Chapter 247: Karisha Washington, 28, turnip truck...

Chase had a contact in Atlanta. The city now rivaled Hollywood in the number of feature films produced each year. Of course he would know the right people in the business — he was Chase Windsor.

He selected a 28-year-old Black woman named Karisha Washington. Karisha had grown up in a middle-class, hip-hop household. She had shown an early affinity for photography and was live-streaming by the time she entered kindergarten. She was a precursor to the podcast/Tic-Tok generation.

Karisha dropped out of high school to pursue a career in music videos. By the time she was 19, she had won several awards and was directing telvision commercials as well.

She hadn’t had any experience in what Hollywood called the Industry, but Chase and Eulalie were wowed by the short clips she had in her portfolio.

But, more than that, she ‘got it.’ She immediately understood that “Son-Fuckers” would be a groundbreaking, genre-bending feature film.

“It’s a good working title — provocative and descriptive at the same time. The title won’t work in mainstream media, but that’s fine. It’ll play in our whisper campaign.”

Karisha thought some more, nodded to herself, “People will see “Son-Fuckers” and go ‘WHAT?’ Is it Sun-Chasers? Of course it will go viral on the Internet. And we can play clips — outtakes and teasers and editor’s cuts — on the Dark Web.”

During their very first meeting, the 220-pound woman told them, “It can’t be a porno film — nobody will watch it.” By ‘nobody’ she meant that, of course, it would attract millions of international viewers. But not the Industry elite.

Eulalie agreed, “We want ‘Son-Fuckers’ to make the film-festival circuit.”

Chase, “Probably not Cannes and Sundance and Venice, but several second-tier festivals.”

Karisha, “I can get it in the Baku Festival for starters.”

Chase, “Azerbaijan.”

“Yeah, and Tallinn Black Nights. Let’s see, probably the Manaki Brothers in North Macedonia. In North America, we’ll have a slow rollout in selected grind-houses and underground clubs. I’ll leak those short clips to the Dark Web and we’ll build a word-of-mouth campaign.”

Eulalie, “What will make it different from just a regular porn film? Other than these are real people, not actors.”

“A narrative — we need a compelling storyline, and it’s just what you said — reality. These are ordinary mothers caught up in an extraordinary scenario.”

“So, you’ll personalize it?”

“Yeah, for a select few. Otherwise it would just be repetitious. Same with the sex — we’ll show them fucking and sucking of course. But in different settings. Different lengths. Emphasis on the personalities of a few select moms. Backstories, human-interest, heartstring-tugs.”

Chase, “Incest is illegal. The boys are as young as 14, so they’re underage. I have an attorney looking to workarounds. For the boys, nudity and sex will be CGI. Supposedly.”

Karisha nodded — “That’s good — that’ll add to the underground legend. People ‘in the know’ will understand that it isn’t computer-generated — these are real moms and sons doing the dirty.”

Eulalie, “But your narrative will humanize them, make them sympathetic.”

“Exactly. The sex will be there — graphic and up-close. But I see it as just a small percentage of the footage. Say, 20 minutes out of 90.”

Chase, “How would you work in the identity-establishing documents? To prove that they really are mother and son?”

No hesitation. Karisha had had an instant vision of how to market the product, “I wouldn’t — that would interrupt the flow, slow things down, distract from the momentum. We’ll do a parallel campaign online. Show the link in a short preview section where we introduce one family. And we’ll feature the link in the PR campaign, interviews, podcasts, TikTok, YouTube ... all the usual outlets. But it’s word-of-mouth that’ll drive this thing.”