policeman Phil Philips, Brad Benton's father in the flick, shows up to check things out with Paul, leaving Andy and the boys all alone in the backyard. Chris and Jay waste no time sucking face as Andy starts to jack off on the other side of the pool as closeted Deacon watches from a hiding perch a few feet away. Jay goes down on Chris' thick cock with a take-no-prisoners style, gulping to the extreme and making it all look quite sensational. If you don't get that message, a teasing tongue and great eye contact hammer it in. Chris then sucks Jay, easily gobbling up his dick as Andy spits on his own dick to keep it lubed up. Jay sticks his ass out to Andy, which is a brazen invitation, so Andy joins them by angrily goading Chris into sucking his cock. The delicious Andy is a burst of energy, a wowing presence who controls every moment he's on camera. He gets both Chris and Jay to blow him, and there's plenty of cock to go around, with the noises thankfully left in. They head into the pool for some three-way kissing before Chris blows Jay as Andy attends to Jay's nipples and mouth. Chris then goes back to sucking Andy before both guys shove their asses in Andy's direction. Andy gives each a rimming, particularly Jay's super-ready hole. Andy fucks Jay first as Chris is trying to kiss Jay, made difficult by the speed Andy uses in fucking Jay. Andy is on fire. Chris gets it next from Andy, doggy, that is every bit as ferocious. At one point, Chris gets on his back, with the same furious style from Andy, but with Jay sitting on Chris' face. Once Andy has fucked the cum out of Chris, he returns to Jay, with even more venom, until Jay cums. Andy then stands over his spent buddies and drops his load on them.
Back in front of the house, Paul is still talking to the cop, who has noticed this rather unique Dillon. "He can handle any big job in front of him," Paul notes with a twinkly smile. Now remember, the supposedly straight Deacon Frost (who bears a slight resemblance to Rock Hudson) has been watching this scene, and as he's about to shoot, tough-looking Dillon Press stops him. "Don't waste that load, Mr. Wilson. I'll take it," he says. Dillon proves that by taking a moment to suck Deacon before pushing the novice's head down to his pants. Beneath the rock-hard muscles and web of veins, Deacon nervously and slowly gets to the blow. It's a big dick to handle, and the wide-eyed Deacon plays his part to the hilt. He starts out just at the head, lavishing a ton of spit on the cock, and going very slowly. Soon enough, though, he's seized the moment and miraculously manages a deep-throat. The use of close-ups here is particularly helpful because it shows Deacon's hunger. Dillon then presents his ass to Deacon, who charges into it with all of his face, giving a swell rim. After more blowing from Deacon, who has now added a great hand motion and tons of speed, Dillon eats Deacon's pretty ass, doing so without breaking character. "Now you're gonna have a man fuck you," Dillon says. "Please!" Deacon responds. For a first-timer, Deacon is a wonder. He takes Dillon to the balls, with Dillon snarling a harsh fuck into him. Deacon goes crashing against the wall, but seems to love it. In fact, eagerly begging for it. Dillon literally gives him all he has until ripping off his condom and shooting his load on Deacon's handsome face. Deacon then loudly sprays a wild shot of his own.
By the ocean, to music that sounds like it was lifted from 1959's "A Summer Place," Brad emerges from the ocean with more swagger than Frankie Avalon every mustered. Paul is sitting on the beach waiting for him. Brazen Brad makes some small talk and then out of the blue says: "You know what? I need to get my dick sucked. Why don't you go back to the shack with me and help me out?" This being a period spoof, there is a thatched shack on the beach, decorated with surf knickknacks and candles. Paul, looking better than imaginable, from his pert muscular butt to his clipped hairy chest to his masculine squinty-eyed face, literally ravages Brad's slender cock by taking it to the nub with every gulp. Brad looks utterly stunned by someone with this much ability. They kiss in between Paul's trips to the cock, and after Paul has temporarily had his fill, Brad attempts to ape him by licking down his chest and abs to his dick, where he sucks with equal want, Paul face-fucking him cautiously. Paul returns to the best blow throughout the flick. Take note of the curl in Brad's toes. I think that means something. Paul even fingers Brad as he's blowing him, with Brad clawing and licking his way around Paul's back. Paul then turns Brad around so he can rim him, Brad braying, his toes still curled. Paul then gets on all-fours so Brad can have the pleasure of eating from his perfect butt, and then Paul returns to making Brad's ass glistening wet. Paul says he wants to fuck Brad, but Brad says that Paul has to get fucked first. They flip over and Brad slowly but surely squeezes his dick into Paul's ass and rides. Brad truly delivers a great topping performance here. Paul then fucks Brad from underneath and with tons of strength. Still inserted, Paul turns Brad over so he can actively fuck him on his back. Brad eventually pumps a load all over his stomach and then Paul jacks himself off. Paul tells Brad he is thinking of doing fuck films. "I think it's a groovy idea. I think you should do it." He's all for gay fuck flicks, but he won't be Paul's model. "You'll just have to watch from a distance," he teases as he leaves. Paul looks spent, and it's no wonder.
Kate listens in on the party line (she's also flipping through her 45s as she uses her pink dial phone) and hears Andy talking about a location shoot at a local bar where the principals will be in costume. Kate tells Rowdy, who races to call Vanda, who calls Deacon who calls Mark who calls Phil. And, yes, they use split-screen imaging much like you might have seen a in a furious Doris Day-Thelma Ritter-and-everyone-else montage at the climax of one of their movies.
At the bar, Paul is shooting his first hardcore gay porn scene (as with all of the sex scenes, they start out in black-and-white until the sex takes over and then the Technicolor comes washing in). Zach is dressed in a sailor's pants and hat, with Andy also in a similar outfit and a nearly unrecognizable Deacon in a mask and leather regalia. The fun of this scene at the beginning is that Paul is calling the shots and his direction is left in, often with hilarious results from the guys taking the direction. He tells Deacon and Andy to pull off Zach's pants and start to lick his ass, with a gorgeous display of tag-teem rimming. Paul pulls Zach out of the scene and has him man the camera instead, tossing the ever-able Dillon in, since he's wearing jeans and chaps. Dillon brings an immediate energy, whipping Andy into a frenzy. Dillon is told to suck cock, so he goes down on Andy while Deacon shoves his dick at his face as well. Dillon handles them both with aplomb. He is told to gag on them, and he does. So good at taking direction! Andy peels off Dillon's jeans to reveal his muscular ass while Deacon blows Dillon inches away. "You are making history, guys!" Paul bellows as Andy pushes Deacon out of the way so he can blow Dillon. Paul tells Andy and Deacon to share the cock, and they do before Deacon blows Dillon solo as Andy rims him.
As this masculine trio continues, Paul goes outside to meet another actor who was supposed to show. Before he can find him, however, cop Phil Philips, a swaggering hairy and very muscular guy, tipped off by the phone montage above, arrives to see what's going on. The porn trio mistakes him for the actor and pulls him into the scene. The next part of the scene is truly inspired, with Phil fighting the three guys off -- and never forgetting that's what he's supposed to do. This isn't one of those force-the-guy-to-have-sex scenes where after about ten seconds the guy suddenly finds he's into it. Not until near the very end does Phil stop fighting, which makes the jobs of Andy, Dillon and Deacon even harder. Not only do they have to be sexy, but they have to do it in a forceful way, their muscles stretched to the max just to keep this massive stud in line, not to mention sexing him up. Andy spends a lot of time forcing his cock into Phil's mouth, who does everything but bite it to keep it out of there. He tries to push Andy away, but he's got bigger problems. They have turned him over and Dillon has started to prep his ripe ass with a rim. It doesn't take long for the tongue to be replaced with a finger and then they toss Phil on the bar, Andy sitting on his face to keep him quiet (oh, and get his ass chewed, of course), with Deacon blowing his cock, which is rock-hard despite his protests. Dillon then straddles his face to force his dick down Phil's throat, pouring beer all over Phil's face and his own cock. Andy fucks Phil, who manages to roar with anger even though Dillon's cock is still in his mouth. Andy really fucks the living daylights out of him, fast and incredibly manic, until Dillon decides it's his turn. By now, Phil isn't fighting as much, and Deacon urges him to vocalize how much it loves it, as they spit into his mouth. Dillon is a mean fucker. All of his considerable heft goes crashing into the equally massive Phil for a gargantuan fuck. The hungriness goes from man to man until they are all growling and howling with pleasure. Phil is then forced to sit on Dillon's cock, and now is the moment where Phil gets to show off. He manages to ride Dillon's cock with the ability of a true pro, bounding fully up and down, with his character now fully enjoying himself. As he rides, he blasts his goo all the way up Dillon's chest and then Andy and Deacon smack him in the chest with their shots. In a complete 180 from his entrance, Phil lovingly cradles Dillon in order to get him to pop. They all collapse in a heap just as Rowdy, Mark, Kate and Vanda come barging into the bar (in uniforms) to sing a song and prove their talent for Paul, still thinking he's another kind of auteur. When dim Rowdy realizes the truth, all she can say is, "What the hell, it's still the movies!" Paul looks queasy and with deadpan delivery opines:
"Well, there goes the neighborhood."
Stay tuned for some funny oddball business through the credits, which reminds me to tell you that the non-sexual aspects of this flick (if you haven't guessed) are an absolute delight, including the costumes, music and editing. The performances by Rowdy Carson, Mark Broadway and Kate Patrick are delirious, particularly Kate's dead-on Ann-Margaret take. Even the sex stars deliver excellent non-sexual performances. Paul Johnson, in an inspired performance, takes full control of all around him and there goes the film, wherever he goes.
But it's the sexual performances that catapult "There Goes the Neighborhood" from a dizzy affair into something more. The Paul-Brad sex scene is outstanding, as is the finale. The men are perfectly chosen, for looks and sexual talent.
A Video Review by Brent Blue
There Goes the Neighborhood is, hands down, one of the most enjoyable videos I've ever had the pleasure to review for this magazine. Writer-director Rick Tugger and his extensive creative team have harnessed their considerable talents toward creating a video that is not only cleverly and handsomely produced but also includes some of the most sizzling sex scenes I've seen in quite a while. There Goes the Neighborhood is not without its faults, but I can honestly say that Tugger and crew have created what I can only describe as a seriously sexy and outrageously funny gay adult video of the first order.
Our story begins in a typical southern California suburb, circa 1963. An expertly edited opening montage introduces us to three of the families who live on this sunny tree-lined boulevard: Dot (Rowdy Carson) and Marty (Rick Broadway), the nosiest neighbors this side of Mrs. Kravitz from Bewitched, can't seem to control their wild teenaged daughter, Annie Margaret (Kate Patrick), from rushing off to the beach with handsome surfer Kahuna (Brad Benton), son of the even more handsome neighborhood cop Duke (Phil Philips). Even the married twosome of oh-so-repressed Kevin (Deacon Frost) and oh-so-butch Angie (Vanda Ward) take note of the early morning fracas when Annie Margaret hops into Kahuna's sporty coupe to the noisy protests of her hapless parents. All heads turn as impossibly trim and hirsute director Vin (Paul Johnson) drives up to his newly purchased house across from Dot and Marty. Out of his station wagon tumble an assortment of musclebound he-men and sun-kissed twinks ready to set up shop and shoot homemade beefcake posing films. Johnson's new neighbors watch open-mouthed and star struck as cameras and lighting equipment are hauled up the driveway and through the front door. There goes the neighborhood, indeed!
Tugger also deftly weaves the development of gay pornographic films into his story. Johnson and his hunky assistant director, Andy Dill, argue about pushing the celluloid sexual envelope. Dill argues for more onscreen fucking and sucking while Johnson is convinced that "no one wants to see that." Oh, but we do, Mr. Johnson, we do!
Johnson gets to filming his first scene almost immediately, with porn favorite Rod Barry and bleached blond cutie Zach Hunter acting out a Romanesque master and slave scenario. Shooting stops momentarily as cameraman Dillon Press is dispatched to find more body oil for our young centurions. Barry and Hunter are content to not only continue with the scene but ratchet up the heat considerably. Johnson gazes intently as his cute young models segue from playful wrestling to serious cocksucking faster than you can say, "Gladiator."
Barry slams his cock between Hunter's willing lips with ferocious intensity. Hunter swallows every inch and soon offers up his muscled ass to the insatiable Barry. Barry expertly slides his greased up dick between Hunter's golden globes and bangs away likes there's no tomorrow. Our erstwhile centurions close the scene with Hunter squatting on Barry's cock and spilling a few ropes of cum of Barry's taut stomach. Barry jerks himself to a messy climax as well, and we're left with the impression that Johnson's opinion about filming hard-core action may be changing.
Pirates are the next beefcake archetype to be filmed, and Johnson's backyard pool serves as the perfect setting for Chris Bolt and Jay Ross to ship ahoy. Assistant Dill continues to press his case to Johnson for more explicit action, but Johnson insists that there's no market for hard-core. Their argument is interrupted by a doorstep visit by officer Duke. Johnson keeps up the friendly conversation at the front door while Dill finishes shooting the scene his own way.
Brunet Bolt and blond twink Ross quickly doff their sea-faring garb and push aside their posing straps for some heavy action. Excited by his two actors kissing deeply by the side of the pool, Dill decides to enter the scene to show them how it's done. Dill proves to be a demanding top as he shoves his poker into his employee's faces. Bolt and Ross happily slurp away while Dill growls in pleasure or barks an order. The scene kicks up a notch when Bolt and Ross kneel side by side on the edge of the pool to offer up their asses to Dill. Dill licks and fingers both their pink puckers until they're ready for the main event. Bolt and Ross both moan in ecstasy as Dill skewers them both in turn. He impressively pounds each model like a jackhammer until they all let fly with an enormous amount of hot white spooge.
Unbeknownst to our poolside players, oh-so-repressed neighbor Frost has been eavesdropping on the action. Safely ensconced by the side of the house, Frost has unzipped and begun jerking his dick with abandon. Assistant Dillon Press returns from his earlier errand just in time to catch Frost in the act, and the confrontation soon turns into a dream come true for Frost.
Press unbuttons his jeans and pushes Frost to his knees for some serious cock worship. Frost feasts on Press' thick sausage until it's literally dripping with saliva. Dillon turns around, and Frost burrows between Dillon's impossibly hard and round ass cheeks in order to get a taste of his butt hole. The tables are quickly turned when Dillon throws Frost against the side of the house and begins lapping away at Frost's ass. You may not be able to control yourself when Dillon starts fucking Frost in a standing position against a door. Dillon thrusts so hard into Frost that the door threatens to break off its hinges while Frost seems to be in such utter ecstasy that you might just blow your load even before you get to this video's hottest scenes!
Johnson has trailed surfer Benton to the local beach, and Benton approaches his new neighbor with surprising forthrightness. It appears that this surfer stud enjoys attention from either sex and charmingly propositions Johnson with a quick bout in a nearby beach shack. Cut to the shack, where the two are enjoying some serious sexual chemistry. These versatile performers are quite a wonder to behold in this scene as they lick, bite, kiss, tease and fuck each other with unparalleled abandon. Benton's passionate cries while getting fucked by Johnson were alone enough to send this reviewer over the edge. Take special note of the intensity with which these two insatiable performers grip hands while they fuck missionary style. Even the annoyance of a too-bright artificially flickering lantern doesn't take away from one of the most sexually arousing scenes I've seen in a long time.
Fans of more rough activity will most likely blow their gasket in the final scene of this outstanding video. Johnson has secured a local bar at which he begins to shoot a leatherish scene that, much to the joy of Johnson's ambitious assistant Dill, will include some hard-core action for the first time. Dill, Press and a not-so-repressed-anymore Frost are the stars of this pickup scene that is unexpectedly interrupted by neighborhood cop Phil Philips. Instead of closing up shop, our three performers rush Philips and overcome him with surprisingly convincing physical force. Philips attempts to free himself from the ambush but is soon stripped of his uniform and forced to eat some major cock. Johnson keeps filming, of course, and we're treated to an astonishing sequence of submission and domination. Rape fantasists will surely want to check out this portion of There Goes the Neighborhood as Philips is subject to forcible entry in every orifice. His physical protest continues throughout the scene, and the gleeful threesome visibly strain to keep their victim subdued while they force their cocks down his throat and up his ass. Whew!
I've deliberately kept certain plot points out of this review in order for you to relish both the manner in which Tugger weaves his story but also for you to relish the contributions of the non-sexual performers. It's a testament to Tugger's achievement that this reviewer enjoyed the nonsexual sequences as much as the sex itself. Safe to say that the final moments of the video will leave you both spent and laughing.
The technical elements of There Goes the Neighborhood are topnotch, from the quick-cut editing to the period-style music by Gian Franco that echoes both Theme from A Summer Place and the work of Latin bandleader Equivel. Tugger and his editor, Dick Kutts, also employ clever use of split screen and graphic effects to enhance the look and feel of the whole production.
It's clear why There Goes the Neighborhood won several statues recently at the GayVN Awards in Los Angeles, including Best Sex Comedy and Best Screenplay. All elements of this video coalesce wonderfully into a production at once charmingly campy and arrestingly sexual. Do yourself a favor and check out this neighborhood!
- Matthew Cronin
|Note: All names credited on this website, whether for performance or production should be considered fictional stage names. Any resemblance to actual persons, living, dead or otherwise, is purely coincidental.|