How to read the table
Each row is one series as Candy listed it on September 24, 2026. The title links out to that series on Candy, and the thumbnail is Candy’s own library cover, shrunk to a sliver. Here is what every column means and where its number comes from.
- Free run is the combined length of every zero-token episode, read from the duration field in each MP4’s movie header. The pink bar is scaled against the longest free run in the table, Stepmom Summer Fling at 3:50.
- Eps is the number of episodes in Candy’s episode list, with the free count printed underneath.
- Tk/ep is the token price Candy attaches to a locked episode. Within any single series, every locked episode I checked carries the same price.
- To finish multiplies that price by the number of locked episodes: the token bill for watching a series to the last frame.
- Cues counts caption cards in the English subtitle track of episode one. Treat it as a talkiness meter, since one cue is usually a line of dialogue or half of one.
- Tags are Candy’s own filter tags, copied without edits. Some series have none.
- Frame Score is this site’s value index, explained on its own page. Login-only rows read Not scored because there is nothing to measure from outside the login.
Click a column heading to sort by it and click again to flip the order. The search box matches titles, tags, lead characters and creators, so typing diana pulls up every series with Diana Demont in the lead.
The library from thirty thousand feet
Five episodes is the house format. 102 of the 113 open series stop at exactly five, two free and three locked. Sort by Eps and the exceptions line up at the bottom: two series run six episodes, one runs seven, one runs nine, a pair run ten, four run fifteen, and a single series stretches to thirty-four, which happens to be one of the titles I leave out. Three of the fifteen-episode runs are listed here: YES MA’AM, Mona’s Worst Enemy and Caught Between Sisters.
Prices split just as cleanly. 106 series charge 12 tokens per locked episode and the other 7 charge 30, and those 7 are exactly the open titles on Candy’s creator shelf. There is no third price anywhere in the library, no bulk discount on long runs, and no series whose price changes partway through.
Candy files each series under one of three shelves in its library filter. In-house productions make up the bulk, 88 series. A shelf Candy simply calls Other holds 23. The creator shelf holds 9, the licensed series built around celebrity digital twins. Most of the login-only titles sit on the Other shelf, which says something about where Candy parks the material it keeps behind the blur.
Casting: the same faces keep coming back
This part surprised me. The player on each series page links to a chat profile for the lead character, and once you line those profiles up, the library turns out to run on a repertory company. Of the 94 series that link a profile, 57 distinct characters take the lead, and a handful of them barely get a night off.
- Holly Donovan leads five series, four of them listed here: One Room with My Fiancée’s Mother, Under Holly’s Command, My Hot Stepmom Just Crashed Our Euro Trip and Stepmom Summer Fling.
- Mona Newman also leads five, all listed: My Stepsister Thinks I’m Pathetic, My Roommates are Thirsty!, British Summer with my Stepbro, Mona’s Obsession and Mona’s Worst Enemy.
- Diana Demont leads four, and three share a title pattern: YES MA’AM, Yes, Coach and YES, DIRECTOR, plus Got Stuck With My Girlfriend’s Stepmom. One commanding character, three chains of command: an army base, a pro football team, a corporate office.
- Veronica Parker leads four: Midnight Compartment, Veronica’s Fitting Room, Holly & Veronica’s Shared man and Staycation with my fiancee’s mother.
- Yuna Moon leads three and has the widest range in the building: a human maid in The Maid My Wife Hired, hotel staff in Room Service, and an android housekeeper in Y.U.N.A.
For a viewer this matters twice over. If you like a lead, the search box finds her other work in one keystroke. And if a premise feels familiar, it may well be, because a recurring character arrives with a recurring voice, and the chat profile you reach from one series is the same one you reach from the others.
Oddities an editor notices
Logging turns up the seams. These are the ones I wrote in the margin on September 24, 2026:
- Under Holly’s Command and TRAINER HARLOW: PRIVATE HOUR carry the same synopsis word for word while linking different lead characters. Either one is a recut of the other or somebody pasted twice.
- The Nuns Took Me In has two free episodes of identical length, 1:01 each, matching to the hundredth of a second in the file header. Yes, Coach does the same thing at 1:00. Identical durations usually point to a fixed render length rather than a cut shaped by the scene.
- About two dozen listed series live at numbered addresses on Candy, such as /candy-shorts/series/72, instead of a readable title. They are mostly the older productions, and the numbers are Candy’s internal series IDs.
- Subtitles ship in six languages on most series: English, French, German, Spanish, Italian and Portuguese. The newest productions add Japanese as a seventh track.
- In Talia Undercover a job candidate lists her languages in scrambled Latin, then names French, German, Arabic and Japanese, which is either a wink at the subtitle menu or a lovely coincidence.
Tags, as Candy files them
Candy’s filter tags are blunt instruments, and the table shows them unedited. Among listed series, taboo is the heavyweight at 38, followed by milf at 24, nympho at 17 and wife at 16, with sister and mother on 14 and 14. Fantasy covers 8 titles, from dragon queens to a jinniyah in a gold lamp. Cuck appears on 5 and maid on 3.
Two tags behave differently from the rest. The new tag is simply the New Episodes badge in tag form, with the same series and the same count. And the adult tag is the login wall in disguise: every series carrying it is a login-only title, and every login-only title carries it. Fourteen series in the library carry no tag whatsoever, which is why a tag filter on its own will never show you everything.
Three ways I actually use the table
When I want a whole story for the fewest tokens, I sort To finish from low to high. The five-episode standard series all tie at 36 tokens, so I read across to Free run and Cues to break the tie, and the Frame Score column does the same job with fixed weights.
When I just want free footage, I sort Free run from high to low and work down the list in a single sitting. The top ten free runs are all past two minutes fifty, which is a real evening’s worth of openings.
When I want to follow a performer rather than a premise, I type the lead’s first name into the search box and sort the survivors by Free run. It is the fastest way to see whether a recurring character’s best work is in the long free pairs or the short ones, and it is how I noticed the Diana Demont trio in the first place.
When I am in the mood for dialogue rather than atmosphere, I sort Cues. Series near the top talk constantly and tend to be comedies of embarrassment; series near the bottom lean on music, looks and long silences. Neither is better, but knowing which one you are about to get saves a click.
Why a table and not a feed
Candy’s own grid is built for discovery: big covers, a reshuffled order, a red corner tag on whatever is fresh. It is good at making you tap something. It is bad at telling you which of two similar series gives more free footage, which costs less to finish, or which one talks. That is what a flat table is for. I built this one because I wanted it myself, the way I keep a spreadsheet next to the bin on any edit.
What is not in the table
The table lists 93 of the 120 series in the library. The other 27 fail the house rule described on the front page: school and campus settings, teacher and student setups, and and stories that cast a daughter, a stepdaughter, a babysitter or a younger sister as the love interest. Login-only series do appear, with an empty clock and no score, because I can’t time what I can’t open.
The table also refuses to rank anything by quality, and it will keep refusing. Running time, price and talkiness can be measured. Whether a series is any good is your call, and its free pair is the cheapest way to make it.
How often the log changes
Candy advertises fresh episodes every week on its Shorts landing page, and the grid reorders itself as series gain and lose badges. I rerun the whole log on each survey date shown above the table and in the footer. Counts, clocks and prices update across the site at the same moment, because every page reads from the same log. When a series vanishes from Candy, it vanishes from here too.