An analysis of the publisher’s diverse sexual elements.
Somewhere in the Ultimate Surrender catalogue, one can find multiple, sequential videos of the lean and merciless fighting force known as Tia, aka “Jade”. A woman who looks physically strong but not noticeably intimidating, Jade tantalizes the viewer, who in turn follows Jade through her vicious conquests of opponents. She moves up through the tournament until, during one seemingly routine encounter, she is overcome by a heavier opponent. Like her fellow fighters whom she vanquished, she is humiliated with one of the brutal punishments from which Ultimate Surrender derives its name.
Like Jade, many of Ultimate Surrender’s fighters are classically attractive, with slender builds; sultry visages; and large, well-shaped breasts. However, in the interest of promoting the videos as an actual tournament, the thin, pretty ones tend to fall before the championship. Larger, bulkier fighters inflict pain upon their smaller opponents, and it is these heftier starlets who generally take the crown.
If the viewer is attracted to the girls like Jade, should he root for them or for their more physically dominating opponents? After all, Ultimate Surrender is a pornography publisher, meant to arouse; each actress is selected because the publisher believes that she will entice a certain section of viewers. But in every match, the viewer is bound to find one wrestler to be more attractive than the other. The exposition of each video features a short interview with each participant, provided so that the viewer is able to judge them before the bout begins. Does the viewer root for his favorite girl to win and move on, providing him with the opportunity to hear her assertive “dirty talk”? Or does he cheer on her opponent, wanting to see the prettiest actress beaten, humiliated, and left to cry out?
The answer would say plenty about the viewer’s attitudes about women and sex. A viewer who wants to see his favorite win would most likely seek an equal or dominant sexual partner, while one who wants to see her surrender probably wants women to bow to and cow before him in the same way. Certainly, a mix could be healthy—necessary to a point, considering that all but one actress takes the painful plunge before the tournament is done.
Viewers aside, what of the actresses themselves? Tomes could be written about the veracity of their pain, the extent to which they enjoy the homosexual element of it, and what that says about the female condition. But with regards to the feelings of the hefty, dominant actresses, the pain could be very real- they are more visible for their advancement, and yet less beloved because of their superior ability. Simply put, when the larger wrestler dominates her more slender opponent during the surrender, is she cognizant of the greater recognition her defeated adversary receives? The tragedy of the ugly champion, beloved not even by those who she has given her career to please, is illustrated perhaps exclusively by Ultimate Surrender.
To summarize, Ultimate Surrender leaves more on the wrestling mat than the simple erotica of other publishers. There lay deep moral questions within the format of the primal surrender, as poignant to the participants as to the viewers, that stretch beyond the sexual, the chauvinistic, and the sadistic. In the analysis of human sexual psychology, Ultimate Surrender might prove as valuable to the wizened professor as to his obsessively masturbating student.