Goldy Kim: From Center Court to Center Stage -

THE PERFORMER

The Dutch creator and former tennis coach talks competition, confidence, collaboration, sex, boundaries, authenticity and the career she never planned but now approaches with an athlete’s discipline.

Interview/Feature: Sherman Wayez

CHICAGO, ILL. —

A Competitor in a Different Arena

Goldy Kim has a simple answer when asked to define herself: “I’m both,” she says of being a content creator and an adult performer, before reducing the whole complicated résumé to something even cleaner: “I’m Goldy Kim.” It is a useful introduction to a woman whose life now includes movies, custom content, video calls, striptease bookings, go-go dancing, fitness and appearances, but whose first serious identity was built on a tennis court. She says she is not chasing fame for its own sake. “My goal is not to be a famous porn star,” she says. “My goal is more to enjoy and see what will happen.”

That attitude was visible at her second XBIZ event, where she says she moved between networking, collaborations and the awards atmosphere with the energy of someone still surprised by how quickly her world has expanded. “I had a great time,” she says. “I made a lot of nice contacts, really good collabs.” What she remembers most is the community: “It was fun because we were all together. It was one big happy family.”

Kim says she collaborated with several performers, including Kieran, Shadow Dimitri, Big Theo, Finn Fury and Sam Bourne. Follower counts are not her first filter. “I collab when the feelings are good,” she says. “I don’t care about the followers.” Professionalism and chemistry matter more because, as she puts it, “when there’s no good contact, you can’t make a good video. I want a video where the fire is coming off.”

The awards mattered, too—not as a shortcut to legitimacy, but as a marker of work she would like to earn. “I want to be nominated next year,” she says, adding that simply attending and watching other performers win was already meaningful. Asked which category she wants, she answers without hesitation: “Best female performer.”

Before Goldy, There Was Tennis

Kim was born in the Netherlands and moved to Spain when she was 11. Long before content creation, she had one plan. Asked what she wanted to become as a child, she answers: “A pro tennis player.” She began playing at five, later spent six years in Spain and trained for a year in the United States. “I started and I was improving and improving,” she says. Eventually she was playing international events and entry-level professional tournaments.

The schedule was punishing. In Spain, she remembers training from roughly nine in the morning until five, then going to school into the evening before starting again the next day. “It was only like playing tennis,” she says of that period. “That was my goal.” The sport shaped both her body and her temperament: repetition, stamina, competition and the expectation that progress comes from doing the work again tomorrow.

Tennis later became her profession as well. “I actually was a tennis coach,” she says. She played and taught full time until the demands of her newer career gradually took over. “I quit because my schedule was too busy,” she explains. She still teaches occasionally and still plays, but after a lifetime organized around the sport, she admits she also needed “a small break.”

From Go-Go Dancer to a New Career

Her route into adult entertainment was incremental rather than planned. Modeling came first in her early twenties after she registered with a casting agency, along with pageants and dance bookings at festivals. “I did also go-go dancing,” she says. She even won a sports category in a pageant, which makes sense for someone who still describes working out as part of her daily rhythm.

When the pandemic shut down parties and go-go work, a friend suggested striptease bookings. Kim remembers the first one vividly. “I was so nervous,” she says, but the nerves disappeared once she understood the performance. “You give them the moment of their life,” she says of bachelor-party work. “You’re the act. It’s so nice to do that.” She is equally clear about the line between a striptease booking and anything beyond it: “That’s not my job. They can call somebody else.”

The worlds occasionally collided. She recalls arriving at a booking and recognizing people connected to tennis, including one particularly uncomfortable surprise: “I came there with my act and who I saw—it was my accountant.” She did the show anyway. That story captures a recurring Goldy Kim trait: embarrassment may register, but it rarely stops the job.

OnlyFans Started With a Picture

The career change accelerated when a friend told her about OnlyFans. “You can put a picture on it,” Kim remembers hearing. She started with bikini images, then gradually went further. “Every time I went a step more,” she says. At the same time, five days a week of tennis lessons became four, then three, then one, until she stopped teaching full time.

She rejects the idea that money or attention was the original motivation. “No, no, not for the money, not for the attention,” she says. The work lasted because she enjoyed it. “If you go for the money, then you will be maybe doing this for one year and then you’re done. But I like it. This is how I am. I love to do my work.”

The instinct to tease existed before the business. Kim says she had already sent provocative photos privately and enjoyed escalating the suggestion. “I like to tease,” she says. “I like to make them crazy.” Her preferred rhythm is gradual: “Tease every time a bit more and a bit more. That’s my style.”

The Art of Teasing

Teasing is less a category of content for Kim than a recurring philosophy. She likes the buildup, the reaction and the sense of play. “I like to tease and seduce,” she says. “I like to play.” Even when discussing explicit performance, she repeatedly returns to the partner’s response rather than a checklist of acts: “I like his face when he’s enjoying it.”

That emphasis helps explain why she refuses to reduce a collaboration to metrics. She wants angles that work, but she also wants chemistry. “The angles are very important,” she says, because the audience needs a clear view. Yet technique without connection is not enough: “When there’s no chemistry, you don’t have the feeling. So it’s everything in one.”

Her audience is similarly varied. Some want POV, some want more conventional angles, some want specific fantasies. Kim’s answer is to make different kinds of material and to know the people watching it. She dislikes the distance of the word fan. “My fans are my friends with benefits,” she says. “I get to know them. I can chat with them, spend a nice time with them.”

Goldy On Camera Is Goldy Off Camera

The easiest mistake to make about Kim is to assume that “Goldy” is a character she switches on. She insists it is not. “Goldy is just me, who I am,” she says. “I don’t like to act. I want to be myself.” Asked whether the camera changes her sexually, she is equally direct: “With the camera on, with the camera off, I don’t care. I love it.”

That authenticity is also why social-media restrictions frustrate her. “Instagram is difficult,” she says. “I have to be careful what I’m doing.” She would prefer to post more bikinis and sexier outfits, but platform rules force her to edit the presentation rather than the personality. “I’m myself,” she says. “But I have to be careful.”

Her broader rule is even simpler: live for yourself. “I just live my life. I do what I like. I do what I want,” she says. Negative comments no longer carry much weight. “The most important is to live your life and do the things what you like and don’t live your life for other people. It’s your life.”

Dating the Woman, Not the Job

That confidence does not make dating easy. Kim says people outside the industry can struggle with what she does. “It’s quite difficult to find somebody who accepts the job,” she says. Men can be intimidated by her experience or fixated on the fantasy of being with an adult performer. “Do they want to know me?” she asks. “It’s mostly that they want to fuck the porn star.”

For Kim, there is no meaningful separation between a private woman and a marketable alter ego. A partner has to accept the complete person. “He has to accept me, how I am and who I am,” she says. Her ideal man is tall and fit, but appearance alone is insufficient. “He also has to have brains that I can chat with,” she says. “To be a bit nerdy is also nice because I can be also nerdy.”

She is direct about attraction but slower than her public image might suggest. A stranger can be bold with her without offending her, but that does not mean she leaves with him. “He can tell me that and I’m okay with it,” she says of an aggressive pickup line, “but I’m not going.” Her instinct, she says, is usually to wait until “the second or third date.”

Power Can Change in the Same Scene

Kim describes herself sexually with three words: “Wild, alive, open.” But openness is not the same as having no boundaries. She can be submissive or dominant depending on her mood and partner. “I can change,” she says. “During the sex, I can be submissive, but also one moment I can be the boss.”

She enjoys consensual power play and says she has taken femdom bookings, but trust and preparation remain non-negotiable. Discussing a consensual non-consent-style scene, she emphasizes that the fantasy did not erase boundaries. “I gave up that moment my control, but we still had really good boundaries,” she says. “We talked good to each other,” and because she knew the other performer, “I wasn’t worried at all.”

Her limits are equally clear. She rejects certain bathroom-related and needle-based requests and does not treat every unusual custom as something to ridicule. “I actually don’t call it crazy because I accept how they are,” she says. Privacy matters too: when asked for the strangest custom she has received, she refuses to expose the buyer. “It’s very secret,” she says. “If he’s watching, I don’t want to say it.”

First Dates, Film Sets and Being Watched

Kim’s visibility has moved beyond subscription platforms. She appeared on the Dutch television program First Dates after producers contacted her. “It was a really nice program,” she says. She gave her match a chance and even went on a second date, but decided he was not right for her. “He was really nice,” she says, “but not the person who I want to be with.”

She has also worked with a Netherlands production she identifies in the interview as Colin Scipazzi, praising the professionalism and higher-production approach. She describes boy-girl, solo and girl-girl work, including outdoor locations selected for visual impact. “They also look for the best location,” she says. On one beach-area shoot, bystanders eventually watched. “I was okay with it,” she says.

Being seen can be part of the thrill; being arrested is not. “They can watch, but I don’t want to get caught,” she says of public scenarios. That distinction is typical of Kim’s interview: fantasy can go far, but she keeps returning to consent, boundaries, professionalism and control over what actually happens.

The Tennis Fantasy Comes Full Circle

The most obvious bridge between Kim’s old career and her new one is a project she has not yet made: an adult tennis scene. “I would love to do a movie on the tennis courts,” she says, explaining that finding a court willing to host the production has been difficult. The idea is not vague. She has already imagined the wardrobe, the lesson and the entire setting.

“I’ve got a nice white dress,” she says, along with a headband, rackets and a cart of balls. In her scenario, she is the instructor giving a lesson before the scene becomes progressively more explicit. “The net is really nice to bend over,” she says. Then the competitor in her takes over: “Every line. I want to do every line I see there. I want to take all the court, all the corners.”

The fantasy works because it is not a costume borrowed from somebody else’s biography. Tennis consumed most of Kim’s childhood and young adulthood. It was the first profession she imagined, the discipline she pursued internationally and the job she taught before content took over. Turning the court into a set would not erase that history; it would combine two versions of the same woman.

The Work Behind the Fantasy

People looking from the outside, Kim says, often misunderstand the workload. “A lot of people, they think it’s really easy. Just make a picture, earn money, don’t do anything.” Her actual day can include planning, shooting, chatting, video calls, makeup, hair, wardrobe, travel, hotels and constant production of new material. “Every month, new content, new pictures,” she says. “It’s not that easy.”

Events intensify the schedule. At XBIZ, Kim wanted both collaborations and networking and often did both simultaneously. “I had a two in one,” she says. Next time she wants more time on the convention floor and more contact with producers, particularly opportunities that could lead to scenes outside the Netherlands. The collaborations themselves often begin before anyone arrives, through X messages, boundary discussions and scheduled times.

She treats professionalism as a safety rule as much as a business rule. “If I don’t feel comfortable about it, I don’t do it,” she says. Testing matters, preparation matters and so does speaking up. “That’s very important in this scene,” she says, “that you have to say what you want to say and that you stand up for yourself.”

Real Beats Perfect

For all the polished images surrounding the business, Kim has learned that perfection is not always what people want. She remembers making content after waking up without makeup and assuming it would fail. “I was thinking, okay, I’m not going to earn anything because I look terrible,” she says. Instead, people liked it. “I sold it.”

The same thing happens on video calls. Sometimes her hair is messy and the day has barely started. “They want to see me,” she says. The lesson matches her broader insistence that Goldy is not a mask. The connection is strongest when the audience feels it is interacting with a person rather than a manufactured image.

That belief also shapes her view of artificial intelligence. “I don’t want that AI porn will come because it’s not real,” she says. She has discussed AI chatbots with a fan who preferred knowing he was actually talking with her. “He likes to be connected with me,” she says. For the people who genuinely know her persona, she believes authenticity is the product.

Fans, Professionals and the Line Between Them

Kim’s affection for her audience does not mean she wants to turn subscribers into scene partners. Asked whether she would shoot with a fan, she repeatedly says no. “I really want to shoot with professional actors who know what they’re doing,” she explains. Testing and professional expectations are part of it, but she also thinks about what happens to the other person years later.

A fan might later have a relationship or job that makes the permanently published scene a problem. Kim imagines the call: “Can you please delete the video? I don’t want that people will see me with you.” Her answer is that the risk is unnecessary. “Too risky,” she says. The boundary is striking precisely because she otherwise speaks about fans in unusually personal terms.

At the end of the interview, she returns to that relationship. “I enjoy the time with them and I like to get to know them better,” she says. She wants teasing and seduction, but she also wants conversation. “Not only being horny,” she adds. “I just want to be natural and just get to know them. Just be me.”

Still Competing, Just Differently

Kim has not stopped being an athlete. She works out, rides horses, does HYROX and CrossFit, goes to the gym and recently started skiing. “I want to be a pro,” she jokes of skiing, while admitting she falls a lot. Away from work she talks about pets, family, friends, parties and domestic calm. “I enjoy the small things of life,” she says. “I’m happy when the house is cleaned, when the garden looks good.”

That combination—high-intensity ambition and ordinary pleasure—may be the clearest explanation of her career. She wants an award, but she will not cheat her way to one. “I really like to win because I won,” she says. “I really like to win because of my content.” She wants bigger opportunities and is considering the United States, but she is also weighing whether another event is worth the energy after producing “12, 13 movies.”

For now, Goldy Kim is still deciding how large she wants the next version of her career to become. She has the athlete’s instinct to keep moving and the creator’s instinct to keep testing what works. But her closing principle is less about winning than recognition: not fame, not fantasy, not a character. “I’m just being myself, just honest,” she says. “That’s the most important thing.”

Website: https://www.goldykim.nl/

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