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arms are up and out (making it also look a bit like Richard Nixon at the climax of the ’68 GOP convention), and something slightly blurry about the casting gives it a sort of cubic-zirconium aspect. Whether the statuette is heavy and solid vs. hollow and Little Leaguish remains unknown—there is no invitation to touch or heft it. One of the B-girls on the couch is now either laughing or weeping into her hands at something Harold Hecuba has said; her bare shoulders heave. It would be totally fantastic if the
Seinfeld
rerun on the huge TV were the episode about everybody trying to refrain from masturbating, but it isn’t.
    Asked by one of yr. corresps. what he won this AVN Award on the shelf for, Max Hardcore slaps his knee: “I fucking
stole
it.” It’s now that hard middle-distance inspection reveals that the MAX HARDCORE on the metal strip at the trophy’s base has been scratched in by someone who is not a professional engraver. It looks done with a screwdriver, in fact. Max expands on the statuette caper: Shut inexplicably out of the Awards for years, he last year, upon exiting the stage (he’s always a presenter every year, which he regards as the AVNAs’ way of twisting the emotional blade), espied in the wings a large cardboard box filled with blank and unused AVN Award statuettes. 24 Whereupon he thought, as he now puts it, “What the fuck, I fucking
deserve
it” and snagged one, hiding it in his enormous Stetson and deriving no little satisfaction from attending various post-Awards parties with an illicit statuette under his hat. Max’s crew all laugh very hard at this anecdote, though the actresses don’t.
    Alex Dane is now telling Harold Hecuba about a stray dog she found and has decided to keep. She is excited as she describes the dog and for a moment seems about fourteen; the impression lasts only a second or two and is heartbreaking. One of the B-girls, meanwhile, is explaining that she has just gotten a pair of cutting-edge breast implants that she can actually adjust the size of by adding or draining fluid via small valves under her armpits, and then—perhaps mistaking your correspondents’ expressions for ones of disbelief—she raises her arms to display the valves. There really are what appear to be valves.
    So much about today’s adult industry seems like an undeft parody of Hollywood and the nation writ large. The top performers are comic-book caricatures of sexual allure. The prosthetic breasts and lifted buttocks and (no kidding) artificial cheekbones are nothing more than accentuations of a mentality that yields huge liposuction and collagen industries. The gynecologically explicit sexuality of Jenna, Jasmin, et al. seems more than anything like a
Mad
magazine spoof of the “smoldering” sexuality of Sharon Stone and Madonna and so many other mainstream iconettes. 25 Not to mention the fact that the adult industry takes many of the psychological deformities that Hollywood is famous for—the vanity, the vulgarity, the rank commercialism—and not only makes them overt and grotesque but seems then to
revel
in that grotesquerie.
    Good old Max Hardcore, for instance, is a total psychopath—that’s part of his on-screen Gonzo persona—but so is the real Max/Paul Steiner. You’d almost have to have been there in that suite. Max sits holding court in his hat and pointy boots, looking at once magisterial and mindless, while his red-suited acolytes laugh on cue and a jr. high dropout shows off her valves. In truth, the first ten minutes of the impromptu interview in the Sahara are spent passing around a copy of something called
Icon
magazine, which Max has told us is doing a profile on him—we are expected to leaf through the magazine and comment favorably on its content and layout while Max watches us in the same hyperexpectant way that parents watch you when you’re looking at a snapshot of their kid that they’ve taken out uninvited and pressed on you. This is the actual chronology.