In a sprawling downtown LA loft, something electric is happening. Forget the sterile sets and rigid scripts of traditional shoots. Michael Vegas and Siouxsie Q are throwing a party—the second installment of their ‘Bottom Floor’ orgy series—and it’s a chaotic, consent-forward, and utterly performer-centric revolution disguised as a damn good time.
This isn’t just about making a movie; it’s about building a movement. In an industry rapidly shifting towards creator empowerment, ‘The Bottom Floor’ feels less like a production and more like a community reclaiming its space. The vibe is less “work” and more “warehouse rave where everyone is hot and knows the rules.”
A Space Built on Respect
The vision comes directly from the creators, who saw a gap in the scene for events that truly value the talent. Michael Vegas, amidst the whirlwind of setup, laid out the mission statement loud and clear.
“We built this space for our community. Our community loves to have sex in public… I have seen so many of my friends devalue their rate so they have a chance to do live sex performance, because it’s inherently part of our nature—but it was always at the expense of comfort. This party is all adult-film performers and a very close, adjacent community, so the level of comfort lets people drop their guard and be in a real space where they’re really performing for themselves. You’ll see. It’s magic.”
That magic was palpable. Performers buzzed with an energy that felt different from a typical day on set. It was excitement, not just professionalism.
“I’m excited,” said Connie Perignon, taking in the scene. “I think this is the most people I’ve ever had on set. The energy here is really high.”
For others, it was a chance to dive into a fantasy. Sophia Locke, who was disappointed to miss the first event, practically begged to be part of the second. “I have plans with a Domme woman here to control me for the evening,” she shared with a grin. “It’ll be fun. It’ll make for a really good party.”
Consent is the Headliner
Before any clothes came off, Siouxsie Q gathered all 34 performers for the most important part of the night: the consent talk. This wasn’t a quick legal rundown; it was a detailed, respectful, and sometimes hilarious round-table where everyone laid out their boundaries. The rules ranged from the practical (“No nudity outside”) to the deeply personal:
- “No spitting in my mouth. It’s okay from the neck down.”
- “No tit-slapping or grabbing please. They’re new.”
- “I hate praise. Don’t be nice to me.”
- “I’m a super-heavy masochist. Beat the shit out of me.”
- “No rough fingering, and don’t slap my fucking face!”
This detailed process ensures that when the action starts, everyone can play freely and safely, knowing their limits are seen and respected—a cornerstone of the modern, ethical production landscape.
A Symphony of Beautiful Chaos
When Vegas finally yelled, “Action!” the room exploded. It was a sensory overload in the best way possible. A DJ spun tracks, lasers danced on the walls, and everywhere you looked, fantasies were unfolding. Casey Calvert hung upside-down, cuffed, as the crowd chanted. Penny Barber wielded a flogger with artistic precision. Codey Steele, a veteran of the first ‘Bottom Floor,’ found himself at the center of a planned three-way penetration scene with Zariah Aura, Christian Wilde, and Little Puck.
“This is the largest cast I’ve ever been a part of,” Steele said. “Multiple genders, different orientations of people, all having fun together. I love that kind of thing and I’m a true exhibitionist so being at the center of it is amazing for me.”
With four cameras roaming, Siouxsie Q grinned with a hint of frustration: “It’s not enough.” Every corner held a unique story—from tender kisses between Codi Vore and a trans man to Alison Rey leading her “civilian” plus-one into the fray for an unforgettable first-time experience.
“I Feel Very Well-Fucked. Very Happy.”
As the final scenes wrapped and the adrenaline began to fade, the air was thick with satisfaction. The performers weren’t just relieved; they were glowing. Sophia Locke was practically vibrating with energy.
“God, I love my job,” she beamed. “I wanted tonight to be a fantasy fulfillment free-use situation… I never knew what was happening next, but I knew I was in good hands. I’m fuckin’ pumped, still.”
Little Puck, fresh from her centerpiece scene, described the experience with a unique charm. “It was like a warm, comfortable bowl of soup on a cold winter’s day,” she said. “A flailing pile of bodies, sweaty, stinky, but very soothing. I feel very well-fucked. Very happy.”
Then she delivered the line of the night, perfectly capturing the spirit of ‘The Bottom Floor’:
“It was extremely wholesome, and I mean that as a double entendre. ‘W’ optional.”
That’s the takeaway. In a space designed for extreme pleasure, the most radical thing on display was care. And as performers continue to demand more agency, events like this aren’t just the future—they’re the vibrant, pulsing, and hellzafuckin’ fun present.
* Thumbnail from avn.com
