Resplendent in boots, leather and latex, the dominatrix continues to influence trendsetters. Photo: Getty
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How the Nordic Model will close the door on the professional dominatrix

Under the Nordic Model – which criminalises the clients of sex workers – the role of the dominatrix, which is as classically British as that of a steam train conductor, will be greatly changed and diminished.

My partner and I often hike along forgotten railway lines. They evoke a golden age of transport, when branch lines brought mobility and modernity to Britain. As industrial heritage, the steam train is universal, attracting fans across Britain and the world. I never dreamed of being a dominatrix, as a child might imagine driving a steam train, but when I became one I learned a trade as intricate, and as British, as that of the steam engine driver. I’m writing today because the “Nordic Model”, which criminalises the clients of sex workers, has been reviewed favourably in Parliament. If supporters have their way, it could become law here in Britain. If it does, my beloved trade could become as extinct as one of those abandoned branch lines.

I decry the Nordic Model because it undermines sex worker safety and strengthens moralism in the name of preventing trafficking, even as it ensures that all sex work is driven deeper underground. To become a dominatrix is to enter a caring profession; to establish rapport with a client is delicate and difficult, especially when a session involves physical or psychological torment. If hiring us becomes illegal, how can a client entrust himself to our care? “[Kink] is already widely stigmatised in society, so clients have a greater need for privacy and discretion than more mainstream sexual orientations require. Clients already face the threat of losing their reputations, jobs and families if outed, and criminalisation just adds one more layer of risk,” says Ms Slide, an experienced London dominatrix (pictured below).

Today, British dominatrices fall into a grey area, sometimes overlooked by law enforcement but subject to archaic laws banning “disorderly houses.” Generally, we don’t offer sex, so we don’t yet know whether we would fall under the aegis of a Nordic-style law in Britain. We do know, though, that sex workers in Nordic Model countries suffer decreased income and increased risks; Laura Watson, spokeswoman of the stalwart English Collective of Prostitutes, says that workers report new complications, such as client reluctance to call from unblocked phone numbers or pay deposits. Worse, criminalisation will inevitably filter the client pool, discouraging those who are unwilling to break the law. “The focus of the police will be on criminalising the clients rather than on the safety of sex workers,” says Watson. “That’s already the case, and it’s a complete disaster; for example, the police have already said that they will sit outside the flats, waiting to catch clients; in Sweden for example they are using phone surveillance to catch clients, so they’re tapping sex workers phones,” she says.

With the waning of the dominatrix, much history could be lost. In her 2013 book, The History and Arts of the Dominatrix, author Anne O Nomis traced the origins of the modern dominatrix to specialist courtesans of the eighteenth and nineteenth centuries. “At a time when few options were available to women other than hard manual labour or marrying up, these women stand out as savvy erotic entrepreneurs. . . They crafted their own self-image, developing equipment and practices which are as specialist as any craft profession,” says Nomis. As some of the top courtesans of their times, the lady flagellants, strict schoolmistresses and governesses of these eras counted members of the elite among their clients and admirers. This tradition has persisted, and even George Osborne has counted a dominatrix as a personal friend. Designer John Sutcliffe’s Atomage epitomised our distinctive style; resplendent in high boots, leather and latex, we continue to influence trendsetters, from Gaultier to Gaga. In our dungeons and boudoirs, we have also broken ground for sexual minorities. Kink has long been practiced without money changing hands, but moralism and patriarchy have historically narrowed the kink scene to sex workers and clients, and to those who would meet via underground contact publications. In this restrictive environment, dominatrices were an important conduit for the development and teaching of safe and effective kink, and our premises were often the only place where a novice could explore a long-held fantasy.

Kink’s popularity, fuelled by fiction and the internet, doesn’t preclude our ongoing success. Today, some of us are active members of our local public kink scenes, and we often share our knowledge and premises with our communities. Learning new skills is easier than ever before; today, anyone can take a class in rope or role-play. I think, though, that the distinctive aesthetic and performance of the dominatrix might be difficult to replace. Perhaps, enthusiasts could evoke us, as a re-enactor might evoke ancient martial skills, or as a steam train might carry tourists, instead of coal and commuters. But a railway preservation society does not a branch line make. If we bin the Nordic Model, and pass laws that strengthen the safety and freedom of all sex workers, the British dominatrix need not be preserved in aspic; instead, we shall thrive.

Margaret Corvid is a writer, activist and professional dominatrix living in the south west.

Still from Midnight Special
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The shortcomings of Midnight Special highlight exactly what Steven Spielberg does right

Steven Spielberg was evidently much on the mind of the writer-director Jeff Nicholls, whose new film harks back to the senior filmmaker’s golden age.

At the end of next month, BFI Southbank will host a Steven Spielberg retrospective, beginning with a new 35mm print of the director’s cut of his 1977 masterpiece Close Encounters of the Third Kind.

I’ll return to the subject of Spielberg nearer the time but he was evidently much on the mind of the writer-director Jeff Nicholls, whose new film Midnight Special harks back to the senior filmmaker’s golden age. In this case, though, the shortcomings of Nicholls’s movie help throw into sharp relief exactly what it was that Spielberg got so right.

Midnight Special begins with an extreme close-up of a peep-hole in a motel door, except that the glass has been covered with duct tape so that no one can see either in or out. Hiding in the dingy room are Roy (Michael Shannon) and Lucas (Joel Edgerton), whose faces we see in a TV news broadcast flickering in the corner; they are wanted for the abduction of an eight-year-old boy.

It isn’t long before we see the “victim”: he’s sitting on the floor, reading comic books by torchlight beneath a white sheet. One minute in and already that’s two things we’ve seen covered up – the peep-hole and the child. When he emerges from beneath the sheet, his little face is overwhelmed by bulky headphones and swimming goggles. More concealment.

The contrast between blindness and illumination, darkness and light, will be one of the recurring themes here. This child, Alton Meyer (Jaeden Lieberher), has a miraculous gift: his peepers are liable at special moments to emit a dazzling white light that produces in the observer feelings of love and comfort.

He’s like a benevolent version of the villains in The World’s End, who release beams of light from their accusing eyes and O-shaped mouths. And he isn’t exactly being kidnapped. Roy, his father, has liberated him from the Third Heaven Ranch, where his enigmatic gifts have been exploited by a shifty preacher (Sam Shepard). Now the FBI and the NSA are in pursuit, threatening the trio’s attempts to make it to some unspecified site in time for a mysterious rendezvous.

The outlaws travel by night. Alton sits in the back with his comics; “What’s Kryptonite?” he asks, which is dangerously close to an in-joke when your father is being played by General Zod from Man of Steel. Lucas is at the wheel wearing night-vision goggles. The headlights are off and we only know the car is there because we can hear its engine labouring in the dark.

For a good half-hour, Midnight Special gets by on old-fashioned, tantalising suspense: we don’t know where Alton is heading, or the precise nature of his gift, and it seems at that point that the movie could be about almost anything. A couple of ambitious set-pieces (one at a petrol station, the other at the home of one of Roy’s associates) inflame magnificently the sense of magic, so it can only be disappointing when the film plumps finally for a common-or-garden explanation to what we’ve been watching.

The cast members – also including Kirsten Dunst in a thankless role as Alton’s mother and Adam Driver as a slightly bumbling NSA agent – have quite the repertoire between them of awestruck reaction shots. But their goggle-eyes and gaping mouths can’t convince us that what we are seeing is visionary, any more than it could in Tomorrowland, another recent science-fiction adventure which also squandered an intriguing set-up.

The film shares its title with the 1969 Creedence Clearwater Revival song that featured prominently in Twilight Zone: The Movie, the underrated 1983 portmanteau movie that counted Spielberg among its four directors.

It’s not only him who looms over Midnight Special; there are also strong echoes of Disney’s Witch Mountain adventures – Escape to Witch Mountain (1975) and Return from Witch Mountain (1978) – as well as John Carpenter’s bewitching Starman (1984). But it is the Spielbergian effect, where innocence feeds into wonder, which Nicholls is aiming for, and which he fails signally to achieve. I think I know why.

The picture aspires to cast a spell of the same intensity found in Close Encounters and ET the Extra Terrestrial, but it doesn’t bother to do any of the heavy lifting that is required to pave the way for grandeur. The greatness of those earlier movies isn’t related to the scale of their spectacle. Rather it is the close proximity of the spectacular to the quotidian that makes them so wonderful. In Spielberg’s best work, miracles happen in between doing the housework, or while families are squabbling or falling apart.

The stunning UFO shots in Close Encounters would count for much less were they not set alongside scenes of Richard Dreyfuss losing his mind among his noisy kids and his bewildered wife and his mashed potato sculpture.

The best sequence in the whole film – the abduction of the child in the middle of the night – is rooted in the details of messy domesticity (the toys that spring to life on the bedroom floor) and the everyday mise en scène (the screws unscrewing themselves, the vacuum cleaner whizzing across the floor of its own accord). The same is true of ET. The title character may leave Elliot’s life in a shower of light but he enters it ignominiously, hiding in a cluttered shed on pizza night.

Spielberg and his contemporaries (Scorsese, De Palma, Lucas, Coppola) are routinely described as the first generation of directors who grew up on movies and then fed what they had seen back into their own work. But their homages never overwhelmed their attention to detail; real life is always in there, muddled up with the layers of cinephilia.

That is the crucial difference with Midnight Special, which is all movie. There is little in the film unconnected to its plot; it has no inner life. The actors try their damnedest, especially Shannon and Edgerton, but they don’t have any nuances to play – only notes that will move the plot forward, or amplify the implied awe.

It might have been subtly different if Nicholls had started the film at an earlier point in the story, so that we had a chance to see Alton before he was snatched by his father. That might have provided an even more suspenseful opening, in which a child is abducted without the audience knowing initially the identity or intentions of his captors.

But he’s on the run from the get-go, and there isn’t even time to make a pit-stop to, say, a crummy roadside restaurant so that we can get a taste of Americana to add flavouring to the fantasy. It is this obliviousness to the ordinary that finally prevents Midnight Special from achieving any specialness of its own.

Midnight Special opens on Friday. Close Encounters of the Third Kind: Director’s Cut is re-released on 27 May.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.