“Star Power” is the operative phrase when it comes to the correct approach to Effervescent, the first of two volumes of loops curated and restored by the fine folks at Ultra Flesh Archives, and featuring Serena, perhaps one of the most prolific and beloved adult performers of all time. Bookended by two arty selections, Effervescent is made up of fifteen titles that encapsulates a little bit of everything; quite a task given how prolific Serena was.
What gives Effervescent the slight edge over the incredible Wildheart, UFA’s likeminded package of restored Leslie Winston loops released in December of last year, is that there was always something about Serena that transcended mere performer. When Serena was onscreen, there was a sense that a lot of what the audience was looking at was the kind of make-believe that makes up the bones of porn, but also something that was much closer to reality. In short, the kind of sheer enthusiasm that Serena brought to her sex scenes originated from a place where inhibitions were simply not allowed. Serena always gave the onscreen impression that this was what she would be up to even if it weren’t her job. If porn succeeds because everyone in the production is working to sell a believable fantasy, Serena’s salesmanship was second to none.
And, to be sure, it is Serena’s adventurous attitude that makes Effervescent a thoroughly enjoyable watch. But because of the selection and the sequencing, Effervescent also achieves a true storybook quality. Throughout the whole collection, it’s apparent that Serena basked in the glow of her own stardom, enjoying the jump from one fantasy to the next, donning wigs and outfitted in costumes for scenarios that covered hot suburban fantasies to dirty fairy tales and every base in between.
The annotated repository of loops utilized for Effervescent‘s 145 minute running time:
Creamy Couple: From 1975, Serena and Bill Margold slather themselves in chocolate while in front of a stark white background before soaping off and engaging in a sensual encounter. Containing some dissolves and slow, balletic movement, this is much artier than the usual fare of the period and the opening credits have a little more care devoted to them.
John Holmes and His Hot Box Blonde: In what looks to be 1979, Serena, clad in a terrific Afro wig, futzes around with John Holmes who is flaccid throughout. This is fine because, like Creamy Couple this one is mostly softcore. Serena certainly knows how to fake it, though.
Tongues and Fingers: A pixie-cut Seena and Jade Lindsay enjoy each other’s company. At one point, Jade goes wrist-deep into Serena like she’s trying to extract something out of the poor girl (which, it should be said, is the only thing that draws a lighthearted flap an otherwise unflappable Serena on the commentary track).
Hard Ridin’ Cowboy: While in full recline on a cheaply dressed set, Serena is gussied up like a saloon girl. Enter cowboy Jonathan Younger, stage right. Pretty good action here that’s adequately shot.
Serena’s Lover: Serena and Merle Michaels relax on a hideaway bed while watching a 13” television set. This leads to some playful messing around with a lot of great mirror shots. This looks as if the fun both Serena and Michaels are having is genuine.
Pain in the Ass: This is a loop that gets comic mileage out of the smash cut from the title card to the establishing shot in the living room which includes an unshaven Jamie Gillis looking at a bunch of dirty magazines (featuring Serena, natch). Serena sits nearby and crochets for a bit, but the two of them jump almost immediately into the action. Their real-life relationship, a bit like the porn version of Bogart and Bacall, lends to the evident on-screen chemistry.
Tigress’s Revenge: Jerome Deeds falls asleep looking at his hot-shit tiger poster. Serena, clad in a tiger-striped getup, materializes and has her way with him. Jerome Deeds. A super low budget, home-version of Serena/Lisa De Leeuw/Jamie Gillis’s circus fantasy scene in 800 Fantasy Lane. Like the Margold opener and the previous loop with Gillis, this one blends fact and fiction because, as revealed in the commentary, Deeds and Serena were a couple for a bit so this one skirts the line between fantasy and reality.
3 Not Enough: Serena goes airtight with Billy Dee, Eric Stein, and a late-to-the-party Michael Morrison. I like to imagine that this all began with a game of Yahtzee.
The Birthday Party: Serena, Janie Gillis, and David Morris have a (surprising) bisexual threesome to celebrate Serena’s birthday. The cake gets frosted, but that’s to be expected. Worth a mention is the damage that was native to the original negative which gets smoothed out in the restoration. The work done on the presentation of this loop in particular is terrific.
Rabbit Test: Serena hangs about with one of those massive stuffed animals that’s won at a county fair. They’re in the grooviest room possible replete with a shake-shingle wall, a fireplace, some shag carpet, and Mike Ranger, who mercifully shows up to sideline the rabbit and get down to business
Serena: Serena, Billy Dee, and Chelsea Manchester (better known as Tigr) in a hot threesome sporting some vibrant and sharp images due to the incredible restoration work.
Uptight: Serena mixes it up with a very young Mike Horner, looking as he did in Gary Graver’s Tangerine.
Serena at Work: Another costume piece for Serena featuring Michael Morrison, a guy who looks to be Sean Sullivan, and another actress. The action occurs on a film set after the cameras stop rolling. Strangely, and maybe not coincidentally, the previous loop showed itself to be a set in the overhead shots as a stepladder and a floor light were center frame. Another blend of the artifice of movie-making and real-life.
Casting Couch: Serena goes to audition for a modeling job with a smut magazine where she has a dalliance with Mike Ranger. From both loops featuring Ranger, it really looks like they enjoyed working with each other (which is confirmed in the commentary by Serena).
Rear Door Entry: This gauzy and gorgeous outdoor romp featuring Serena, Sue Nero, and Johnny Keyes rounds out the collection. Full of dissolves and a location to die for, this is a perfect capper that balances out the minimalism in Creamy Couple while retaining that loop’s artier atmosphere.
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One of the biggest extras of the package, standard with UFA’s line of releases highlighting a specific performer, is the full-length commentary with Serena herself. More of a discussion between herself and Ultra Flesh Archives’s Mark Murray, she proves to be such a great interview. Relaxed, focused, well-spoken, clear-headed, this package earns extra accolades for what a torrent of history is unleashed. Also refreshing is how little embarrassment or shame Serena emits. Sometimes laughing, sometimes randy, Serena never seems to second-guess her career choice.
Also included in the package is Bustin’ Balls, a bonus loop with Serena, Tyler Reynolds, and an unknown actor which features some threesome action in a very, very brown and beige staging area that has some macrame hanging in a corner. Another softcore loop, a black and white number including Frank Mills, the lovely Barbara Mills, and a couple of other unidentified taxpayers, is also included. This is some really innocent stuff with a lot of bedroom wrestling, awkward smiles, and giggles. This two and a half minute relic almost feels like an unearthed home movie featuring some fun-loving friends just goofing around on a Friday night in the hood.
An extensive photo gallery of Serena’s magazine covers is also an extra feature that’s worth its weight in gold. This is just more time in a bottle as so many of these magazines, all of which come from Murray’s personal collection, are long forgotten. Watching the voluminous amount of titles roll by with the random picture of a 2026 Serena beaming as she holds one of the magazines is a terrific and sometimes wistful trip down a specific kind of memory lane.
One of the more interesting extras is the inclusion of the audio from a flexi-disc record out of the February 1983 edition of Live! Magazine that also comes with the accompanying magazine layout featuring Serena, Lisa De Leeuw, Julia Parton, and Laurie Smith. One of the peripheral things UFA does by including these types of curiosities is that it illustrates just how big the market was for all kinds of oddball items in the world of smut. Much like the flexi-disc inclusion on Wildheart, this is a ridiculously fun bonus feature that puts a spotlight on the type of product that’s now relegated to memory.
Rounding out the extras are the reels for the restoration demonstration (always worth seeing just to appreciate the amount of work that goes into these packages) and the trailers for all the UFA loop releases thus far. All of it is packaged in a sturdy, glossy slipcover that comes with UFA trading cards, the restoration insert with a strip of 8mm film, a stylishly mocked-up insert booklet, and your courtesy condom.
Ultimately, Effervescent stands as a fantastic collection, and the rotation of on-screen people who factored into Serena’s personal life makes it tack closer to documentary or abstract narrative than some kind of indifferent piece of product in the spirit of K-Tel Records. Either way, it’s one hell of a terrific package and it’s incredibly deserving of the implied second volume which sits on the busy production schedule alongside the rest of the planned releases from this very unique, very special physical medial line.
Apollo Twin 