Directing duo Michael Vegas and Siouxsie Q are back with the next chapter of their ambitious and unflinching creation “The Bottom Floor,” produced exclusively for Adult Time.
Slated for a July release, “The Bottom Floor: Second Coming” cranks up the intensity, pushing boundaries with a cast of 35 performers and a shoot designed to capture everything from the unscripted to the extreme.
This time around, it’s about testing the limits.
“It’s the biggest shoot we’ve ever produced,” Vegas says. “Just coordinating that many people, and doing a consent talk with 30-plus people — it’s very exciting.”
The ensemble includes names like Connie Perignon, Coco Lovelock, Sophia Locke, Zariah Aura and Little Puck, delivering her first airtight scene for a studio.
The first “Bottom Floor” landed in June 2024 during Pride Month and quickly became a talking point due to its crossover appeal. Despite its brazenly queer roots, the project found unexpected traction with mainstream audiences.
“It was a hit,” Vegas agrees. “I think it was the No. 1 straight scene overall.”
Whether that success speaks to simple curiosity or audiences seeking something more genuine and intense is up for debate. Either way, the response to the original set the stage for a second installment, engineered to be even riskier.
“For part two, we knew we had to evolve,” Vegas reflects. “Not just go bigger, but deeper. More risk, more honesty, more bodies, more truth, more pleasure.”
As a result, the “Bottom Floor” sequel isn’t interested in fan service or chasing last year’s acclaim, but it is built on the same nerve-wracking energy that made the first outing feel almost unbearably intense. It helps that Adult Time knows how to back a spectacle, adding a fourth camera to help amplify the unpredictable nature of the performances.
From the Bunker to the Cathedral
The venue for “The Bottom Floor: Second Coming” is a spectacle in its own right: an upscale loft space downtown with a reputation for after-hours debauchery. A far cry from the gritty punk-rock setting of the first installment, the new location offered something with more grandeur and aesthetic flexibility.
“We went from an underground bunker of debauchery to an upscale cathedral of filth,” Siouxsie Q declares proudly. “It gave the whole production permission to expand — to become more theatrical, and a little more surreal and dreamlike.”
Vegas adds, “There were these massive industrial windows and smoke filtering through the atmosphere, gathering around bodies that made it feel like we were summoning something ancient and deeply human.”
The shift was deliberate. The loft’s architecture made an ideal staging ground for acts designed to push limits, and the venue ends up feeling like as much of a character in the film as any of the performers, a gothic sanctuary that can barely contain the raw, unscripted chaos happening within.
The Alchemy of Trust
The calculated chaos of a movie like “The Bottom Floor” doesn’t happen without intention. For Vegas and Siouxsie Q, it starts with a ritual of clarity: an intense 69-minute consent talk designed to strip away assumptions and establish a brutal kind of honesty.
“We don’t rush consent,” Siouxsie Q emphasizes. “Ever. That 69-minute talk was the most important component of our day. It’s about creating clarity, excitement and connection so that people feel seen and heard, not managed,”
Vegas describes the atmosphere during that group conversation as electric.
“We put the work in to make sure everybody can show up to the game and go hard,” he says. “And go hard, they did.”
Nor was it simply a checklist of dos and don’ts. It was psychological prep — an excavation of desires, fears and curiosities.
“Hearing what someone wants, what they fear, what they fantasize — it builds tension,” Vegas notes. “By the end of it, everyone was buzzing and ready to dive in.”
The real alchemy, the directors argue, happens in that space of vulnerability.
“Once trust is built and people feel truly seen, the sex gets alchemical,” Vegas elaborates. “It becomes something elevated and transcendental. I was surprised by how emotional it got. There were moments of complete surrender — tears, laughter, collapse. All of it was so beautiful.”
Beyond Boundaries
The defiant blend of queer and straight appeal that characterize both “Bottom Floor” features is as audacious as it is intentional. The project isn’t interested in playing nice or appealing to any one demographic. Instead, it’s a raw free-for-all where authenticity and risk reign supreme.
“It’s probably the least straight thing that we do, other than just direct gay sex,” Vegas says. “And it’s really nice to see that type of queerness being consumed by straight audiences. People are starved for ‘real’ — for intensity that isn’t postured. This project isn’t about identity politics. It’s about surrender, risk, communion. That’s universal.”
That crossover appeal is no accident, but the by-product of creating something unfiltered and true to its roots.
“The magic that ‘The Bottom Floor’ summons is rooted in the traditions and practices of queer communities,” affirms Siouxsie Q. “We simply are continuing those traditions and creating consent-centered, judgment-free spaces, and people want in.”
Selecting the right performers to inhabit that space is an art in itself. According to Vegas, the three key ingredients are chemistry, curiosity and courage.
“We look for people who want to play, not just perform,” he explains. “People who bring something weird and sacred to the space, and also know how to conduct themselves in a play space. Polite perverts who play hard and protect both themselves and each other.”
Siouxsie Q puts it a bit more bluntly.
“No divas,” she laughs. “No hierarchy. Just freaks, lovers and revolutionaries. That’s the vibe. This type of shoot is definitely not for everyone, but those who do want in really want to be a part of what we are building, because it truly is something special.”
A Cinematic Playground
If the first “Bottom Floor” was chaos incarnate, the sequel is a blood-pumping adrenaline rush — tighter, slicker and unflinchingly ambitious. “The Bottom Floor: Second Coming” leans into its own madness, daring audiences to look away. The energy? Unfiltered. The vision? Merciless.
The scope was massive, but the philosophy remained pure: Let the chaos breathe.
“Most of the wildest moments were unscripted,” Siouxsie Q reveals. “We let the performers lead, and just did our best to keep up and capture as much of the magic as we could.”
That calculated disorder extended to pushing physical limits, especially when it came to Little Puck’s big airtight scene.
“Puck is a force — smart, intuitive and fearless,” Vegas declares. “We talked through every beat of the scene beforehand, and made sure she had total control. She was the architect of her own moment and we were all there to be in service to that moment with her.”
Siouxsie Q adds, “She was radiant. Holding space for someone to cross that threshold with joy and power — that’s the whole reason we make this kind of work.”
For Siouxsie Q, the spectacle goes beyond bodies in motion; it’s about conjuring something deeper.
“There’s a sequence with Casey Calvert suspended by her ankles doing a completely inverted upside-down blowjob in the background, while Puck is having a no-holds-barred threesome that I just can’t stop thinking about,” she enthuses. “It’s so punk, so visceral — positively holy.”
Those raw, unscripted moments are what separate “The Bottom Floor” from more traditional and sanitized adult fare.
“It’s a community celebration of total pleasure,” Vegas says.
Or as Siouxsie Q calls it: “An intimate, up-close look inside a secret world of debauchery and magic beyond your wildest dreams.”
“You’ll see,” she teases.
