Lori Porn

Lori Porn

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By
Sayantani Nath

Updated On :
18:40 PST, Aug 11, 2021

'The stuff of nightmares': Man jailed for raping mom, teen daughter and forcing them to watch vile attacks

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'16 And Pregnant' star Lori Wickelhaus was sentenced to six and a half years in prison

CAMPBELL COUNTY, KENTUCKY: A former star of MTV reality show '16 And Pregnant' has been sentenced to six and a half years in prison for over child pornography charges. Lori Wickelhaus from Kentucky was arrested in June last year and charged on 20 counts for possession of porn involving a minor. In September 2020, she had pled not guilty to the charges, but she reportedly switched her plea to guilty in May 2021. The 29-year-old mother- of-three has been in custody since June 30 without bond.
Wickelhaus was featured in the second season of the MTV reality show in 2009 when she was 17-years-old. At that time, she got pregnant with her then-boyfriend Cory Haskett and gave birth to her son Aidan Elliot Benson on December 16, 2009. Aidan was soon given up for adoption to a family. The teen mom later had two more children — daughter Rylynn Jo in 2013 and son Logan in 2014 — with former fiance Joey Amos.
The Season 2 episode of '16 And Pregnant' featuring Wickelhaus showed her life in Fort Thomas, Kentucky as a pregnant teenager. The episode dealt with differing opinions from her family and friends on whether to give her child up for adoption or not. It also showed her own emotional struggles in coming to terms with the circumstances. After one couple turned away Wickelhaus at the last minute, she is devastated. But eventually, she gave her son up for adoption to another couple.
The arrest warrant against Wickelhaus was issued on August 13, 2020, following a tip-off to Kentucky State Police Internet Crimes Against Children Task Force. The informant claimed that "an unknown subject" has uploaded media depicting child pornography onto their dropbox account. Soon, the police officials obtained a search warrant and seized her iPhone and Laptop. They confiscated her laptop where the illegal child pornography was discovered.
She was arrested and charged on 20 counts but released soon afterward on a $10,000 bond. The former reality star reportedly disappeared from social media completely after that. This time, she was arrested again in June 2021 for contempt of court. After pleading guilty, Wickelhaus will be serving a sentence of 6.5 years at the Campbell County Detention Center. She will also undergo mental health counseling as part of her plea deal.

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The series creator and the actress discuss how her character was developed and why, Simon says, she's "the cost personified" of the porn industry

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This article contains full spoilers for this week’s episode of The Deuce .
When David Simon describes an actor’s performance as “one of the best I ever got on a show,” the compliment demands attention. From The Wire all the way through The Deuce , Simon has helped to make stars out of unknowns (Idris Elba, Michael B. Jordan), has gotten remarkable work from established names (Oscar Isaac, Maggie Gyllenhaal), and has assembled a brilliant repertory company of character actors (Wendell Pierce, Khandi Alexander, Clarke Peters). Simon saying this about Emily Meade’s work as prostitute-turned-porn-star Lori Madison on The Deuce is no hollow bit of praise.
It’s also not surprising to anyone who’s been watching Meade’s work across these three seasons of The Deuce , including this week’s penultimate episode of the series. In it , a broke, despondent Lori returns to New York, ponders relaunching her porn career, and instead turns one last trick on 42nd Street before blowing her brains out with a revolver she’d purchased a few episodes back. Meade’s performance was, as it had been throughout the series — particularly in scenes opposite Gary Carr playing Lori’s former pimp, CC — raw, committed, and charismatic, even in such a sad and empty moment as the final one. She’s not the most famous person to appear in the series, but her work might linger the longest with those who watched it all.
As Simon explained, sitting alongside Meade during a conversation at HBO’s offices last week, “She created this arc that we’re incredibly proud of. It basically has to deliver the cost of all the themes that we’re dealing with. The character is the cost personified.”
Was Lori’s arc the one you had in mind when the show began? Simon: [Emily and I] talked, and I sold hard tragedy. I had this vague meeting with all the actors who were going to be engaged in the porn world. I knew there were all these sexually commodified scenes. I was basically trying to talk them in or out. I wound up talking out a couple people, actually. But I said to Emily, “You read really well. We’ll work together, if not on this then on something else.” I think I used the word “tragic,” right?
Meade: You actually gave me the option between two different characters. And one had a happy ending and one had a tragic ending. I automatically, instinctively leaned towards the tragic ending. I asked, “Which do you think will have the greater impact?” And we both agreed it would be the tragedy.
So you were not in any way scared off by what David was telling you? Meade: I wasn’t. Maybe I wasn’t fully thinking. [ Laughs. ] I was probably being insensitive to myself. There’s almost this athleticism that comes out in actors when someone says, “This will be difficult,” and you go, “Oh, what do you mean? Life is hard. I’ve dealt with it!”
Simon: That’s really true of actors. “Can you ride a horse?” And they say they can, even though they never have. It wasn’t just the hyperbolically sexual role. It was also the emotional track: 24 or 25 hours of television that were going to go to a very dark place.
Did you know specifically where the character was headed? Simon: George and I knew where we were going. Even before Season Three, I was talking about the means of suicide. Should it be quiet? Should it be loud? Even though you’re talking about the darkest possible stuff, you’re trailing the arc behind you and can see what you’ve built. Now it’s about nailing the last boards in and putting the paint on. So that’s always fun. The last few episodes, it feels like you’re paying out. You’ve been husbanding stuff and putting it in the bank, and now you’re on a spending spree.
Knowing her story would not end happily, Emily, how did you choose to play Lori out of the gate? Meade: What made Lori interesting in the pilot, before you get to the other episodes, is that she was presenting herself in a false way at first. I think I was preemptively trying to find the layers that I was assuming would exist. How I see it, Lori comes off the bus and she’s pretending to be more innocent than she really is — but in truth, she really is more innocent than she thinks she is, and she’s getting herself into more trouble than she realizes. It’s endless layers.
Simon: You know there’s a tragedy coming, that there’s something not right here — there’s some hole in this character that she never quite gets to fill. But you also know that she’s streetwise. This world is not alien to her. That’s a lot to play. So when you go back and look at those early moments, it’s all there. The Lori that is ultimately going to get crushed is in there, but also the Lori who can go on for years and years.
But also, sometimes we’re in the writers room, and we’re trying to say [political] things with characters, and you can often get lost on the fact that the character has to occupy space that the character understands. All the didacticism of, “Oh, we want to say this about sex work, we want to say this about misogyny, we want to say this about control,” great. But on some level, Lori has to be explained to Lori. And there was a moment sometime in first season where [Emily] said, “She just really wants to be loved.” And that cracked it. It was a bunch of writers sitting around with big schematics on the board, and we go, “Oh, yeah. That, too. Shit.” At that point, I knew we were never going to explain where the hole came from, but I wanted that scene in Minnesota and Lori looking at the house. That was in the idea you gave us about her wanting to be loved. Something was unattended to at a very early moment in Lori’s life. And we worked back from that premise.
The final scene between Lori and Candy underlines the mysteries of her backstory: No one on the show or in the audience knows anything about her. So how do you as an actor build up in your head who she was before she got off the bus and met CC? Meade: In the beginning, I was nervous and wrote some kind of biography, tried to figure out her astrological sign, where she was from. But things [in the show] would shift, and as it went on, I was always able to connect to the baseline that she wanted to be loved, and she only knew how to find that through sexuality. Which is a really relatable thing to all humans, but especially to humans who are trying to be famous. So it’s a way to connect that to the job that we are all doing. That was always there, and as the time went on, everything fell into place with what I innately felt. I never stuck to one specific storyline of her past. I’m assuming she has some kind of daddy issues, some kind of sexual trauma. That’s very basic things. But it didn’t matter specifically. When I looked at that house, I saw that, yeah, she was abandoned and she didn’t have her needs met. Whatever format that was in, those were the main pieces of the puzzle.
David, was one of the reasons you didn’t want to give her a backstory that she has to symbolize the cost of the business? Simon: Lori’s backstory needed to encompass all the backstories, in a way. We just revealed Candy’s story. But Candy is, in some weird Candida Royalle auteur way, not indicative of the larger diaspora of sex work. So we could risk it with that character. The more interesting thing with Lori was, by virtue of remaining tacit on it, it incorporates a lot. In some ways, we never had a discussion about it, but I remember writing that line in the pilot [about daddy issues]: “Don’t we all?” Something happened, it happened young, not necessarily sexual abuse, but it could be neglect. It only mattered that Emily internalize it in a way that could drive the character. There were moments, even in the pilot, when we got ecstatic. We were watching the dailies of the bedroom scene with CC where you’re reading the magazine article about Jane Fonda in Klute , saying, “I could do that.” The attention to fame and celebrity was important. It’s elemental to the rise of porn. That was delivered. The less said sometimes, the better. When it’s on track, shut up. Don’t graft on, “Well, in junior high, this also happened.”
How do you think her suicide is going to be received? Meade: It’s going to be interesting to see the feedback with Lori. On social media, I see that people so badly want her to be OK! As much as it’s going to be so sad, she needs to not be OK.
Meade: Not to send some moral lesson, but it’s not easy to be OK. It’s so important. So I’m glad I chose the tragic. As much as people may be angry.
Simon: [The suicide is] a disturbing sequence. I’ve now seen it 30 times, and every time, there’s literally a part of [me] going, “Don’t do it! I know the last 29 times, you reached into your purse, but maybe this time…” You still wince at it.
Meade: I even felt that. At first, I was much harsher on Lori. I was adamant that she wasn’t just a victim of others — she was a victim of her own ego and self. But by the end, I really did gain so much empathy for her. I went on the journey with everyone else, and I started going, “Maybe she won’t die!”
David, when you say it’s the most disturbing sequence… you’ve killed children on your shows. Oscar Isaac shot himself in a cemetery in one of them. What was it about this one that made your reaction so visceral? Simon: First of all, the way [Emily] acted it. The definitive moment of doing it quickly. Suicide is a disturbing act. It’s often something that infuriates viewers, and rightly so. Not only do they come to embrace a character, but the idea of anybody nullifying themselves when the viewer sees all the human potentialities is infuriating. Some viewers don’t want to accept it on any terms. I know this. I watched it with John Goodman’s character in Tremé . All the signposts of where he was going were there, but people still don’t want to understand it. All the placemarks for Lori were the same way. But there was something about how it was played.
[To Emily:] You saw the anger, and you saw the nullification and self-loathing. It was so deliberate, how you did it. That made it more disturbing. You leached all the melodrama out of it. Melodrama around it is inevitable anyway. It doesn’t need more. There was no soliloquy on your face — it all happened well before the moment of the gun. The wide shot of you when you’re out on the street, and you’re about to pick up the last trick, there’s more of a soliloquy on your face there. Which I thought was brilliant acting.
Emily, what do you remember of filming that last scene? Meade: Obviously, it was a very important scene. Actors put a lot of pressure on themselves. But it felt kind of easy and simple. Everyone on the day was going, “Oh, this is a sad day!” People were crying. I kind of felt nothing? But I pretty quickly embraced that through the day, because that’s how I think Lori would have felt. Thank you for saying it was performance, David, but it’s also in the writing. She’s already decided before she pulls the gun out.
When do you think she chose? Meade: Everyone was debating that on set. I think it’s something she had thought about for a while. It has to have entered her head. I don’t know if I can even commit to a moment where she definitely thought it, but it was something that was constantly lingering in that journey. But in that episode, she goes down that checklist, seeking comfort anywhere she can from whoever she can. I think there are multiple layers to her deciding in her subconscious. So on one level, maybe she knows where she’s headed, but it’s not until she checks it all off — Turning a trick doesn’t do it anymore; doing coke doesn’t do it anymore — that she settles on, “There’s nothing in this world for me anymore.” Which is devastating.
Simon: I also felt that if it hadn’t been so fast and so deliberate, she might have stopped. It was almost a willful, “I am not going to stop myself.”
Meade: Sadly, it’s part of the stubbornness she’s always had. The beginning of this season is her trying to find ways to not do it. Can I leave porn? Can I do this? But it’s always leading here. I’ve always thought her ego was the death of her, ultimately, so there is this stubborn part of her that doesn’t want
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