Winter of Discontent -Amelia Jane Rutherford – FIRMHAND

11 Feb

Ms.Rutherford in the current year 2015, remarkably unchanged from the wet, shy waif who appeared shrinking against the wall in early GIRLSBOARDINGSCHOOL segments.

(A) Amelia in another diva ballet role, here a temperamental choreographer. She is being hired by dance director ‘Richard Anderson,’ and in just a few seconds they are in a dispute about operational and artistic control of the show, ‘Winter of Discontent’. “This is my Company,” declares Anderson. All he wants from Amelia is her creative view.

To show her how her controls “creatives,” he grabs her and takes her OTK, to the predictable chorus of “what are you doing?” squeals. Ms. Rutherford wears a blouse, skirt, and eyeglasses, being in her managerial mode.

The handspanking is moderate and obviously preliminary. Amelia jumps up and straightens herself out. “Do you think you’re in some sort of dream?” she demands.

(B)(time: 6 minutes) Diva Amelia and director Richard Anderson break into a loud and trumped-up argument over casting the second act of the ballet. The shouting turns to spanking, when Anderson grabs her OTK to her typical squawks.

Her eyeglasses will survive this spanking also. They have begun appearing in adult films here and there; in this case, they add to the depiction of this intellectual character being humiliated. Skirt up, white panties, handspanking.

Anderson makes Amelia climb down and get a slipper from the mantel, an item he must have used on a ballerina, ‘Miss Markova,’ to whom the shoe is dedicated. Pantyhose down, panties remain, Anderson concentrates on her lower buttocks. There is so much bottom on his lap and the camera angle is too low here to catch it all, that we just see the skin below the panty.

After gasping and yelling, she agrees to do it Anderson’s way

(C)(M/f; time: 7 minutes) Adventures continue in Richard Anderson’s ballet troupe; with choreographer Amelia Jane. She published a cast list without his approval, the brouhaha she generated can be assuaged a bit by heating up her bottom.

She is approached while she is practicing ballet moves using a stool in his office; he will used that stool for “something else…over you go.” Her tights are pulled down–in a rare omission by FIRMHAND, we miss the moment. Amelia is familiar with the strap Richard picks up. “Oh, my God. No!”

He begins on that glorious muscular dancer’s bottom–what more can we say about it? “It stings like the fucking devil.” One thing has changed about Ms. Rutherford as her CP library expands–she has become more profane. Anderson insists she hold position, a ballet discipline.

When he is finished, he pulls up her tights full-screen, a glamorous view of her dimples of Venus.

(D)(M/f; time: 8 minutes) Amelia has been too easy on the student ballerinas, not ensuring they are holding painful toe positions to increase their discipline.

So Richard will illustrate with some discipline of his own. Amelia will get a spanking, while ‘en pointe.’ She takes toe shoes out of plastic bags and ties them on. She will stand en pointe, lean on his stool for support, and take the strap.

He starts on her tu-tu, then pulls it down along with panties–again we don’t get the best view of this seminal moment. He squawks: “Ow, it is not my toes which are hurting.” Amelia collapses, as she occasionally does. She will be required to explain just what ‘pain’ is to her students. Skirt up, bottom full screen.

A clock on the wall suggests this film was made in about 30 minutes. Is that possible?

(E)(M/f; time: 7 minutes) Choreographer Amelia missed a rehearsal and went to the Tower of London on the company expense account. We’re sure she saw some devices there which gave her the same thrills as the paddling in ‘Dead Poets Society.’

Anderson has a chance to be furious, again. “Either you accept a hand from me or walk out the door.” At this point in the series. Amelia has been able to set a price on what the going price of a spanking can be.

She bends over the arm of an easy chair. Skirt up, black panties. For a strap, Anderson doubles his belt and sees to the removal of her panties first. Amelia surges over the chair, stimulating as always. In future she will do things his way (we know that is a ‘maybe’). Another haunches pose.

(F)(M/f; year: 2016; time: 7 minutes) Richard Anderson is a ballet master and Amelia the choreographer. He bursts in on her, she is wrapped in just a towel after a bath. Rehearsals went badly yesterday, Amelia insulted an important dancer. Richard repaired the damage. Now for some revenge.

He grabs her OTK and flips the towel up. Amelia’s studious librarian glasses survive this tumult. “No Richard, I am not doing any more of this. I’m still sore.” He rips off the towel, a memorable moment in other CP films when a girl is about to meet her fate. “Whoa!” declares a startled Amelia.

He spanks with a hair brush. Amelia, sarcastically, “I’m glad to be your entertainment.” When this angers him, Richard just spanks harder. Amelia sits on her haunches at the conclusion, bare bottom to the camera, one of her poses.

(G)(M/f; time: 7 minutes) This time choreographer Amelia has stayed out late and missed a morning rehearsal. Anderson wakes her up with a sharp slap of a strap across her upturned bottom on her slacks.

She wakes with shock of course and puts her glasses on before she argues with Anderson. Those eyeglasses are an important addition to the spanking scenario here. Amelia wears slacks and a blue turtleneck, for the moment.

Richard arranges a stack of pillows on her bed; she knows what they are for, and she has no excuse for her behavior. She kneels up, drops her slacks and lies over the pillows. White panties, form fitting, beautifully tight. And is her bottom a bit red?

Richard pulls her panties down and really whales with his strap. “Oh, God. Oh, God.” Normal stuff from FH, including yet another appreciated closeup of a well punished bottom.

(H)(M/f; time: 10 minutes) Amelia lies on her bed, jeans down, her bare bottom ringing from a recent spanking from Richard Anderson. She gets up and slowly pulls her panties and jeans back on. She wears a blue turtleneck, eyeglasses, and her hair is up.

Anderson returns in a huff; he has learned Amelia has been having an affair with a lead dancer, who has now been fired for fraternization (to put it delicately). He has a huge paddle, his ‘American’ friends swear by it–it might be FIRMHAND’s ‘board of education,’ and her punishment will commence immediately.

Amelia is a bit vague about what exactly what her relationship with the dancer was and probably calculates the pain of a spanking against being in bed with him. Amelia must bend over the foot of her brass bed frame and hold on tight. The first cracks of the paddle elicit screams and a “Fuck you” or two. After threats to start over, Amelia acquiesces and will count aloud and thank Anderson for each stroke.

Because she is fussy, he yanks down her jeans and panties. A clever camera angle slightly lower highlights those gorgeous pink buttocks, another incomparable moment for her. She is rocked by the paddle, one of the best spanking moments for her we can recall. And there is a lot to choose from.

Anderson sits to contemplate the spectacle of his work, while Amelia’s bottom occupies most of the screen.

(J) (M/f; time: 12 minutes) Ms. Rutherford can always mix some humor into spanking scenarios. Here, Anderson has discovered that she and some other members of the troupe have  posed topless for a magazine. Not good for the Dance Company.

Amelia pops on the scene is a silly, marginally ridiculous outfit, black mesh, mostly skin. Her boobs are exposed. Her hair is up and she wears glasses. She quickly comments on the spanking bench which has been positioned in the middle of the room. Anderson is angry, and we marvel over his contractual control over his employees.

She kneels over the bench without much complaint, but we hear a delicious “No, no!” from her when she sees the cane. Richard puts up that this cane will cut up the mesh outfit, so he wants the pants down. He goes to work with the cane, 12 strokes, leaving white marks on the pink skin.

He’ll be able to pull the nudie article from the magazine, but we suspect the diva’s status has changed.

(K)(M/f; time:12 minutes) The finale of this series. Choreographer Amelia is dressed in evening finery to make her appearance at the ballet Premiere with director Richard Anderson. He suggests he might renew her congtract for his next production if this show is a success. There is a strong hint that if Ms. Rutherford wants that assignment, she might be, uh, a little more agreeable.

Before they make their public appearance, Richard thinks it might be a good idea if Amelia has just one more warm and red bottom. He will cane her; Amelia pauses to object, but the alternatives have been alluded to, so she gives in. After all, this is nothing new. Anderson has seen it all already. Her submissive facials always amuse.

Ever so slowly, she rucks up her purple velvet three-quarter length evening dress. “Want these on?” referring casually to her white lace knickers. “No.” Yet another breathtaking moment from this actress as she rolls them down.

He begins a moderate caning–there will be 19 strokes. She is kneeling on a little punishment bench which has appeared. White lines appear which ripen into red stripes, not severe, but it is doing the job. Amelia struggles nicely, trying to control her emotions. “I’m not trying to be a Jedi, just a choreographer.” Top notch bottom closeups and facials.

After the caning, a moment or two to compose. She is warmed up and we’re sure Richard is, if our condition is any indicator. “Let’s put a smile on your face,” and they head for the red carpet and rope line.

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