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Originally Posted by Lotfw
Name/describe a favorite movie /tv scene..
I will go first (no nudity in these) these are examples of unlikely situations:
Wicked Dreams of Paula Schultz ‑ Elke Sommers while escaping from her "captors"
Elke polevaults over a barbed wire fence and loses her dress then after diving into a lake
to escape loses her underthings to a fishing line
Seargent Deadhead ‑ Group of female soldiers showering are forced outside in towels when a emergency alarm
goes off. They are forced to drop their towels when an officer drives by.
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Elke Sommer fleeing the Pink Panther nudist colony... The list goes on and on. Ah, the classics.
But none of those examples really apply any more. For years, no one ever explored whether you could make an entire show out of that sort of thing. Did you have to spend 99% of the time developing the character before her embarrassment "mattered?" Would that "naughty" feeling wane if the situation lasted longer than a few seconds? Would more explicit nudity "ruin" the mood.
Now that Helmhold has answered all of those questions with a resounding "NO!" we have to leave these beloved (but now obsolete) examples behind. We need to break new ground. We need not just vignettes, but entire PLOTS that revolve around this; complete with a character who can keep the energy going indefinitely, and an environment that can support the right balance of risk and safety; ongoing embarrassment without revolt or resignation.
Personally, I believe this calls not for realism (let's face it, reality sucks, that's why we're all here) but verisimilitude. It's called "suspension of disbelief." The story doesn't have to be "real," it just has to WORK within the right parameters. If you stop and think about it rationally, did anything the brats did to strip Laura-Ann in the "Babysitting" movie make any sense? No; but that's the way it's SUPPOSED to be. It's all about power exchange, and the slippery slope that ensues.
Good examples of extended ENF simply don't exist in any prior movies. But some ENF stories provide examples. As Helmhold illustrated in the Ann the Babysitter stories where the main character's own arrogance makes her an irresistible target for the whims of her bratty charges. The "Jenny" series of stories is another example where the eternally optimistic main character is the pivot for a never‑ending series of ENF situations; the sunnier she gets, the more spiteful her "best friend" becomes.
Even the best movies are based on a formula of one type or another. I think we have one here: a haplessly naive and overly repressed protagonist; trusted but cynical antagonists to advance the story; and a potential "audience" to provide the motivation. Plug any combination of those together and ‑ boom ‑ you've got the basis for a script:
1. Freshman co‑ed -- upperclass "popular clique" crowd -- junior college dorm with showers down the hall;
2. Professional women -- brusque FBI investigator -- office subject to chemical terrorist threat;
3. Neighborhood flirt -- jealous housewives taking her on girls' night out -- hypnotist show.
4. Status-deprived divorcee -- once‑nerdy female high school classmate now successful manager of... -- exclusive health spa.
I think anyone here could put together a screenplay based on any of the above. Personally, I wouldn't even start with the plot. Just see what actress you have found who can handle the acting and nudity required for the lead, get a list of the supporting cast, and see what sets you have to work with. Then just write the story to fit what you've got.
Western, sci‑fi, detective mystery, feel free to toss in any other components you want. Every other genre has been done to death; we have 40 minutes of film history so far. Inspiration is NOT the limiting factor here.