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Speaker 1: Built forward, proud. Hey, back in the day, they knew
Speaker 1: it wasn't just enough to slap Apollo of their teen
Speaker 1: on a d VT. The people demanded more. They wanted
Speaker 1: to hear Ron Howard and Tom Hanks talking over the
Speaker 1: movie about how craft services was that day. Well, that's us.
Speaker 1: Maybe we're your DVD special features, bringing you commentary, deleted scenes,
Speaker 1: and maybe some half fast pixelated storyboards if we feel
Speaker 1: like it. Welcome to Beyond the Scenes. I'm your host,
Speaker 1: Roy Wood Jr. And this is the podcast where we
Speaker 1: take a deeper dive into some of the most complex
Speaker 1: issues covered on The Daily Show with Trevor Noah and
Speaker 1: speaking to Tom Hanks. Today we're talking about female orgasms
Speaker 1: on screen. A brief history history hurry you get it.
Speaker 1: This is a piece that originally aired on the show
Speaker 1: back on March. You know what year it is? Played
Speaker 1: a clip. It's no secret that women's on screen portrayals
Speaker 1: have evolved throughout history. We've gone from playing secretaries being
Speaker 1: saved by James Bond all the way to nuclear scientists
Speaker 1: being saved by James Bond. But I want to focus
Speaker 1: on one specific aspect of female depictions, the orgasm. It's
Speaker 1: when a woman is stimulated to the point of climax,
Speaker 1: causing a physical and neurological response that scientists referred to
Speaker 1: as fantastic. And over the years, depicting female pleasure on
Speaker 1: screen is something that's changed more than the batteries your vibrator.
Speaker 1: So today with me, I have Daily Show correspondent Daisylidic
Speaker 1: and writer Amy nominated writer Cat Ratley to walk me
Speaker 1: through how this segment came together and then we're gonna
Speaker 1: go beyond, because that's what we do. It's in the
Speaker 1: damn title what's going on? How you doing? Roy? Let's
Speaker 1: say Roy, don't assume people know what year it is
Speaker 1: that is up for debate. Completely lost track is from
Speaker 1: one in March. What does it matter? More So in
Speaker 1: this segment you all went through you dug in the
Speaker 1: crates and you found basically a track record of just
Speaker 1: showing the misrepresentation of women's sexuality on film and television.
Speaker 1: How did that all come to cat um? One of
Speaker 1: our researchers in our deep Dive department, Madeline qunes Um,
Speaker 1: she came up with this idea just from kind of
Speaker 1: organically noticing how different the portrayal is of female versus
Speaker 1: mail orgasm's on screen and all that. And she just
Speaker 1: kind of went down the rabbit hole of looking through
Speaker 1: film pretty much over the past hundred years, and she
Speaker 1: just found so much great stuff that we were able
Speaker 1: to put it together for a segment. She went way
Speaker 1: down the rabbit hole and then back up the rabbit hole,
Speaker 1: and then down again a little bit deeper, and then
Speaker 1: she back up for air just the right spot, and
Speaker 1: then she found the perfect spot. Yeah, And then it
Speaker 1: was assigned to I'm not going to join in, you know,
Speaker 1: I have jokes in my head that I could join
Speaker 1: in on that, but I just don't. I don't want
Speaker 1: to be the weird gut because and then she stayed
Speaker 1: in that rabbit hole for three days. Did I I
Speaker 1: think I spend the euphemism card too early. I should
Speaker 1: have held onto it. There's so many more opportunities. Let's
Speaker 1: get into the actual nuts and bolts of this desert.
Speaker 1: As a correspondent, when someone brings you this piece, what
Speaker 1: was your first thought. I was so excited because I
Speaker 1: had this reaction like, oh my god, why haven't we
Speaker 1: talked about this before? And I think on a subconscious level,
Speaker 1: it's always bothered me that I feel like I haven't
Speaker 1: seen that many representations of female sexuality and like an honest,
Speaker 1: authentic or even really funny way. Um, but it didn't
Speaker 1: hit me the depths of it until I read the script.
Speaker 1: We're always, you know, trying to figure out what topics
Speaker 1: we want to dive into, and we look for things
Speaker 1: that are that feel like they've been under reported, something
Speaker 1: we want to shine a spotlight on, and and they
Speaker 1: tend to be you know, we we go deep with
Speaker 1: the information and we go through the history of something
Speaker 1: and and and are The trap is that it would
Speaker 1: be something that can feel a little dry, right Well,
Speaker 1: this one immediately is like, oh, that's fun to talk about.
Speaker 1: That's like this one was very wet. This was very wet.
Speaker 1: This was the opposite of dry. Thank you, Cat'll get them.
Speaker 1: We'll get them halfway through. But this was um. I
Speaker 1: wrote it with Lauren, another writer who is amazing, and
Speaker 1: the two of us have written a couple of things
Speaker 1: for Desi and it seems like it's just I mean,
Speaker 1: writing for Desi is super fun and we kind of
Speaker 1: knew like, all right, this can be like a a touchy,
Speaker 1: difficult subject, and I mean, Desi totally nailed the performance.
Speaker 1: So I'm glad that she was as on board and
Speaker 1: excited about it as we were, because writing it was
Speaker 1: it was fun to actually, like, like he was saying,
Speaker 1: for women's history. Months sometimes we do like, all right,
Speaker 1: let's look at you know, voting rights in the suffragette movement,
Speaker 1: which is important and great, but not as fun as
Speaker 1: talking about you know, Barbarrella or Meg Ryan's aureasm. And
Speaker 1: when Harry met Sally, oh god, oh yes, yes, yes, yes,
Speaker 1: oh oh oh god, I'll have what she is having.
Speaker 1: We haven't really done a segment like this on the
Speaker 1: show before, so I feel like it was like a
Speaker 1: a fun aspect of women's history that wasn't as like
Speaker 1: serious and heavy as you know, having our rights taken away,
Speaker 1: But it also just the subject matter itself. It was
Speaker 1: something that I sort of like subconsciously knew in my
Speaker 1: brain that I wasn't seeing a lot of this out there,
Speaker 1: but I really it wasn't. It didn't hit me until
Speaker 1: I read everything in that discussion, like, oh my god, yes,
Speaker 1: that is how women are represented that early on. I
Speaker 1: had no idea about the Hetty Lamar thing. The first
Speaker 1: known female orgasm on the silver screen was in the
Speaker 1: nineteen three German film Ecstasy, when Hetty Lamar took the
Speaker 1: broad Worst Express all the way to pleasure Burg. Turns
Speaker 1: out the world wasn't ready for this. Everyone denounced it,
Speaker 1: from Hitler to the Pope. And if you asked me,
Speaker 1: the Hope has no place weighing in on vaccines. He's celibate.
Speaker 1: I mean, when we need your opinion on the best
Speaker 1: stain removers for white fabrics, then we'll call you. I
Speaker 1: didn't realize that she was the first woman to have
Speaker 1: an orgasm on screen, and then not only that, but
Speaker 1: like she was basically came up with the start of
Speaker 1: what is WiFi now, so she was a genius. Like,
Speaker 1: I had no idea about all of that until I
Speaker 1: read it. But but they low key sex shamed her
Speaker 1: the rest of her career for daring to be that
Speaker 1: open on camera. Do you all think that men being
Speaker 1: in control of the narrative of sex in the entertainment industry?
Speaker 1: I mean less so now, but definitely still more so
Speaker 1: than women. How much did that play into it when
Speaker 1: you look at over the decades and decades of just
Speaker 1: the way women have been portrayed to just you are
Speaker 1: the male. The men controls you, and it's never really
Speaker 1: connected to a woman really wants in the bedroom or
Speaker 1: properly portraying what a woman wants in ad the hety
Speaker 1: lamar Thine we went back to the nineteen thirties, so
Speaker 1: that's like kind of where they started nineteen thirties films
Speaker 1: up till now. And yeah, when you think about it,
Speaker 1: it was mostly and still as mostly men writing and
Speaker 1: directing and producing these movies. So they're the ones who
Speaker 1: are determining, you know, what a female orgasm should or
Speaker 1: shouldn't look like on screen, because I because it didn't
Speaker 1: make you wonder like, okay, well why is this and
Speaker 1: you're like, oh yeah, because men control everything for all
Speaker 1: of the beginning of time. Um, So I do think
Speaker 1: that has a lot to do with it, just like
Speaker 1: who's writing these stories. Who's telling these women and directing
Speaker 1: them how to act on screen? Okay, so now in
Speaker 1: this next team, you're gonna really erupt with pleasure. I
Speaker 1: want you to just scream and bang the hitboard so
Speaker 1: that everyone can he all right, people, it's like ten
Speaker 1: seconds in and nothing has happened, and you're like, oh,
Speaker 1: that is that all it? Okay, Well, I guess that's
Speaker 1: how it works. It's just that simple. Huh. It's like
Speaker 1: almost like sounds like you're getting murdered, but not quite.
Speaker 1: There's like a fine line between the two seed the
Speaker 1: ego of the man, so he knows he's killing it. Yeah.
Speaker 1: So when we do race stories on the show, the
Speaker 1: question as always suits the intended audience, right because black people,
Speaker 1: to a degree, kind of already know some of the
Speaker 1: stuff we're talking about. So in a way, you're having
Speaker 1: to present new information to half of the audience that
Speaker 1: already knows this topic while also presenting it like with
Speaker 1: CP time, it's stuff that black people may or may
Speaker 1: not have already known. But here's a couple of jokes
Speaker 1: and we go a little deeper in the issue. And
Speaker 1: if you are not black, then this is a whole
Speaker 1: wealth of new information because I'll be honest as a man,
Speaker 1: this is something I've never paid attention to. So who
Speaker 1: was the when you think about the intended audience, was
Speaker 1: it to serve a dual purpose or was it to
Speaker 1: educate meatheads like myself? I mean, I think it's always like,
Speaker 1: in my opinion, it's always about kind of starting a
Speaker 1: conversation across the board, right, And I the feeling that
Speaker 1: I felt when I read it for the first time
Speaker 1: was what I would hope that other women felt when
Speaker 1: they saw it, and that that they felt heard and
Speaker 1: seen like, Oh, I've been feeling this way too. I've
Speaker 1: been missing this in TV and film, and we do
Speaker 1: have some more work to do. And then also to
Speaker 1: maybe perhaps educate a few viewers who maybe did not
Speaker 1: know some of this or thought about it in that way. Um,
Speaker 1: and yeah, start a conversation about it. I remember growing
Speaker 1: up watching a lot of movies and stuff, and this
Speaker 1: is how like watching this segment it in my brain
Speaker 1: and I started thinking back, there's a scene in Waiting
Speaker 1: to exhale ship. Oh this is good? Yeah, good was good?
Speaker 1: Oh yeah? He can we say or I'll say orgasm.
Speaker 1: This is beyond the scenes and we are very tasteful show. Yes,
Speaker 1: so he bust way before the woman did. Does he
Speaker 1: think he just did something here? Shit? I could have
Speaker 1: had a V eight. I could have had a V
Speaker 1: eight was the line. It's a legendary. It's a legendary line.
Speaker 1: But women not getting an orgasm is almost seen as
Speaker 1: ha ha, you didn't get any pleasure growing up? What
Speaker 1: was you as personal experience and seeing female pleasure depicted
Speaker 1: on can I ask that? Let me ask that in
Speaker 1: a more hr way as you all were matriculating this
Speaker 1: young way, you know how much it's menstruating, menstruting come
Speaker 1: on as you a ministrate it to adults, but you
Speaker 1: know what was or what was your experience seeing the
Speaker 1: way sex was depicted on screen. I think, like you
Speaker 1: said too, that it's funny that it was so often
Speaker 1: used as a punch line, and I feel like that's
Speaker 1: kind of something that became ingrained without me realizing because
Speaker 1: it is, you know, it's either funny that she doesn't
Speaker 1: get pleasure, or like two of the movies we do
Speaker 1: is like a Katherine Heigel scene and Jennifer Anison scene
Speaker 1: from Bruce Almighty, where like their pleasures like so over
Speaker 1: the top and um exaggerated that it's like it's the comedy,
Speaker 1: it's the butt of the joe. In the years that followed,
Speaker 1: female pleasure became more and more common on screen, but
Speaker 1: they were still often treated as punch lines, like Jennifer
Speaker 1: Aniston getting unexpected magic Hive acts and Bruce Almighty, or
Speaker 1: Katherine Hygel accidentally orgasm me at dinner when a little
Speaker 1: boy grabbed her remote control vibrating underwear. Okay, there is
Speaker 1: so much wrong with this. It's non consensual, it's a
Speaker 1: kid doing it and perpetuates the dangerous myth that vibrating
Speaker 1: underwear gives you anything but a five alarm electrical burn.
Speaker 1: I was like, okay, like it's it's the way we
Speaker 1: do it is funny, or like we're kind of used
Speaker 1: as a punchline as opposed to like taken seriously. And
Speaker 1: I don't really know how that affected me, because I
Speaker 1: feel like We're just kind of getting messages like that
Speaker 1: from all over, so I'm kind of like, a, well,
Speaker 1: this is the way it is until you kind of
Speaker 1: learned that it is different. That's scene in particular, I
Speaker 1: have so many mixed feelings about I feel like that
Speaker 1: because as as like an actor doing comedy, you when
Speaker 1: you get a scene as a woman, like you want
Speaker 1: to have the joke you want to get to do
Speaker 1: like the big performative joke in this set piece, and
Speaker 1: so and men get to joke about their orgasms all
Speaker 1: the time, like it's all over the place, literally, And
Speaker 1: how many are we at now? Three? Four? Still early,
Speaker 1: but but like there were so many problems in that
Speaker 1: scene itself, Like Cat said, we were kind of like
Speaker 1: punching at the wrong thing. The punch line was aimed,
Speaker 1: it seemed in the wrong direction. And also, um, just
Speaker 1: like there was really no consent. It was kind of
Speaker 1: against their will. It was happening to them and they
Speaker 1: weren't participating in it, which felt kind of weird. And
Speaker 1: I think those movies were when Laura and I were
Speaker 1: writing it, we were like, wait, what year was this.
Speaker 1: I want to say it was like two thousand nine,
Speaker 1: like it was ten or fifteen years ago, when like
Speaker 1: consent was not like a term people were thinking about
Speaker 1: her throwing around and probably like movie sets at all.
Speaker 1: And I'm like, oh, yeah, like you are like giving
Speaker 1: Katherine Heigel this orgasm in a restaurant and it's funny,
Speaker 1: and I'm just like, oh, man, that they didn't even
Speaker 1: have the C word anywhere in their brain like at
Speaker 1: this point in time. So I was like, I was like,
Speaker 1: there's so there's so much wrong with this. And it
Speaker 1: was a kid right like, it was like a kid,
Speaker 1: eight year old kid toy with it. You're like, no, stop. Yeah,
Speaker 1: there's a lot of problematic old school sex scenes that
Speaker 1: you can go back and watch now, and yeah, I can.
Speaker 1: I can remember. I just recently rediscovered the movie Young Frankenstein,
Speaker 1: which I is like a classic mel Brooks and Gene
Speaker 1: Wilder and so many funny performances in that movie. Terry
Speaker 1: Garr and Madeleine Cohn are comedic geniuses. And I remember
Speaker 1: seeing that scene of Madeleine Khan with the monster when
Speaker 1: he comes in to like take her and he drops
Speaker 1: his pants and then suddenly she's like very into it
Speaker 1: and they have this whole sex scene. Oh, you can't
Speaker 1: be serious. I'm like, oh my god, I'm I'm engaged
Speaker 1: and once, but I didn't. It was never my I phone.
Speaker 1: It is like a tour divorce in her comedic performance.
Speaker 1: It's hilarious. She should have won all the awards for
Speaker 1: this scene and then it cuts to them sitting there
Speaker 1: side by side and they're smoking a cigarette. But in
Speaker 1: watching it in recent years, you go back and you're like, wait,
Speaker 1: he took her against her will. Wait, there was no
Speaker 1: he was kidnapping her. It was so problematic on so
Speaker 1: many levels. That is the implication that, so Frankenstein has
Speaker 1: a big dick, Like that's what the implication was. I mean,
Speaker 1: I guess that would make sense. If you're able to
Speaker 1: piece together a human You're like, I guess I'll give
Speaker 1: him the bone all out, the biggest dead dick I
Speaker 1: can find. If young boys get weird science, we can
Speaker 1: at least have Frankenstein. Like if I remember, the thing
Speaker 1: that I remember most about sexuality as a man growing
Speaker 1: up and just watching films like just you know we're
Speaker 1: talking from that middle school through high school years was
Speaker 1: just how animalistic sex was, and a lot of black
Speaker 1: romantic films like you got to just get it and
Speaker 1: dominate the woman, Like I remember Jason's lyric was one.
Speaker 1: I won't detail the scene, but they were banging in
Speaker 1: an alley like it was just it was consensual, but
Speaker 1: it was just the dude just ravaging the woman. And
Speaker 1: then it was the same thing in Belly with DMX
Speaker 1: and whoever he had the sex scene with. Like that
Speaker 1: type of stuff was what informed me. The thing that
Speaker 1: really made it awkward, though, it was being in the
Speaker 1: movies and this type of stuff coming up with our parents.
Speaker 1: And I don't want to say that my parents failed me,
Speaker 1: but in those awkward sexual moments in cinema, I kind
Speaker 1: of wouldn't have. Knowing what I know now, it would
Speaker 1: have been dope for my mom or my dad to
Speaker 1: put them into suncle Just so you know, that's not
Speaker 1: how six. You don't do that. Women don't like being
Speaker 1: taken next to a dumpster, just in that's something this
Speaker 1: woman did. She and you wonder our dudes try you
Speaker 1: at a dumpster for the next twenty years, because well,
Speaker 1: this has been great. What do you say? I take
Speaker 1: you out back behind the dumpster. After the break, I
Speaker 1: want to talk with you all a little bit about
Speaker 1: some of the potholes in a story like this, because
Speaker 1: you know, as we do with the Daily Show, we
Speaker 1: juggle a little bit of dynamite, and so I want
Speaker 1: to talk a little bit about some of the things
Speaker 1: that you wanted to avoid and some of the things
Speaker 1: that you wish you'd had space, uh to add to
Speaker 1: the story. This is beyond the scenes. We'll be right back.
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Speaker 1: believes there may be more than one killer. It's been
Speaker 1: four days since those bodies were found, and there's no arrest.
Speaker 1: As it this morning. They were afraid out in that area.
Speaker 1: What if they come back or whatever. It scared me
Speaker 1: to death, Like it scared me, I was very very
Speaker 1: intimidative to live here. Crazy to think you go to
Speaker 1: sleep one night, maybe snuggling with your loved one, and
Speaker 1: never wake up, or maybe you wake up in a
Speaker 1: struggle for your life, which you lose. Joint host David
Speaker 1: Raderman as he explorers one fateful night when evil descended
Speaker 1: upon smaller town, Ohio, killed eight members of an Ohio
Speaker 1: family in a pre planned execution. The family was targeted,
Speaker 1: most of them targeted while they were sleeping. Followed the
Speaker 1: Pink Moon murders on the I Heart radio app, Apple
Speaker 1: podcasts or wherever you get your podcasts. When you all
Speaker 1: were researching this story, what were some of the biggest
Speaker 1: things that you didn't know before the research we get
Speaker 1: like a giant file that has like all the research
Speaker 1: in it that our research apartment could find, So more
Speaker 1: than what you saw in the segment, like plenty was
Speaker 1: left out because there was no way to do all
Speaker 1: of it. The one thing I was most surprised at
Speaker 1: was the stuff from like the mid twentieth century, Like
Speaker 1: so the Hetty Lamar movie, which was like nineteen thirties.
Speaker 1: The fact that there was even a female female orgasm
Speaker 1: portrayal back then just shocked me. I was like, wait,
Speaker 1: they let the should happen in the thirties, And then um,
Speaker 1: the stuff that was from the sixties and seventies that
Speaker 1: wasn't technically porn and some of it was born with
Speaker 1: like deep throat, but just how graphic it was in
Speaker 1: the sixties and seventies, I feel like I was like, Wow,
Speaker 1: I can't believe they actually like did this. It's weird
Speaker 1: because it's such a stark contrast because around the same
Speaker 1: time and sitcoms, they wouldn't even let the mom and
Speaker 1: dad be in the same bit. That's one thing we
Speaker 1: talked about the Haze Code, which we mentioned briefly, but
Speaker 1: it was the you know, censorship guidelines that they used,
Speaker 1: which kind of came in place after the thirties and forties.
Speaker 1: This is a set of censorship guidelines that banned movies
Speaker 1: from explicitly showing or discussing sex. Even married couples had
Speaker 1: to be shown in separate beds, or as it's now
Speaker 1: called the reverse chocolate factory. The four you bed ridden
Speaker 1: for the past twenty years. It takes a lot of
Speaker 1: work to keep this family going. No one was getting off.
Speaker 1: Did they call it like one ft on the floor?
Speaker 1: Like you always had to have one foot on the
Speaker 1: floor at all times. If there was a scene in
Speaker 1: the bedroom that married couples couldn't even you couldn't even
Speaker 1: show them sleeping in the same bed. Sometimes one foot
Speaker 1: on the floor is even better too. I mean they
Speaker 1: didn't truly to be able to really um get some lemonability. Yeah,
Speaker 1: the on the scene um from the thirties, like they
Speaker 1: show like they use a pearl necklace to like they
Speaker 1: show a pearl necklace being dropped on the floor that
Speaker 1: we assume is meant to symbolize the orgasm um. And
Speaker 1: then the there were a couple of like a lot
Speaker 1: of symbolic things of like lots of like cigarette smoking,
Speaker 1: like the things they would do to try to get
Speaker 1: around it, trains going through tunnels, Like there was a
Speaker 1: lot of innuendo in these, like anytime you see a
Speaker 1: train film, like it's it's sex in the fifties and sixties. Like,
Speaker 1: so just the dumb things they would do to try
Speaker 1: to work around it. We went from a pearl necklace
Speaker 1: falling on the ground to Cameron Diaz having a literal
Speaker 1: pearl necklace in her hand. Yeah, and something about Mary. Yeah.
Speaker 1: So just the start contrast was like how like we
Speaker 1: kind of boomerang back the other way. Um, but the
Speaker 1: Barbarella scene, I mean, we have to talk about that.
Speaker 1: My favorite America was embarking on a sexual revolution, so
Speaker 1: female pleasure came back on screen. Unfortunately, it was often
Speaker 1: treated as a novelty that existed for men's amusements. So
Speaker 1: you've got scenes like the one in nineteen sixty eight Barbaralla.
Speaker 1: We're evil doctor eyebrows over here traps Jane Fonda and
Speaker 1: a machine that's supposed to give her orgasms until she dies,
Speaker 1: except that she climaxes so hard she breaks the machine. Goodness.
Speaker 1: At the time, it was considered a camp be sexy thing,
Speaker 1: but looking at it now, it's a violation. Remember everyone,
Speaker 1: if you're going to put a woman in a machine
Speaker 1: that orgasms her to death, you may consent for We
Speaker 1: watched that clip, like we had it in our research file,
Speaker 1: and I watched it being like, what the fuck is this?
Speaker 1: Like how did people like, how was this made? And
Speaker 1: who was this for? But like and Jane founda really
Speaker 1: sold it to I was like that woman committed, like
Speaker 1: she a professional for that role. You're in a giant
Speaker 1: pipe organ and you're being pleasured to death, but you
Speaker 1: don't want to die, but you do want to be playing.
Speaker 1: There's a lot of conflict, internal conflict in the face.
Speaker 1: She played that scene very well. I have to just
Speaker 1: the face too, because the whole pipe organ orgasm machine
Speaker 1: covered her from the waist down or the neck down,
Speaker 1: so it was just her face like that was the
Speaker 1: only indication. It was her face, and then like you know,
Speaker 1: shitty graphics of like sparks and smoke coming out of
Speaker 1: the machine. It's also really misleading for young women to
Speaker 1: watch that and to assume that you can only climax
Speaker 1: if there are sparks and smoke. How hard is it
Speaker 1: to find the right tone because you don't want to
Speaker 1: diminish the topic. But we are owned Comedy Central, which
Speaker 1: means we have to have some fucking comedy in there. Sometimes.
Speaker 1: What were some of the landlines that you all wanted
Speaker 1: to avoid? There are so many great representations of female
Speaker 1: pleasure or sexuality or something that might feel very authentic
Speaker 1: and uh and truthful and honest in a performance, but
Speaker 1: it might not be something that feels like it's appropriate
Speaker 1: to make jokes about. You want to feel like whatever
Speaker 1: we talk about is kind of fair game to make
Speaker 1: laughs about. A second later. One thing that we we
Speaker 1: also like fully acknowledge too as we were writing it.
Speaker 1: It's like a lot of the kind of the mainstream
Speaker 1: big touchstone moments in the film too tended to be
Speaker 1: you know, white women, sis women, hetero relationships, our sexual relationships.
Speaker 1: So we like don't have the representation we'd like ideally
Speaker 1: in this uh segment overall. Um, But we like Sandzi,
Speaker 1: we noticed like, okay, if this is going to open
Speaker 1: up a bigger conversation about how does this very based
Speaker 1: on race? How does this vary based on gender? How
Speaker 1: does this very based on you know, sexual orientation? And
Speaker 1: that was something we were like, we could write, we
Speaker 1: could make this a thirty minute piece, or we could
Speaker 1: do like, you know, a five part thing, but we're like, okay,
Speaker 1: this is one segment. So we're like, we're just gonna
Speaker 1: kind of touch on the mainstream you know, big moments
Speaker 1: like the one Harry met Sally, the Barbarella, um. But
Speaker 1: we fully acknowledge that we were writing it. We were like,
Speaker 1: we know that this isn't fully inclusive of every aspect
Speaker 1: of these portrayals, but we want to make sure that
Speaker 1: you know, we aren't making light of something that is
Speaker 1: a more serious scene or more serious film. Um. We
Speaker 1: also talked about too making jokes about the movies that
Speaker 1: are comedies, whereas like, you know, most of these like
Speaker 1: when Harry met Sally, um, Bruce Almighty, like those are
Speaker 1: big comedies. So we're like, okay, well, we don't want
Speaker 1: to write jokes about jokes, um, but we could like
Speaker 1: make fun of the fact that it's used as a
Speaker 1: joke because it feels weird sometimes to write comedy about
Speaker 1: something that is meant to be comedy. That makes perfect sense.
Speaker 1: So then to that point about the portrayal of nudity
Speaker 1: in comedy, why is it man naked funny woman naked
Speaker 1: or it's rarely hilarious like mm hm. The only thing
Speaker 1: that I even think comes close to a joke that
Speaker 1: would play the same for a woman as a guy
Speaker 1: in a comedy as Melissa McCarthy shipping her pants and brides. No, no,
Speaker 1: no look away, Mega, no look away. Oh, such a
Speaker 1: double standard. And it's not It really isn't fair that
Speaker 1: you know. It seems like when when men are naked
Speaker 1: in a comedy, it's hilarious and it's maximized for comedy.
Speaker 1: But if a woman shows that naked in a comedy,
Speaker 1: it's we're objectifying her or it's uh, it becomes about
Speaker 1: sex instead of the laugh. I don't know if you
Speaker 1: guys remember Isla Fisher's performance in The Wedding Crashers. I'm
Speaker 1: not wearing any pennies. Yeah, Okay, that's what hilarious, total
Speaker 1: breakout role for her. She was genius and it she
Speaker 1: maximized every second that she was on camera. And I
Speaker 1: believe she's she talked about this, and forgive me if
Speaker 1: I get it wrong, but she talked about there being
Speaker 1: a discussion. There was a sex scene in that movie,
Speaker 1: and there was a discussion about whether she was going
Speaker 1: to be topless and how much they were going to show,
Speaker 1: and I think they wanted her to be completely popless
Speaker 1: and to see it all. And she basically was like, look,
Speaker 1: if you see my nipples, I lose my laugh and
Speaker 1: I'm going to protect my laugh. So you got to
Speaker 1: shoot it in a certain way because I wanted I
Speaker 1: want to get the comedy. I don't want this to
Speaker 1: be about objectifying. And I think the problem is I'm
Speaker 1: not being adventurous enough for you. I'm pretty sure that
Speaker 1: is not what I've been saying to you. Baby. I'm
Speaker 1: gonna make oh, your fantasy's come through. And it's like,
Speaker 1: you know, Will Ferrell probably would not have had to
Speaker 1: have that conversation, right. His nipples are hilarious. His nipples
Speaker 1: are very funny, to the point where nudity enhances the scene.
Speaker 1: Kim Jong talks about this. He's talked about it on
Speaker 1: the record here and there, but he told me on
Speaker 1: another comedian friend of mine, the story of him coming
Speaker 1: out the trunk naked in the original Hangover movie. In
Speaker 1: that original the scene as it was written, he had
Speaker 1: clothes on, and Ken went to the director and said, hey,
Speaker 1: I should be naked, and they were like, would yeah,
Speaker 1: my character, he should come out the trunk naked. I
Speaker 1: think it'll be more of a blah blah blah blah blah.
Speaker 1: And to his credit, he was right. Trump naked literally catapulted.
Speaker 1: He stole that film. It held up the shoot for
Speaker 1: two hours because they had to get the clearances and
Speaker 1: the lawyers and whatever the hell else. I don't know
Speaker 1: what happens when Dick's come out on set, but apparently
Speaker 1: it's a lot of paperwork. But we're talking about women's
Speaker 1: breast too. I was thinking of like, there's so much
Speaker 1: in uh there's something about Mary, but isn't his neighbor,
Speaker 1: like the old lady who's like always tanning. They show
Speaker 1: her boobs but they're you know, like old wrinkly ski
Speaker 1: slopes and it's like and that is funny. Because they can. Mean,
Speaker 1: they made her look as you know, unsexy as possible
Speaker 1: in order to do it. And I'm you know, I
Speaker 1: give a lot of credit to that woman for you know,
Speaker 1: for bearing it all for that. But I mean that
Speaker 1: was funny, Like that was like one instance where women's
Speaker 1: boobs were funny. But they made them look as little
Speaker 1: boob like as possible, Like they are almost unidentifiable. They
Speaker 1: just have to keep sending her back to the makeup trailer. Nope, sorry,
Speaker 1: still a little too sexy. They look like road. I'm like, yeah,
Speaker 1: there we go. That's perfect. Now we can do it.
Speaker 1: As much as I would love to continue talking about
Speaker 1: breast and nudity and all of that stuff, we have
Speaker 1: to see where we're going towards the future. This is
Speaker 1: beyond the scenes. We'll be right back, Ken John, I
Speaker 1: wasn't supposed to tell the stories. Been twenty years. Let
Speaker 1: that ship go. What grows in the forest trees, sure,
Speaker 1: no one else girls in the forest. Our imagination, our
Speaker 1: sense of wonder, and our family bonds grow too, because
Speaker 1: when we disconnect from this and connect with this, we
Speaker 1: reconnect with each other. The forest is closer than you think.
Speaker 1: Find a forest near you and start exploring. I Discover
Speaker 1: the Forest dot Org, brought to you by the United
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Speaker 1: you and it will hurt. It was a plot straight
Speaker 1: out of James Bond, an assassination carried out with the
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Speaker 1: Kim Dragon actually had several reasons for wanting to assassinate
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Speaker 1: challenger must be eliminated. Behind the most audacious assassination of
Speaker 1: the twenty one century. Listen to Big Brother on the
Speaker 1: I Heart Radio app, Apple podcast or wherever you get
Speaker 1: your podcasts, and we're live here outside the Perez family home,
Speaker 1: just waiting for the and there they go almost on time.
Speaker 1: This morning, Mom is coming out the front door strong
Speaker 1: with a double arm kid carry. Looks like dad has
Speaker 1: the bags. Daughter is bringing up the rear. Oh, but
Speaker 1: the diaper bag wasn't closed. Diapers and toys are everywhere.
Speaker 1: Oh but mom has just nailed the perfect car seat
Speaker 1: buckle for the toddler. And now the eldest daughter, who
Speaker 1: looks to be about nine or ten, has secured herself
Speaker 1: in the booster seat. Dad SIPs the bad clothes and
Speaker 1: they're off. But looks like Mom doesn't realize your coffee
Speaker 1: cup is still on the roof of the car and
Speaker 1: there it goes. Oh, that's a shame that mug was
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Speaker 1: AD Council. So we've talked during this podcast, ladies, just
Speaker 1: about how the portrayal of women in their sexuality and
Speaker 1: how that can inform and influence us from a very
Speaker 1: early age. But should the movies be where people are
Speaker 1: even learning about all of this? Yeah, I mean it
Speaker 1: it what what is seen on in the movies and
Speaker 1: on TV matters. It's certainly like carries a lot of weight.
Speaker 1: But I think it matters more because kids aren't really
Speaker 1: learning a lot about sex, said in a full, comprehensive,
Speaker 1: inclusive way, in school, so they're left to learn this
Speaker 1: stuff from seeing shows and movies, and and that's like
Speaker 1: to me, that kind of puts too much pressure on
Speaker 1: what's supposed to be entertainment to kind of like solve
Speaker 1: the world's problems. Yeah, I think if anyone needs these movies,
Speaker 1: it's Catholic school kids, because I can tell you right now,
Speaker 1: they are not teaching them shit that they need, that
Speaker 1: they actually need to know. So I went to a
Speaker 1: Catholic high school, and I would think, like, you know,
Speaker 1: that was twenty years ago, that it would be better.
Speaker 1: But I don't. Like it's like does he was saying,
Speaker 1: it's not like sex education. It's still pretty bad at
Speaker 1: least in America, And most kids are getting their knowledge
Speaker 1: from TV movies and you know, unless someone has like
Speaker 1: a cool older brother. But other than that, like there's
Speaker 1: not really many resources to get like the real, like
Speaker 1: the real, authentic stuff of what sex is actually like.
Speaker 1: Do you think also, in addition to the lack of
Speaker 1: sex ad, is there more sexual censorship in America that
Speaker 1: also keeps kids from learning about stuff like just I
Speaker 1: saw Mortal Kombat. Okay, I saw the new Mortal Kombat
Speaker 1: movie earlier this year. Blood and guts everywhere, But then
Speaker 1: you can go overseas and they pardon my French, they
Speaker 1: got briss and just commercials nudity is just so regular,
Speaker 1: Like it's just a commercial about buying shampoo, and it's
Speaker 1: just a woman getting out the shower in a breastaurant shampoo.
Speaker 1: Wouldn't it be nice if Americans had more shame surrounding
Speaker 1: violence than shame surrounding the human body and all of
Speaker 1: its sexuality. It's so crazy. I mean, even I have
Speaker 1: a five year old and the stuff that when I'm
Speaker 1: trying to look for something that is appropriate for him
Speaker 1: to watch, we are always stumbling upon stuff that's like, well,
Speaker 1: that's still violent, or there's a some like you know,
Speaker 1: weapons are being thrown around and there's some fight, or
Speaker 1: there's some and I would much rather my son see
Speaker 1: naked boobies on screen, you know, than see like a full,
Speaker 1: full on, knockdown, drag out violent fight. As Americans, we
Speaker 1: probably don't even realize how much violence we're seeing every
Speaker 1: day because it's just something we've grown up with at
Speaker 1: this point. But yeah, I remember when I went to
Speaker 1: Europe for the first time. I think, like as a teenager,
Speaker 1: I went as like a French exchange student, and I
Speaker 1: remember seeing like boobs on a billboard and I was like,
Speaker 1: do they know that those are up there? Like I
Speaker 1: was like, someone's gonna get fired because there's some hits.
Speaker 1: Just like at a department store. You have to act
Speaker 1: normal as an American. Yeah, boobs out totally normal? Yeah. Yeah,
Speaker 1: are things as a whole improving? Do you think you
Speaker 1: know when we have programs like say Pose, which is
Speaker 1: ending their wrong coming up now in ethics? Does how
Speaker 1: does the sexuality heterosexuality in the porterial of that, how
Speaker 1: does that fit into the wider discussion of bipocket LGBTQ
Speaker 1: sexuality on film and TV. I mean I think definitely,
Speaker 1: I mean having more people behind the camera, but then
Speaker 1: also just seeing those relationships like um, like I may
Speaker 1: destroy you was like I feel like so revolutionary and
Speaker 1: how it portrayed sex and sexuality, um, and that was
Speaker 1: one thing that that was in our research, but we
Speaker 1: were like, that's such a heavy show. I was like,
Speaker 1: that doesn't the tone doesn't feel right to include that.
Speaker 1: So I think more shows like that, where it's no
Speaker 1: longer this big deal because it's revolutionary and like the
Speaker 1: only one of its kind that should be now our standard.
Speaker 1: Like most more shows, especially like the dramas, should be
Speaker 1: able to show those relationships of like people being more
Speaker 1: fluid with gender and more open to different sexual experiences,
Speaker 1: but also make sure consents always involved, because that's just
Speaker 1: something we've really started putting into film and television in
Speaker 1: the past like four years, which is not that long,
Speaker 1: seems how movies have been around for over a hundred.
Speaker 1: So those are like all things I think that revolve
Speaker 1: around the like kind of the same issues. They are,
Speaker 1: they're all connected. The way that Mikayla Cole was able
Speaker 1: to explore and dissect sexual assault and that whole experience
Speaker 1: that her character went through and also the supporting characters
Speaker 1: in that story felt so like truthful and authentic and um,
Speaker 1: you know, shocking. It was really like hat said revolutionary
Speaker 1: and also shocking because we have never seen it like
Speaker 1: that before, talked about in that way. Um So stories
Speaker 1: like that, stories like you know Ryan O'Connell's show special
Speaker 1: and he has like there's a scene of him having
Speaker 1: sex with another man that was I've heard him speak
Speaker 1: about it on the press tour before about it being
Speaker 1: like just a really authentic, honest interaction that he hadn't
Speaker 1: seen on camera before. Phoebe waller Bridge in Fleabag and
Speaker 1: the way she talks about sexuality and shame and you
Speaker 1: know her her being able to tell that story and
Speaker 1: its being such a massive success, I think gives me
Speaker 1: hope that we're moving in the right direction. We're starting
Speaker 1: to get more diverse stories being told, and that's important. Well,
Speaker 1: the diverse stories are told because we have a wonderfully
Speaker 1: diverse cast of people working in the building. Thank you
Speaker 1: all so much for bringing me up to speed on
Speaker 1: women's orgasms. I will now go on the same deep
Speaker 1: dive that Madeline went on, and then two minutes later
Speaker 1: I will wait an hour and try to go on
Speaker 1: that deep dive again. There there's your sixture. We did
Speaker 1: it like that all the time. We have for today
Speaker 1: a special thanks to Cat Ratley and Dasilidic. Hopefully now
Speaker 1: we've taken you beyond the scenes. Take care of everybody.
Speaker 1: I'm sorry, Ken, John, I love you. Listen to The
Speaker 1: Daily Show Beyond the Scenes on Apple podcast, the I
Speaker 1: Heart Radio app, or wherever you get your podcasts. I
Speaker 1: want to go even further beyond the Scenes. Check out
Speaker 1: the video version of Beyond the Scenes on The Daily
Speaker 1: Show's YouTube page. What Girls in the Forest, our imagination
Speaker 1: and our family bonds. The forest is closer than you think.
Speaker 1: Find a forest near you and discover the Forest dot Org.
Speaker 1: Brought to you by the United States Forest Service and
Speaker 1: the Ad Council. From Cavalry Audio, the studio that brought
Speaker 1: you The Devil Within and The Shadow Girls, comes a
Speaker 1: new true crime podcast, The Pink Moon Murders. The local
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