The London Sex Project

Falling into the "Who cares?" category, "The London Sex Project" is a straight- faced fake presentation of a purported documentary about infidelity in Britain. It has the requisite porn content but the pretense that these are real people and that there is some significance to the "journalistic" approach as presented is fraudulent and offensive.

The "who cares" aspect comes from the fact that paranoid moi methinks I'm the only one who cares about porn content and its credibility. It's analogous to criticizing the WWF or now WWE wrestling fakeroo as being fake -everyone knows and nobody cares.

I was innocently watching this feature five years after its debut and was taken aback when ultra-famous porn superstar from England Tanya Tate pops up as "Sue", a housewife cheating on her husband who's often away on business. She's interviewed and seems a meek, everyday person, except the voice, accent and look are Tanya Tate. I guess the cop-out is that she'd only been in the business (at least above ground in widely distributed videos) for a year, but this is still prevarication.

Next surprise is that the guy she's hooking up with before "hidden cameras" installed by free-lance "journalist" (read: pornographer) Oliver McDowell looked mighty familiar. He's Danny D, another porn superstar, here a little different by way of an extraneous cock ring he insists on wearing.

Later in the show we're treated to an athletic Seb who's a self-promoter with website sebcam.com. He's hiding in plain sight: porn star SebCam (better known as Clarke Kent) but again not a big name back in 2010.

Mixed combo is represented by Ochay, a Black student who freely admits to cheating in London on his wife back home because he has "urges" and must give in to them. He humps a slight blonde actress who's in his acting class. Turns out (revelation is made in followup film "Match Mates") that Oochay is a porn actor named Marcel Roberts.

The whole show is phony, with each sex scene beginning with CAM A, CAM B and CAM C identified by on-screen codes, but soon switching to fake and impossible camera angles achieved by having staged the whole thing. The pretense of making a documentary tries to give the project legitimacy, but unless one takes the position that gonzo porn is documentary in nature (dispensing the story material of fiction films entirely) there remains a difference, even when the lines are blurred.