Our First Road Trip Together: An Abandoned House, Your Unabashed Actions

12 April 2025

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There’s nothing like the first time… Simple. Innocent. Gradual. No expectations. Just nature taking over. As your mother, I promise you nothing could happen, nothing could go wrong… in this big, scary house we were forced to stay the night in after our car broke down on what would be (still will be?) a wonderful, memorable mother-son trip. It’s just the two of us. All is well. It’s cold. Dark. And there’s just one bed suitable for us to sleep on. Together. But everything will be all right. I promised you.

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February 23, 2016 at 8:53 pm

Darren says:

Tara the Director:

0:00 — First Establishing Shot. Now in most movies, the First Establishing Shot is a yawn-worthy cliche, usually aerial, that says, “This movie will take place in Chicago” or whatever. A *good* First Establishing Shot gives us useful information. Tara, shooting from the upstairs hall, takes in the front door below where Roadtrip Mom enters and includes rows of moving boxes on the sides of the frame. The walls are bare of decoration. By the way, this is an example of what’s called “mise-en-scene” (pronounced meez-aw-senn), a highfalutin French term that just means settings or surroundings around a film’s actions. Without reading her synopsis, we know within seconds that the house is not lived in when our characters enter. Admirable directorial efficiency. You’d be surprised how rare it is, if you pay attention to these things in movies and TV shows.

0:00-48:14 — Shot Composition. Throughout, basically. Composition starts with filling the frame. Look at 0:50: Tara centers the shot, puts herself also in the center, and has the camera on the floor facing the large empty space of a stairwell while she’s up a few stairs. Besides putting herself as the “authority” figure (evident even with the sound off), it also gives the viewer a feeling of smallness that emphasizes the emptiness of the house. For Composition isn’t just about filling the frame, it’s also about drawing the eye. Whether practiced (my assertion) or just instinctual, Tara simply “gets” directing. If I had space, I’d go into how she “draws the eye” with herself on the bare bed later in the video. Between pulls on your dicks, you curious directing aspirants may want to also spare a moment paying attention to her skill.

Well, that’s enough old film school lore. But it’s relevant, because her talent — in all aspects of her work, including, yes, basic film grammar — is why we keep coming back to her, over and over again. Because you don’t get this quality anywhere else, at least not that I’ve found. And yes, there are a few traditional porn directors who know about this stuff … but are they filming themselves? Tara Tainton is one of a kind.

I’ve written too much and so I can’t even properly praise the pacing of her narrative, her judicious editing, and even her awareness of continuity (nice touch: the bedroom gets DARKER as the vid goes on, reflecting the passage of time as the sun goes down).

She’s a superb director, storyteller, and performer (Roadtrip Mom is by now ingrained in her).

Of her heartbreaking beauty I dare not speak too far.

March 8, 2016 at 8:58 pm

Michael says:

I’ve said this before, but I’ll say it again: TABOO-RRIFIC! This shows that you truly understand what makes this genre so hot. You get how important it is to not give everything away in the beginning but to let the relationship start out innocently enough and naturally, gradually introduce titillating elements (the reveal of mommy’s special sleepwear, a spying view of mommy changing in the bathroom, a slip of a nipple, a stimulating touch) to tease us ever so closely into crossing that line. Then, when we can’t seem to take it anymore, when the line blurs, and only the driving force of desire remains do we get to eat of the forbidden fruit. It’s this tease and denial that makes the fruit taste all the sweeter.

I also have to compliment your excellent camera work that really captures the POV experience. I noticed a while back that you seem to be both the camera-woman and the actress for all of your videos, carefully manipulating the shot to provide the best, most intimate view possible. I was particularly impressed when I first saw ‘It Can Happen So Fast When It’s Your First Time’ and realized that you were holding the camera with your legs and feet so that your arms were free to reach out for a tender embrace. Here you go a step further by providing panning views of your flawless figure, keeping yourself in shot, capturing every delicious detail, all while keeping your eyes closed! Your skill behind the camera is only matched by your skill in front of it. :)

I love hearing that this is a reboot to the Road Trip series. I tend to like reboots because they are a chance to introduce a whole new group of fans to a classic story while also re-imagining it to provide something familiar yet also entirely fresh and unique to the existing fans. I loved the return of the floppy hat. It was a great homage to the original Road Trip video, ‘The Road Trip to Change Your Relationship Forever’. Your attention to detail is just another reason why you are the #1 erotic artist. I can’t wait to experience this series over again with you and find out where the next road trip might take us.

Do do that taboo that you do so well! ;)

“You are my absolute favourite ‘instructor’. I love the way you talk and love your voice. You also send a nonjudgement vibe which I like, some sort of kindness. That’s what MOST of your colleague’s lack.”

Our First Road Trip Together: An Abandoned House, Your Unabashed Actions

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Buy the full experience now

“You are my absolute favourite ‘instructor’. I love the way you talk and love your voice. You also send a nonjudgement vibe which I like, some sort of kindness. That’s what MOST of your colleague’s lack.”

Our First Road Trip Together: An Abandoned House, Your Unabashed Actions

Share

Buy the full experience now

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