1 00:00:00,960 --> 00:00:03,920 Speaker 1: On the bed Cast, the questions asked if movies have 2 00:00:04,080 --> 00:00:07,520 Speaker 1: women and um, are all their discussions just boyfriends and 3 00:00:07,600 --> 00:00:11,879 Speaker 1: husbands or do they have individualism? The patriarchy? Zef in 4 00:00:12,039 --> 00:00:18,520 Speaker 1: best start changing it with the Bell Cast. Hey, Caitlin, Yeah, Jamie, 5 00:00:18,920 --> 00:00:22,239 Speaker 1: thanks for meeting me up on this roof. You look cold. 6 00:00:22,840 --> 00:00:25,840 Speaker 1: Oh my gosh, I'm so cold. Hey, can I bomb 7 00:00:25,880 --> 00:00:29,240 Speaker 1: a smoke? Yeah? I'm a known smoker, and I'm also 8 00:00:29,280 --> 00:00:33,960 Speaker 1: wearing a gigantic fur as unethically sourced as a humanly 9 00:00:34,080 --> 00:00:36,239 Speaker 1: could fine? Would you like to get would you like 10 00:00:36,320 --> 00:00:39,239 Speaker 1: to get on in? Yeah? I'm so chilly. Okay, Well, 11 00:00:39,240 --> 00:00:42,760 Speaker 1: now that you're here, I have an idea. It's called 12 00:00:42,880 --> 00:00:48,280 Speaker 1: a podcast, and we're gonna make a funk load of money. 13 00:00:49,200 --> 00:00:53,479 Speaker 1: Are you in? I mean, famously podcasters make a hundred 14 00:00:53,520 --> 00:00:58,400 Speaker 1: thousand dollars per weekend. So yeah, I'm in. In two 15 00:00:58,400 --> 00:01:04,280 Speaker 1: thousand and seven, if you're a podcaster, the money podcasters 16 00:01:04,280 --> 00:01:07,000 Speaker 1: were pulling prerecession. It's what they don't want you to know. 17 00:01:08,920 --> 00:01:11,479 Speaker 1: We'll see how We'll see how this goes. Yeah, yeah, yeah, 18 00:01:11,520 --> 00:01:15,520 Speaker 1: there's what could possibly happen. We'll definitely be speaking in 19 00:01:15,640 --> 00:01:20,360 Speaker 1: five years. Yeah, I'm not gonna. I'm not gonna betray 20 00:01:20,400 --> 00:01:22,759 Speaker 1: our trust and take a deal when we both get 21 00:01:22,840 --> 00:01:28,800 Speaker 1: arrested after having an illegal podcast. And I really hope 22 00:01:28,840 --> 00:01:31,760 Speaker 1: that one of those exists. I don't know what you 23 00:01:31,800 --> 00:01:35,280 Speaker 1: would need to be do, I mean, I'm not sure anyways, 24 00:01:35,800 --> 00:01:41,200 Speaker 1: I feel I feel confident about that. Intro. Welcome, Welcome 25 00:01:41,240 --> 00:01:44,160 Speaker 1: to the Bechtel Cast. My name is Jamie Loftus. My 26 00:01:44,240 --> 00:01:48,080 Speaker 1: name is Caitlin Darante, and this is our show where 27 00:01:48,160 --> 00:01:53,320 Speaker 1: we examine movies through an intersectional feminist lens, using the 28 00:01:53,360 --> 00:01:57,080 Speaker 1: Bechdel Tests simply as a jumping off point to initiate 29 00:01:57,240 --> 00:02:04,560 Speaker 1: a larger conversation. Jamie, what is the Bechdel test? Though? Okay? So, 30 00:02:04,640 --> 00:02:08,400 Speaker 1: the Bechtel test is a media metric invented by queer 31 00:02:08,440 --> 00:02:13,240 Speaker 1: cartoonist Alison Bechdel, sometimes called the Bechdel Wallace test, that 32 00:02:13,280 --> 00:02:17,560 Speaker 1: requires the following. There must be for our purposes. There's 33 00:02:17,560 --> 00:02:21,360 Speaker 1: different versions of it. This is our version. For our purposes. 34 00:02:21,520 --> 00:02:25,080 Speaker 1: We require that there be two named characters of a 35 00:02:25,120 --> 00:02:28,359 Speaker 1: marginalized gender that talk to each other about something other 36 00:02:28,440 --> 00:02:31,600 Speaker 1: than a man for two lines of dialogue. And it 37 00:02:31,639 --> 00:02:33,960 Speaker 1: has to be a recent update. It has to be 38 00:02:34,400 --> 00:02:39,720 Speaker 1: a meaningful exchange. We can't define what that is, but 39 00:02:39,960 --> 00:02:43,079 Speaker 1: you know it when you hear it. Uh. And fortunately 40 00:02:43,120 --> 00:02:45,280 Speaker 1: this is not a movie where I think we will 41 00:02:45,840 --> 00:02:48,240 Speaker 1: struggle to find them, so we won't need to really 42 00:02:48,360 --> 00:02:52,119 Speaker 1: split hairs on it this week, because this week we're 43 00:02:52,120 --> 00:02:55,880 Speaker 1: covering I think one of our more popular requests ever. 44 00:02:56,320 --> 00:02:58,720 Speaker 1: We've been getting a ton of requests for this movie 45 00:02:59,000 --> 00:03:01,760 Speaker 1: since it came out, before it came out, maybe even 46 00:03:01,880 --> 00:03:06,320 Speaker 1: before the trailer dropped, basically, and we were kind of 47 00:03:06,320 --> 00:03:08,799 Speaker 1: waiting for the perfect guest to come along and guess what, 48 00:03:09,160 --> 00:03:13,680 Speaker 1: she's here, baby, it happened. It's the Hustlers episode and 49 00:03:13,800 --> 00:03:17,799 Speaker 1: our guest today she is a writer, performer, and activist. 50 00:03:18,120 --> 00:03:23,680 Speaker 1: It's Susie q Wo. Hi, Louise, thank you so much 51 00:03:23,720 --> 00:03:26,919 Speaker 1: for being here. Thank you so much for a having 52 00:03:26,919 --> 00:03:31,120 Speaker 1: this podcast super duper important, um and be like doing 53 00:03:31,160 --> 00:03:36,240 Speaker 1: this movie super duper important, and see having me thank you, 54 00:03:37,400 --> 00:03:40,600 Speaker 1: this is the most important part. We're so excited to 55 00:03:40,680 --> 00:03:42,520 Speaker 1: have you on the show and to talk about this 56 00:03:42,560 --> 00:03:45,320 Speaker 1: movie the same. I have been hearing about this movie 57 00:03:45,440 --> 00:03:47,880 Speaker 1: and thinking about this movie since long before it was 58 00:03:47,920 --> 00:03:50,440 Speaker 1: ever even released, let alone I actually ever been watched it, 59 00:03:50,440 --> 00:03:52,360 Speaker 1: which was only this week, So thank you for giving 60 00:03:52,360 --> 00:03:55,560 Speaker 1: me the final excuse to like, you know, I am 61 00:03:55,640 --> 00:03:58,800 Speaker 1: of the adult industry. I was doing adult work in 62 00:03:58,840 --> 00:04:01,160 Speaker 1: strip clubs around the same time that this movie happened. 63 00:04:01,520 --> 00:04:03,960 Speaker 1: Um So, I was really reluctant to watch it. You know, 64 00:04:04,160 --> 00:04:08,760 Speaker 1: it's like, oh, yeah, you never know. Yeah, So, I'm 65 00:04:09,320 --> 00:04:12,480 Speaker 1: so you had only just seen this very recently, very recently. 66 00:04:12,560 --> 00:04:17,599 Speaker 1: Yeah wow, what were You're just kind of like initial thoughts. So, okay, 67 00:04:17,920 --> 00:04:21,240 Speaker 1: I have a relationship with it. I feel like every 68 00:04:21,400 --> 00:04:26,040 Speaker 1: person doing adult entertainment during this time has a relationship 69 00:04:26,040 --> 00:04:30,640 Speaker 1: with this movie somehow. Like, um, so I opened for 70 00:04:30,760 --> 00:04:34,120 Speaker 1: jack Is stripper a k. Jacqueline Francis a k a. Jackie, 71 00:04:34,200 --> 00:04:37,960 Speaker 1: the cute blonde who's Jennifer Lopez is grabs her boobs, which, 72 00:04:37,960 --> 00:04:40,839 Speaker 1: by the way, I can't believe Jacqueline was not shouting 73 00:04:40,839 --> 00:04:43,520 Speaker 1: that from the rooftops as soon as it happened until 74 00:04:43,920 --> 00:04:45,719 Speaker 1: for the rest of her life. I'm like, why isn't 75 00:04:45,760 --> 00:04:47,560 Speaker 1: that like the main part of your brand? Now? I 76 00:04:47,560 --> 00:04:50,599 Speaker 1: don't understand. Maybe she had to like sign a boob 77 00:04:50,680 --> 00:04:54,120 Speaker 1: grabbing n DA is the kind of famous that I'm like, 78 00:04:54,240 --> 00:04:57,039 Speaker 1: there could be an n D A for anything. Sure, 79 00:04:58,120 --> 00:05:01,360 Speaker 1: so I knew that Jack was in aolved in the 80 00:05:01,440 --> 00:05:03,520 Speaker 1: process of making this film, I did not realize she 81 00:05:03,560 --> 00:05:05,760 Speaker 1: had as much screen time as she did, which was 82 00:05:05,920 --> 00:05:09,800 Speaker 1: really freaking cool. It's just in and of itself, that 83 00:05:09,880 --> 00:05:12,600 Speaker 1: movie existing and what happened to get it made, and 84 00:05:12,640 --> 00:05:15,400 Speaker 1: the fact that real sex workers were involved and real 85 00:05:15,400 --> 00:05:18,800 Speaker 1: strippers were involved in the making of this movie is important. 86 00:05:18,880 --> 00:05:22,120 Speaker 1: And I was worried that that sort of policy and 87 00:05:22,200 --> 00:05:25,520 Speaker 1: procedural element of which I am very into all of 88 00:05:25,560 --> 00:05:29,800 Speaker 1: those things, particularly as an activist, would somehow not translate 89 00:05:30,240 --> 00:05:32,360 Speaker 1: to a good movie that I was that I was 90 00:05:32,400 --> 00:05:35,800 Speaker 1: stoked to watch, I was. I was worried, but it 91 00:05:36,000 --> 00:05:39,680 Speaker 1: sure did. It sure did to me. Yeah, to me, 92 00:05:39,760 --> 00:05:43,080 Speaker 1: this felt like the dirty dancing for adult entertainers, Like 93 00:05:43,160 --> 00:05:45,839 Speaker 1: the It was like, it's not a coming of age story. 94 00:05:45,880 --> 00:05:48,080 Speaker 1: It is that, but it's it's more than that. It's 95 00:05:48,080 --> 00:05:52,760 Speaker 1: a love story about love that is so meaningful and 96 00:05:52,880 --> 00:05:57,400 Speaker 1: so unspeakable that like, I can't even like, unless we 97 00:05:57,440 --> 00:05:59,920 Speaker 1: had this movie to be to talk about and look at, 98 00:06:00,160 --> 00:06:02,400 Speaker 1: I feel like I would not be able to communicate 99 00:06:03,000 --> 00:06:06,919 Speaker 1: the type of relationship between women that the adult industry 100 00:06:06,960 --> 00:06:11,000 Speaker 1: can create. And that's what this movie is about. I think, Oh, 101 00:06:11,000 --> 00:06:14,719 Speaker 1: I'm so glad you liked it. Yeah, Jamie, what's your 102 00:06:14,960 --> 00:06:18,839 Speaker 1: relationship with it? I've seen this movie a couple of times. 103 00:06:18,880 --> 00:06:21,560 Speaker 1: I was really really excited for it to come out 104 00:06:21,640 --> 00:06:26,000 Speaker 1: for a lot of reasons. I mean, because it's the 105 00:06:26,040 --> 00:06:28,640 Speaker 1: subject matter is not something you get to see addressed 106 00:06:28,680 --> 00:06:31,280 Speaker 1: in depth, much less in like I don't know. I mean, 107 00:06:31,320 --> 00:06:33,760 Speaker 1: I remember seeing the trailer for this movie and being like, 108 00:06:33,800 --> 00:06:36,000 Speaker 1: this movie is going to be like heavy, but it's 109 00:06:36,000 --> 00:06:39,640 Speaker 1: gonna be a fucking blast too. And I really like 110 00:06:40,279 --> 00:06:44,240 Speaker 1: movies that address class and inequality and in a way 111 00:06:44,279 --> 00:06:47,159 Speaker 1: that doesn't feel like they're bashing you over the head 112 00:06:47,200 --> 00:06:49,440 Speaker 1: with it, and also in a way that isn't just 113 00:06:49,600 --> 00:06:53,039 Speaker 1: like and here are the white guys that made the 114 00:06:53,040 --> 00:06:56,080 Speaker 1: whoopsie Like it's it's so cool to see. I don't 115 00:06:56,120 --> 00:06:58,680 Speaker 1: think I've ever seen a movie about this period of 116 00:06:58,760 --> 00:07:04,680 Speaker 1: time that focused on first of all, women, much less 117 00:07:05,240 --> 00:07:09,280 Speaker 1: New York strippers Like it's such it just takes every 118 00:07:09,320 --> 00:07:11,520 Speaker 1: box for me. And I was really excited that it 119 00:07:11,560 --> 00:07:15,360 Speaker 1: was written and directed by Lorraine Scafaria too, because she's 120 00:07:15,600 --> 00:07:19,679 Speaker 1: so talented and she's been at it forever and um, 121 00:07:19,720 --> 00:07:21,840 Speaker 1: I'm excited to talk about the production of this movie 122 00:07:21,840 --> 00:07:24,000 Speaker 1: because she really had to fight to be able to 123 00:07:24,040 --> 00:07:27,680 Speaker 1: even they wanted Martin Scorsese torect direct this movie, like 124 00:07:28,160 --> 00:07:31,360 Speaker 1: all this ship that I'm just this is the kind 125 00:07:31,360 --> 00:07:34,320 Speaker 1: of movie where you're like, it's I'm just so happy 126 00:07:34,360 --> 00:07:36,920 Speaker 1: that it got made, and it seems like it got 127 00:07:36,960 --> 00:07:41,239 Speaker 1: made the way that the creators and the consultants wanted 128 00:07:41,240 --> 00:07:44,600 Speaker 1: it to be. So I'm stoked. It was such a 129 00:07:44,600 --> 00:07:48,320 Speaker 1: pleasure to rewatch it. What about you, Caitlin, Yeah, I've 130 00:07:48,360 --> 00:07:50,840 Speaker 1: seen it a couple of times. On two I saw 131 00:07:50,880 --> 00:07:55,520 Speaker 1: it in theaters with my AMC a list thing that 132 00:07:55,720 --> 00:07:57,960 Speaker 1: is not a sponsor of our show, but it might 133 00:07:58,000 --> 00:08:02,520 Speaker 1: as well be. They really should give us three memberships 134 00:08:02,680 --> 00:08:07,840 Speaker 1: they you hear that, Mr AMC. Anyway, AMC is a 135 00:08:07,880 --> 00:08:15,000 Speaker 1: girl boss. It's miss ms ms AMC, Abigail Mallory Christian 136 00:08:15,200 --> 00:08:20,920 Speaker 1: is her name, and she and she's her nightmare. It's 137 00:08:20,920 --> 00:08:24,720 Speaker 1: a metaphor um. So, yeah, I saw in theaters and 138 00:08:24,760 --> 00:08:27,160 Speaker 1: then I've watched We watched it twice to prep for 139 00:08:27,160 --> 00:08:31,320 Speaker 1: this episode, and I also can't wait to watch it again, 140 00:08:31,720 --> 00:08:36,400 Speaker 1: Like this is going to be in my rotation. It's 141 00:08:36,400 --> 00:08:41,680 Speaker 1: an instant classic, like instant classic, it's so entertaining, it's 142 00:08:41,760 --> 00:08:46,320 Speaker 1: so watchable. The soundtrack is soundtrack. Just I woke up 143 00:08:46,320 --> 00:08:48,280 Speaker 1: with all of those songs in my head this morning, 144 00:08:48,320 --> 00:08:52,000 Speaker 1: like and I loved how of the time it was, 145 00:08:52,080 --> 00:08:54,400 Speaker 1: even though those are like very recent oldies like the 146 00:08:54,800 --> 00:08:58,640 Speaker 1: Lord the Lord album and just like the two back 147 00:08:58,679 --> 00:09:00,640 Speaker 1: to back Frankie Valley song by the way, I think 148 00:09:00,679 --> 00:09:03,440 Speaker 1: he Valley is like one of the first concerts like 149 00:09:03,679 --> 00:09:06,640 Speaker 1: in real life of freaking love that moment. But yeah, 150 00:09:06,640 --> 00:09:09,840 Speaker 1: the soundtrack is lit. It's so good. I feel like 151 00:09:09,920 --> 00:09:13,280 Speaker 1: it's I don't know, this movie is doing so much right, 152 00:09:13,480 --> 00:09:16,520 Speaker 1: but I feel like it's so hard to make a 153 00:09:16,640 --> 00:09:20,040 Speaker 1: period piece where it doesn't feel like either it's it's 154 00:09:20,040 --> 00:09:22,600 Speaker 1: either like kind of unclear when the movie is taking place, 155 00:09:22,840 --> 00:09:25,840 Speaker 1: or it's so clear that it feels condescending, where I'm like, 156 00:09:26,080 --> 00:09:31,520 Speaker 1: I understand what was, But like with this movie, it's 157 00:09:31,559 --> 00:09:33,679 Speaker 1: it's like the recent past, but I feel like they do. 158 00:09:33,800 --> 00:09:36,760 Speaker 1: Like I felt like the most ham fisted thing out 159 00:09:36,760 --> 00:09:39,240 Speaker 1: of everything, which I still liked, was like panning to 160 00:09:39,360 --> 00:09:43,160 Speaker 1: like the first season of Keeping Up with the Kardashians, Like, okay, 161 00:09:43,400 --> 00:09:46,439 Speaker 1: get it, but that places us very specifically, not only 162 00:09:46,559 --> 00:09:49,480 Speaker 1: in the place, but also in our understanding of sex 163 00:09:49,520 --> 00:09:52,679 Speaker 1: work at the time, and our understanding of like performance 164 00:09:52,720 --> 00:09:55,600 Speaker 1: and reality TV, and like we didn't have only fans yet, 165 00:09:55,840 --> 00:09:58,760 Speaker 1: we didn't have like this, but we did have Kardashians, 166 00:09:58,880 --> 00:10:04,360 Speaker 1: and that honestly change things. I really liked what what 167 00:10:04,480 --> 00:10:06,680 Speaker 1: the creators of this movie, and I'm guessing I guess 168 00:10:06,720 --> 00:10:11,000 Speaker 1: primarily Lorraine Scafaria chose to tell us where we are 169 00:10:11,080 --> 00:10:12,960 Speaker 1: and what and when it is. I thought it was 170 00:10:13,000 --> 00:10:18,319 Speaker 1: like just so many cold choices. Yeah, for sure. All right, Well, 171 00:10:18,360 --> 00:10:22,160 Speaker 1: should I dive into the recap and we'll go from there? 172 00:10:22,800 --> 00:10:27,640 Speaker 1: Yea and Susie feel free to jump in whenever. Alright, 173 00:10:27,880 --> 00:10:32,720 Speaker 1: so we open. It's two thousand seven. We meet Dorothy 174 00:10:33,120 --> 00:10:37,719 Speaker 1: a k A. Destiny. That's Constance Wu. She is a 175 00:10:37,760 --> 00:10:41,800 Speaker 1: stripper at a club called Moves in New York City. 176 00:10:41,880 --> 00:10:45,640 Speaker 1: Ever heard of it? She's new there. We see her 177 00:10:45,679 --> 00:10:49,040 Speaker 1: on a typical night. Um she's giving some private dances. 178 00:10:49,600 --> 00:10:52,800 Speaker 1: She is not making as much money as she had hoped, 179 00:10:53,080 --> 00:10:55,480 Speaker 1: especially because she has to hand over a lot of 180 00:10:55,480 --> 00:10:58,880 Speaker 1: her earnings to various men who work at the club. 181 00:10:59,720 --> 00:11:01,520 Speaker 1: We see a little bit of her home life. She 182 00:11:01,760 --> 00:11:06,040 Speaker 1: takes care of her grandmother. One night at the club Ramona, 183 00:11:06,360 --> 00:11:11,720 Speaker 1: that is, Jennifer Lopez is dancing. She's very very good. 184 00:11:11,960 --> 00:11:15,120 Speaker 1: Wait wait, we have to say what she's dancing too. 185 00:11:16,080 --> 00:11:19,360 Speaker 1: She's dancing to Criminal by Fiona Apple. It's one of 186 00:11:19,400 --> 00:11:23,400 Speaker 1: my favorite scenes in the movie. It's also, may I say, 187 00:11:23,800 --> 00:11:27,160 Speaker 1: don't ever choose that song as your stage song unless 188 00:11:27,160 --> 00:11:30,200 Speaker 1: it's like, you know, two pm on an afternoon in 189 00:11:30,240 --> 00:11:32,800 Speaker 1: Portland and you're like doing your thing and you've got 190 00:11:32,920 --> 00:11:35,720 Speaker 1: But like that, there were the two things about the 191 00:11:35,760 --> 00:11:38,760 Speaker 1: movie that like we're like cringe e to me, but 192 00:11:38,880 --> 00:11:40,760 Speaker 1: not enough to be mad in any way. It's just 193 00:11:40,840 --> 00:11:43,800 Speaker 1: like it's like your mom who's really trying very hard 194 00:11:43,880 --> 00:11:46,800 Speaker 1: to accept you as you are and be into your 195 00:11:46,800 --> 00:11:49,160 Speaker 1: new life. Like that is the performance that Jennifer Lopez 196 00:11:49,160 --> 00:11:53,000 Speaker 1: gives us as Ramona, right, Like she's like her the 197 00:11:53,080 --> 00:11:57,840 Speaker 1: pole trick sequence and like everything she does is technically perfect, 198 00:11:58,400 --> 00:12:04,840 Speaker 1: and like like not, I'm so curious to hear what 199 00:12:05,240 --> 00:12:07,760 Speaker 1: because to me, to me, no, I mean I'm curious. 200 00:12:07,800 --> 00:12:11,000 Speaker 1: I mean it's like, yeah, the fun the funeral Apple 201 00:12:11,040 --> 00:12:13,120 Speaker 1: Tics was like this might just be a song that 202 00:12:13,160 --> 00:12:16,360 Speaker 1: the director likes, but and I also really like as 203 00:12:16,480 --> 00:12:18,960 Speaker 1: I was stoked, it's a song that like sex workers like, 204 00:12:19,080 --> 00:12:21,120 Speaker 1: and like at the Lusty Lady, which is where you 205 00:12:21,160 --> 00:12:23,400 Speaker 1: know where the dancers can control the music and such 206 00:12:23,440 --> 00:12:26,880 Speaker 1: like absolutely put on that song, but like the type 207 00:12:26,920 --> 00:12:29,520 Speaker 1: of reaction that Ramon was getting with like the money 208 00:12:29,559 --> 00:12:31,640 Speaker 1: going every right. I mean, if you can get that 209 00:12:31,720 --> 00:12:34,839 Speaker 1: kind of reaction with a stage dance to Criminal, like 210 00:12:35,240 --> 00:12:38,920 Speaker 1: do it of course, but that like it did not 211 00:12:39,040 --> 00:12:40,760 Speaker 1: ring true to me in the same way that like 212 00:12:40,800 --> 00:12:43,000 Speaker 1: propol tricks did not ring true. And someone's like, yes, 213 00:12:43,160 --> 00:12:44,760 Speaker 1: that is how you do that dance move? Is that 214 00:12:44,840 --> 00:12:49,880 Speaker 1: how you extract money out of a human? I know 215 00:12:50,160 --> 00:12:53,439 Speaker 1: it's not in my opinion. In my opinion as someone 216 00:12:53,640 --> 00:12:55,800 Speaker 1: who has extracted money out of many humans, like you 217 00:12:55,840 --> 00:12:58,880 Speaker 1: know better than such moves, and like I don't do 218 00:12:58,960 --> 00:13:02,520 Speaker 1: moves that good, but I made plenty of I will 219 00:13:02,559 --> 00:13:05,719 Speaker 1: say about, like you know, whether or not Criminal is 220 00:13:05,760 --> 00:13:07,480 Speaker 1: a good good choice. I'm sure there will be plenty 221 00:13:07,520 --> 00:13:10,040 Speaker 1: of strippers that listener like, yeah, that's that, I'm so 222 00:13:10,200 --> 00:13:13,120 Speaker 1: much money with that song, please go for it. But 223 00:13:13,240 --> 00:13:16,720 Speaker 1: I do think that that moment when we see Ramona, 224 00:13:16,840 --> 00:13:19,400 Speaker 1: we see her through Justiny's eyes. It's that moment when 225 00:13:19,440 --> 00:13:23,000 Speaker 1: like the reality of what was actually happening in that moment, 226 00:13:23,000 --> 00:13:25,840 Speaker 1: whether she chose Criminal or whether like and that's possibly 227 00:13:25,840 --> 00:13:28,520 Speaker 1: why it was Criminal. That's a song that like I 228 00:13:28,559 --> 00:13:30,959 Speaker 1: would choose for like the girl I like to dance 229 00:13:31,000 --> 00:13:34,280 Speaker 1: for me, you know, and so like we see her 230 00:13:34,360 --> 00:13:38,360 Speaker 1: through those eyes of like, oh man, this is the way, 231 00:13:38,360 --> 00:13:43,160 Speaker 1: this is what the fantasy fulfilled. She's like mesmerized by 232 00:13:43,679 --> 00:13:49,360 Speaker 1: Ramona's performance. I really love movie moments like that where 233 00:13:49,400 --> 00:13:52,640 Speaker 1: you just see like it's just fun to see like 234 00:13:52,880 --> 00:13:55,560 Speaker 1: women looking at each other and really just being like 235 00:13:55,679 --> 00:14:00,320 Speaker 1: completely taken in by like another woman's persona or just 236 00:14:00,320 --> 00:14:03,360 Speaker 1: like what she can do. And I was thinking about 237 00:14:03,440 --> 00:14:06,840 Speaker 1: it because this is like different contexts mostly, but we 238 00:14:06,920 --> 00:14:09,080 Speaker 1: just did an episode on Chicago and you kind of 239 00:14:09,080 --> 00:14:11,520 Speaker 1: get like a similar moment where it's like I want 240 00:14:11,520 --> 00:14:13,160 Speaker 1: to be your best friend, but I also want to 241 00:14:13,200 --> 00:14:15,520 Speaker 1: be you, Like how do you do what you do? 242 00:14:15,679 --> 00:14:18,240 Speaker 1: Like they're just can we exist in the same realm 243 00:14:18,320 --> 00:14:24,880 Speaker 1: without destroying each other? Like let's try. So she is 244 00:14:24,960 --> 00:14:29,880 Speaker 1: dancing to Criminal by Fiona Apple and people are throwing 245 00:14:30,240 --> 00:14:35,400 Speaker 1: tons of money at her, and Destiny is like idolizing 246 00:14:35,720 --> 00:14:40,000 Speaker 1: her and her moves. So then we've got that rooftop 247 00:14:40,080 --> 00:14:43,520 Speaker 1: scene that we alluded to in our amazing introduction to 248 00:14:43,560 --> 00:14:48,120 Speaker 1: this episode, where Destiny goes up to Ramona asks for 249 00:14:48,200 --> 00:14:51,680 Speaker 1: some pointers and then Ramona is like, yeah, I'll show 250 00:14:51,680 --> 00:14:53,920 Speaker 1: you the ropes and maybe we could even work together. 251 00:14:54,840 --> 00:14:57,960 Speaker 1: Then we cut to seven years later where Destiny is 252 00:14:58,000 --> 00:15:02,800 Speaker 1: being interviewed by a journalist named Elizabeth played by Julia Stiles. 253 00:15:03,240 --> 00:15:06,120 Speaker 1: Was not I always forget that she's in the movie, 254 00:15:06,200 --> 00:15:09,920 Speaker 1: and every time I see it, I'm like, oh, yeah, same. 255 00:15:10,000 --> 00:15:13,160 Speaker 1: I would say, it's like, what makes this a dance 256 00:15:13,200 --> 00:15:18,360 Speaker 1: movie is Julia Stiles. She's a little throwback. She is 257 00:15:18,440 --> 00:15:21,560 Speaker 1: Shannon and that like that with like the neon pink 258 00:15:21,640 --> 00:15:25,080 Speaker 1: and also the fundamentally all of the dancing in the film. 259 00:15:25,080 --> 00:15:26,760 Speaker 1: I'm gonna say this is a dance movie, which is 260 00:15:26,760 --> 00:15:31,160 Speaker 1: like possibly my favorite genre film. The casting of this 261 00:15:31,200 --> 00:15:34,080 Speaker 1: movie is so I guess it took two years to 262 00:15:34,120 --> 00:15:36,400 Speaker 1: cast this movie. They like really took their time, and 263 00:15:36,440 --> 00:15:39,680 Speaker 1: I feel like it shows like the casting choices. And 264 00:15:39,760 --> 00:15:43,120 Speaker 1: Julia Stiles was like hell bent on being in this movie. 265 00:15:43,120 --> 00:15:46,160 Speaker 1: She was like, I don't care what role I'm in it, 266 00:15:46,360 --> 00:15:49,400 Speaker 1: I will do anything to be in this movie Saved 267 00:15:49,400 --> 00:15:55,640 Speaker 1: the Last Dance from Me. So this journalist is interviewing 268 00:15:55,920 --> 00:16:01,240 Speaker 1: Destiny about this kind of former life she has because 269 00:16:01,280 --> 00:16:06,040 Speaker 1: when we see her in or whenever it is, she's 270 00:16:06,040 --> 00:16:09,040 Speaker 1: like has a haircut and it's like wearing like a 271 00:16:09,080 --> 00:16:11,560 Speaker 1: more conservative outfit and she's in like an h G 272 00:16:11,760 --> 00:16:16,160 Speaker 1: t V. Living. Yeah, so she seems to be living 273 00:16:16,520 --> 00:16:21,000 Speaker 1: like a different lifestyle now. And Elizabeth, the journalist, asks 274 00:16:21,040 --> 00:16:25,080 Speaker 1: about when things got out of control. So then we 275 00:16:25,160 --> 00:16:28,240 Speaker 1: cut back to two thousand seven, but the movie periodically 276 00:16:28,320 --> 00:16:31,240 Speaker 1: cuts back to this interview that's happening. So back in 277 00:16:31,280 --> 00:16:36,520 Speaker 1: two thousand seven, Ramona teaches Destiny some moves. They start 278 00:16:36,680 --> 00:16:40,400 Speaker 1: dancing together, they get very strategic about the men they 279 00:16:40,440 --> 00:16:43,880 Speaker 1: target at the club. They start making a lot more money, 280 00:16:44,200 --> 00:16:47,840 Speaker 1: mostly from rich Wall Street guys, and then one night 281 00:16:47,920 --> 00:16:55,960 Speaker 1: from Usher okay, wait, okay, stop again that So that 282 00:16:56,160 --> 00:17:00,160 Speaker 1: scene is so wild. I mean, I guess that, like, 283 00:17:00,200 --> 00:17:02,080 Speaker 1: if you were to think of the most two thousand 284 00:17:02,280 --> 00:17:08,280 Speaker 1: seven scenario you could, this would be it. I love 285 00:17:08,359 --> 00:17:11,399 Speaker 1: that there's no other like she describes it as like 286 00:17:11,440 --> 00:17:13,000 Speaker 1: that was the last night it was good, and that 287 00:17:13,119 --> 00:17:15,960 Speaker 1: is the like the point it serves it within the plot, 288 00:17:16,280 --> 00:17:18,720 Speaker 1: but other than that, no, we never see Usher again. 289 00:17:18,760 --> 00:17:20,960 Speaker 1: It's just like sometimes celebrities coming to the strip club 290 00:17:21,000 --> 00:17:23,440 Speaker 1: and spend tons of money and it's an unforgettable night. 291 00:17:23,880 --> 00:17:27,440 Speaker 1: I remember when Tears back to back at Avien, Little 292 00:17:27,440 --> 00:17:30,199 Speaker 1: Wayne performed and then Cardi B performed and like I 293 00:17:30,200 --> 00:17:31,840 Speaker 1: got to dance on stage with both of them, with 294 00:17:31,920 --> 00:17:33,800 Speaker 1: like all of my peign star friends, And I was like, 295 00:17:34,000 --> 00:17:37,640 Speaker 1: and Cardi B is a fictional stripper at this club Diamond. 296 00:17:38,280 --> 00:17:40,159 Speaker 1: I wonder if that was like her name? Do we 297 00:17:40,200 --> 00:17:46,000 Speaker 1: know if that was her name? I would assume anyway, Um, yeah, 298 00:17:46,040 --> 00:17:50,480 Speaker 1: I love that. The Usher sequence is a fever dream 299 00:17:50,560 --> 00:17:54,760 Speaker 1: that is It's true. I'm sure that happened, you know, Yeah, totally. 300 00:17:55,200 --> 00:17:58,560 Speaker 1: I just love that. I don't know. You just never 301 00:17:58,640 --> 00:18:02,040 Speaker 1: expect to see Usher. You just don't. It's it's a 302 00:18:02,119 --> 00:18:05,080 Speaker 1: thrill every single time. And he isn't a lot of 303 00:18:05,440 --> 00:18:09,280 Speaker 1: He makes cameos in a lot of movies, sometimes as himself, 304 00:18:09,359 --> 00:18:14,359 Speaker 1: such as Hustlers, and sometimes as the DJ from Oh 305 00:18:14,440 --> 00:18:16,520 Speaker 1: my God, which movie is it? Is it? Um, she's 306 00:18:16,520 --> 00:18:19,000 Speaker 1: all that, she's all that, Yeah, she's all that. Yeah. 307 00:18:19,040 --> 00:18:25,200 Speaker 1: I was like, wait, his heart So it's like twenty 308 00:18:25,240 --> 00:18:29,080 Speaker 1: years apart, but still same energy. He popped back up. 309 00:18:29,720 --> 00:18:34,160 Speaker 1: He's it's so interesting. I wonder because I know that 310 00:18:34,640 --> 00:18:38,760 Speaker 1: it was Jennifer Lopez who talked to Cardi B and 311 00:18:38,880 --> 00:18:41,080 Speaker 1: was like, you gotta be in this movie. I love 312 00:18:41,119 --> 00:18:43,840 Speaker 1: this movie. I wonder how many music stars were like, oh, 313 00:18:43,880 --> 00:18:46,800 Speaker 1: it's a j Lo movie. Okay, fine, I well it's 314 00:18:46,800 --> 00:18:50,280 Speaker 1: also a Will Ferrell movie, right. That's it's so funny 315 00:18:50,320 --> 00:18:53,160 Speaker 1: because I always forget that this is like a Will 316 00:18:53,240 --> 00:18:56,600 Speaker 1: Ferrell Adam McKay like produced joint. But then when you 317 00:18:56,680 --> 00:18:58,440 Speaker 1: know that, you're like, oh, it is like a movie 318 00:18:58,480 --> 00:19:01,879 Speaker 1: about the recession with like a very particular framework. I 319 00:19:01,920 --> 00:19:08,159 Speaker 1: guess Adam McKay's involvement makes sense. I always have to 320 00:19:08,280 --> 00:19:10,840 Speaker 1: learn who Adam McKay is, and then as soon as 321 00:19:10,840 --> 00:19:14,000 Speaker 1: I do, I promptly forget him and everything he's done, 322 00:19:14,040 --> 00:19:15,560 Speaker 1: and then I have to learn it again like six 323 00:19:15,600 --> 00:19:19,760 Speaker 1: months later. So sorry, Adam, but I still don't know 324 00:19:19,800 --> 00:19:23,160 Speaker 1: who you are. He's listening. I like Ercoat, but he's 325 00:19:23,240 --> 00:19:25,160 Speaker 1: just like I mean, I feel like he's most known 326 00:19:25,200 --> 00:19:28,919 Speaker 1: as like big short guy. That's basically oh so he 327 00:19:29,040 --> 00:19:32,840 Speaker 1: like makes movies about the very stylized movies about this 328 00:19:32,920 --> 00:19:40,439 Speaker 1: specific recession. So yes, love but the recession he's obsessed. Okay, 329 00:19:40,480 --> 00:19:43,960 Speaker 1: I did like that movie. Um, all right, so they're 330 00:19:44,000 --> 00:19:47,320 Speaker 1: making a lot of money. Destiny and Ramona have become 331 00:19:47,440 --> 00:19:52,159 Speaker 1: very good friends. We learn that Ramona has aspirations to 332 00:19:52,440 --> 00:19:55,639 Speaker 1: design swimwear. Um. We learned that she has a like 333 00:19:55,920 --> 00:20:01,560 Speaker 1: tween age daughter who she'll do absolutely anything for. We 334 00:20:01,680 --> 00:20:04,840 Speaker 1: learned that Destiny decides to go back to school. On 335 00:20:04,880 --> 00:20:07,280 Speaker 1: the side, she's she's still working at the club, and 336 00:20:07,320 --> 00:20:10,040 Speaker 1: everything is going great. Her grandma's taken care of, she 337 00:20:10,119 --> 00:20:15,120 Speaker 1: has her own place. Then the economic crisis of two 338 00:20:15,119 --> 00:20:20,560 Speaker 1: thousand eight happens, which obviously significantly affects Wall Street, which 339 00:20:20,720 --> 00:20:25,560 Speaker 1: in turn significantly affects how Destiny and Ramona and everyone 340 00:20:25,600 --> 00:20:27,960 Speaker 1: at the club will be able to make money because 341 00:20:28,000 --> 00:20:32,879 Speaker 1: their clientele is largely Wall Street guys. I guess, like, technically, 342 00:20:32,920 --> 00:20:37,720 Speaker 1: if you wanted to, you could pause Hustlers there, watch 343 00:20:37,960 --> 00:20:40,960 Speaker 1: the entire movie The Big Short, and then pick it 344 00:20:41,080 --> 00:20:48,399 Speaker 1: up and it would kind of almost be an unbroken story. True, smart, 345 00:20:48,880 --> 00:20:50,919 Speaker 1: that's it. That's an entire his death. That's if I 346 00:20:50,960 --> 00:20:53,439 Speaker 1: were a history professor, I'd be like, I'm just going 347 00:20:53,520 --> 00:20:55,399 Speaker 1: to sit in the back today and we're going to 348 00:20:55,520 --> 00:20:57,560 Speaker 1: learn about the recession, and I'm not going to say 349 00:20:57,640 --> 00:21:03,200 Speaker 1: a damn word. So Destiny stops dancing for a while. 350 00:21:03,640 --> 00:21:07,359 Speaker 1: She has a baby with her boyfriend Johnny. A few 351 00:21:07,440 --> 00:21:11,000 Speaker 1: years past. She is struggling financially this whole time, she 352 00:21:11,119 --> 00:21:14,879 Speaker 1: tries to get a job in retail. She calls former 353 00:21:14,960 --> 00:21:18,200 Speaker 1: regulars of hers to try to get them to give 354 00:21:18,240 --> 00:21:22,400 Speaker 1: her money. Um She's unsuccessful, so she eventually goes back 355 00:21:22,440 --> 00:21:25,760 Speaker 1: to the club, but isn't able to make the same 356 00:21:25,840 --> 00:21:28,560 Speaker 1: kind of money that she was making with Ramona before, 357 00:21:29,640 --> 00:21:35,280 Speaker 1: until she runs into Ramona one night, who catches Destiny 358 00:21:35,480 --> 00:21:38,879 Speaker 1: up on what she's been doing, which has mostly been 359 00:21:39,200 --> 00:21:44,320 Speaker 1: going fishing, where she and a couple other dancers at 360 00:21:44,359 --> 00:21:48,879 Speaker 1: the club, Annabelle, who's played by Lily Reinhardt, and Mercedes 361 00:21:49,240 --> 00:21:53,399 Speaker 1: played by Kiki Palmer. Palmer, I love I have an 362 00:21:53,400 --> 00:21:55,960 Speaker 1: Adam McKay as she with Lily Reinhardt, and that every 363 00:21:55,960 --> 00:21:58,720 Speaker 1: time I see her, I'm like, I've seen this woman before, 364 00:21:58,840 --> 00:22:02,240 Speaker 1: but who is she? Kki Palmer, I don't have that problem. 365 00:22:02,800 --> 00:22:06,280 Speaker 1: I'm a Kiky Palmer stand for life. She's great and 366 00:22:06,280 --> 00:22:10,080 Speaker 1: she's so good in this movie. She's so funny. So 367 00:22:10,400 --> 00:22:14,919 Speaker 1: these women go to a bar, they find a rich guy, 368 00:22:15,080 --> 00:22:18,640 Speaker 1: get him drunk, take him to the strip club, where 369 00:22:18,680 --> 00:22:21,720 Speaker 1: he does not realize they work at knowing that he 370 00:22:21,760 --> 00:22:24,080 Speaker 1: will spend a lot of money there, and then they 371 00:22:24,119 --> 00:22:27,800 Speaker 1: have negotiated a percentage of his spending with the club. 372 00:22:28,640 --> 00:22:31,080 Speaker 1: So this is something they regularly do, although it doesn't 373 00:22:31,080 --> 00:22:36,400 Speaker 1: always work. So to kind of streamline this process and 374 00:22:36,640 --> 00:22:40,639 Speaker 1: ensure it's success more often, Ramona comes up with a 375 00:22:40,720 --> 00:22:44,600 Speaker 1: slightly different version of the plan where they will give 376 00:22:44,640 --> 00:22:47,919 Speaker 1: the guys that they meet a mix of ketamine and 377 00:22:48,160 --> 00:22:51,840 Speaker 1: m d M A the most illegal version of the plan. 378 00:22:53,040 --> 00:22:55,040 Speaker 1: It's like everything's going well and then we're just going 379 00:22:55,080 --> 00:23:01,040 Speaker 1: to ramp it up a little bit through poisoning by crimes. Yeah, 380 00:23:01,240 --> 00:23:05,240 Speaker 1: like Ramona walking and be like okay, slight, tweak and 381 00:23:05,520 --> 00:23:08,400 Speaker 1: no one panic. I mean that's what it was like 382 00:23:08,480 --> 00:23:12,159 Speaker 1: in two thousand eight like one And also like in 383 00:23:12,200 --> 00:23:15,679 Speaker 1: two thousand eighteen, postessed a fasta of just which is 384 00:23:15,720 --> 00:23:18,879 Speaker 1: a piece of legislation but limited speech about sex on 385 00:23:18,960 --> 00:23:21,040 Speaker 1: the internet and shuttered a lot of ways for people 386 00:23:21,080 --> 00:23:23,520 Speaker 1: to uh So, I mean, like this movie is one 387 00:23:24,000 --> 00:23:28,000 Speaker 1: percent about what happened to strip clubs after the recession. 388 00:23:28,080 --> 00:23:30,119 Speaker 1: Like I said, after I watched it, I feel like 389 00:23:30,119 --> 00:23:32,280 Speaker 1: the entire thing can be like summed up in that 390 00:23:32,640 --> 00:23:35,840 Speaker 1: moment um when she sees this the house mom um 391 00:23:35,880 --> 00:23:38,440 Speaker 1: working the front at the bar, and she's like, oh, there, 392 00:23:38,560 --> 00:23:41,520 Speaker 1: you're out here again. The house mom says, yeah, these 393 00:23:41,520 --> 00:23:43,800 Speaker 1: are all Russian girls and they're charging three hundred dollars 394 00:23:43,800 --> 00:23:46,280 Speaker 1: for blow jobs in the back. And like that was 395 00:23:46,440 --> 00:23:49,080 Speaker 1: North Beach in San Francisco when I was dancing in 396 00:23:49,080 --> 00:23:52,400 Speaker 1: two thousand nine at the Lady one Percent. And then 397 00:23:52,440 --> 00:23:54,040 Speaker 1: like the fall out of what happened, I mean like 398 00:23:54,119 --> 00:23:57,280 Speaker 1: I started doing escorting and born and like went on 399 00:23:57,320 --> 00:23:59,520 Speaker 1: to creat my own content and what I'm doing now. 400 00:23:59,600 --> 00:24:03,919 Speaker 1: But the fact that women moved from the club outside 401 00:24:04,160 --> 00:24:06,159 Speaker 1: and had to like ramp up what they would do 402 00:24:06,359 --> 00:24:09,240 Speaker 1: and what they were willing to do and take legal 403 00:24:09,320 --> 00:24:15,440 Speaker 1: work and you know, start turning it into criminality out 404 00:24:15,440 --> 00:24:20,000 Speaker 1: of desperation is the story that we were all living 405 00:24:20,080 --> 00:24:22,240 Speaker 1: during this time. So it was while to watch it 406 00:24:22,280 --> 00:24:27,119 Speaker 1: played out by celebrities. Yeah, there's a quote I was 407 00:24:27,160 --> 00:24:29,280 Speaker 1: going to share at some point. Seems like now it 408 00:24:29,359 --> 00:24:34,040 Speaker 1: is a good time from Jacqueline Francis, who consulted on 409 00:24:34,040 --> 00:24:36,520 Speaker 1: the film, and who uh you opened for? You, said 410 00:24:36,520 --> 00:24:41,400 Speaker 1: Susie Jack. Sanna jacka stripper. She says in this oral 411 00:24:41,480 --> 00:24:45,560 Speaker 1: history of the movie Hustlers quote, when I read the 412 00:24:45,600 --> 00:24:47,919 Speaker 1: story a couple of years ago, meaning referring to the 413 00:24:48,040 --> 00:24:50,280 Speaker 1: article that this movie is based on. Um, when I 414 00:24:50,320 --> 00:24:52,720 Speaker 1: read the story a couple of years ago, I was like, damn, 415 00:24:52,880 --> 00:24:57,080 Speaker 1: this is an amazing story. And yeah, it's problematic. Surviving 416 00:24:57,119 --> 00:25:01,199 Speaker 1: under capitalism is problematic for everybody, and it's important to 417 00:25:01,480 --> 00:25:05,879 Speaker 1: just talk about it, unque. And I feel like that's 418 00:25:05,920 --> 00:25:09,440 Speaker 1: a lot of what this movie accomplishes, talking about and 419 00:25:09,520 --> 00:25:12,360 Speaker 1: showing what it can look like to have to survive 420 00:25:12,520 --> 00:25:16,640 Speaker 1: under capitalism, and the lengths some people in certain professions 421 00:25:16,920 --> 00:25:21,680 Speaker 1: have to go to in order to survive under capitalism. 422 00:25:21,760 --> 00:25:24,879 Speaker 1: And you know, we can talk more about that later, 423 00:25:25,840 --> 00:25:32,359 Speaker 1: but okay. So Ramona pitches her plan of drugging people 424 00:25:32,400 --> 00:25:35,720 Speaker 1: without their consent as a way to get the men 425 00:25:35,840 --> 00:25:41,000 Speaker 1: to spend more money and faster, and Destiny is reluctant 426 00:25:41,080 --> 00:25:43,639 Speaker 1: to join them. She thinks people will get hurt, but 427 00:25:43,800 --> 00:25:48,920 Speaker 1: eventually she agrees, so they start implementing this plan on 428 00:25:49,040 --> 00:25:51,640 Speaker 1: these rich guys they find it bars, they take them 429 00:25:51,640 --> 00:25:54,560 Speaker 1: to the club, they rack up their tab, often having 430 00:25:54,560 --> 00:25:58,000 Speaker 1: them spend thousands or tens of thousands of dollars in 431 00:25:58,040 --> 00:26:02,919 Speaker 1: a single night. We seem perfect their drug cocktail, and 432 00:26:03,040 --> 00:26:06,840 Speaker 1: like the ratios of the drugs that cook scene is is, 433 00:26:07,000 --> 00:26:12,800 Speaker 1: oh my gosh, extra special. The most wholesome babysitters club 434 00:26:13,000 --> 00:26:17,000 Speaker 1: version of cooking drugs in your apartment that the world 435 00:26:17,040 --> 00:26:19,679 Speaker 1: has ever seen. Warm your heart. I know it was. 436 00:26:19,720 --> 00:26:23,240 Speaker 1: I was like a friendship is amazing. Wow. To take 437 00:26:23,320 --> 00:26:27,480 Speaker 1: away from that scene of cooking drugs basically in an 438 00:26:27,480 --> 00:26:30,520 Speaker 1: easy bake oven, like it's not not it's a hot plate, 439 00:26:30,560 --> 00:26:34,159 Speaker 1: but it's not not an easy you know, so funny. 440 00:26:34,200 --> 00:26:37,200 Speaker 1: I love it. Okay. So they're perfecting their methods. They 441 00:26:37,240 --> 00:26:40,520 Speaker 1: also start outsourcing to other women to bring in more 442 00:26:40,560 --> 00:26:44,760 Speaker 1: clientele and kind of like cast a wider net. They're 443 00:26:44,800 --> 00:26:49,120 Speaker 1: making tons of money and they're working is this kind 444 00:26:49,160 --> 00:26:54,520 Speaker 1: of big, happy, rich family. Then they realized, they're like, 445 00:26:54,520 --> 00:26:56,600 Speaker 1: wait a minute, why are we splitting our earnings with 446 00:26:56,960 --> 00:27:00,320 Speaker 1: the club, But we could just be taking everything we make. 447 00:27:00,880 --> 00:27:05,080 Speaker 1: So they start meeting the men in hotel rooms, um 448 00:27:05,200 --> 00:27:08,840 Speaker 1: without security because like clearly the security guards at the club. 449 00:27:08,880 --> 00:27:10,960 Speaker 1: We're not providing them enough assurance to think that they 450 00:27:11,000 --> 00:27:14,200 Speaker 1: should hire outside security when going to a motel. Just 451 00:27:14,200 --> 00:27:19,439 Speaker 1: just wanted to point that out. And then Ramona brings 452 00:27:19,440 --> 00:27:22,760 Speaker 1: in this woman, Dawn, to help them out, but Dawn 453 00:27:22,960 --> 00:27:28,119 Speaker 1: is very sloppy. They end up burning through their regulars, 454 00:27:28,160 --> 00:27:32,360 Speaker 1: which leaves them having to find strangers who are unpredictable. 455 00:27:33,040 --> 00:27:35,640 Speaker 1: One night, Destiny has to deal with this guy who 456 00:27:35,840 --> 00:27:38,280 Speaker 1: had jumped off his roof, thinking that he would like 457 00:27:38,640 --> 00:27:40,800 Speaker 1: jump in his pool, but he doesn't and he really 458 00:27:40,920 --> 00:27:43,320 Speaker 1: badly injures himself, so she has to take him to 459 00:27:43,359 --> 00:27:46,719 Speaker 1: the e er. Then, like immediately after that, has to 460 00:27:46,760 --> 00:27:49,760 Speaker 1: get her daughter to school. She's got blood all over her. 461 00:27:49,800 --> 00:27:53,560 Speaker 1: Everyone's looking at her, and Ramona is nowhere to be 462 00:27:53,600 --> 00:27:57,679 Speaker 1: found while this big fiasco is happening, so you know, 463 00:27:57,720 --> 00:28:00,600 Speaker 1: everyone's kind of freaking out. This is also when Destiny's 464 00:28:00,640 --> 00:28:07,560 Speaker 1: grandmother passes away, so things are falling apart. Then during 465 00:28:07,600 --> 00:28:11,880 Speaker 1: one of the interview scenes, Elizabeth the journalist brings up Doug. 466 00:28:12,680 --> 00:28:15,840 Speaker 1: This is someone who they had stolen money from. But 467 00:28:15,960 --> 00:28:19,320 Speaker 1: he wasn't this like gross Wall Street guy like the 468 00:28:19,359 --> 00:28:22,439 Speaker 1: other ones. He seemed nice. He was going through a 469 00:28:22,440 --> 00:28:27,240 Speaker 1: really rough time, but even so they manipulated and stole 470 00:28:27,320 --> 00:28:31,960 Speaker 1: from him. So he goes to the police, who then 471 00:28:32,280 --> 00:28:38,880 Speaker 1: start to investigate these goings on. A sting operation gets 472 00:28:38,960 --> 00:28:45,080 Speaker 1: set up with Don, who had betrayed Ramona and Destiny Don, 473 00:28:46,400 --> 00:28:49,320 Speaker 1: but they are too smart to get fucking caught. Yeah, 474 00:28:49,440 --> 00:28:51,440 Speaker 1: that was one of my favorite parts. It's just like, yes, 475 00:28:51,480 --> 00:28:54,800 Speaker 1: there was a sting, and like these girls right here 476 00:28:54,800 --> 00:28:58,160 Speaker 1: are not new right and like that, and that bitch 477 00:28:58,240 --> 00:29:01,160 Speaker 1: was not only sloppy with aunts, she was sloppy with 478 00:29:01,200 --> 00:29:04,000 Speaker 1: cops in a sting. So nothing became of it. But 479 00:29:04,040 --> 00:29:06,600 Speaker 1: they had a very scary drive home across the bridge, 480 00:29:06,840 --> 00:29:09,040 Speaker 1: so funny in my head, and like that that was 481 00:29:09,080 --> 00:29:11,680 Speaker 1: the Bay Bridge. There was no other way that could 482 00:29:11,680 --> 00:29:13,640 Speaker 1: be any other bridge in my mind that they were 483 00:29:13,720 --> 00:29:16,440 Speaker 1: driving home over being followed by the by the car, 484 00:29:16,680 --> 00:29:20,160 Speaker 1: but not set It's not your life, Susie, other people's 485 00:29:20,160 --> 00:29:24,600 Speaker 1: lives in New York. But just like anyway, that feeling 486 00:29:24,720 --> 00:29:27,800 Speaker 1: of like knowing something is up and then like every 487 00:29:27,840 --> 00:29:30,240 Speaker 1: car that you see is potentially the one that's going 488 00:29:30,280 --> 00:29:34,000 Speaker 1: to just stop and destroy your life. Totally. I think 489 00:29:34,040 --> 00:29:37,840 Speaker 1: that that that sequence in particular is pulled pretty closely 490 00:29:38,080 --> 00:29:42,000 Speaker 1: from the real story that this was adapted from to 491 00:29:42,280 --> 00:29:46,080 Speaker 1: where it was like the real life person who was 492 00:29:46,120 --> 00:29:51,600 Speaker 1: the inspiration for Dorothy was like also was like, something's 493 00:29:51,680 --> 00:29:55,760 Speaker 1: not right with this already very messy person tonight and 494 00:29:55,800 --> 00:29:58,959 Speaker 1: like tried to tip off the Ramona of the story, 495 00:29:59,080 --> 00:30:02,479 Speaker 1: and it's it's and that their realized story of this 496 00:30:02,520 --> 00:30:05,200 Speaker 1: is pretty interesting. And also where it deviates this, well 497 00:30:05,280 --> 00:30:08,680 Speaker 1: we'll get there. Yeah. Um, So they don't get caught 498 00:30:08,680 --> 00:30:12,360 Speaker 1: and arrested right then after this staying operation, but they 499 00:30:12,400 --> 00:30:19,360 Speaker 1: do eventually get arrested. Destiny, Ramona, Mercedes, and Annabelle are 500 00:30:19,400 --> 00:30:24,080 Speaker 1: all arrested. Destiny takes a deal to avoid jail time 501 00:30:24,520 --> 00:30:27,400 Speaker 1: because she doesn't want to be away from her daughter Lily, 502 00:30:28,000 --> 00:30:32,560 Speaker 1: and then the movie ends with Destiny calling the journalist 503 00:30:32,960 --> 00:30:36,040 Speaker 1: and her being like, what did ramonas say about me? 504 00:30:37,000 --> 00:30:40,960 Speaker 1: And Elizabeth is just like, you know, why don't you 505 00:30:41,000 --> 00:30:43,560 Speaker 1: just give her a call? Sounds like you really want 506 00:30:43,560 --> 00:30:47,560 Speaker 1: to reconnect with her. And then I think the final 507 00:30:47,600 --> 00:30:53,000 Speaker 1: thing is Ramona, who now works at Old Navy, talking 508 00:30:53,080 --> 00:30:57,760 Speaker 1: to Elizabeth saying like the entire world is a strip club, 509 00:30:58,080 --> 00:31:00,800 Speaker 1: and some of us are tossed the money, and some 510 00:31:00,920 --> 00:31:03,640 Speaker 1: of us are doing the dance. I was like, Okay, 511 00:31:03,680 --> 00:31:06,360 Speaker 1: we're gonna end the movie on the moral. Got it? 512 00:31:06,560 --> 00:31:09,560 Speaker 1: I think like that move when it's like and in 513 00:31:09,640 --> 00:31:13,680 Speaker 1: case you weren't paying attention, here is the thesis, David. 514 00:31:14,480 --> 00:31:21,640 Speaker 1: If these shadows have offended, but again, like not mad 515 00:31:21,680 --> 00:31:24,160 Speaker 1: about it at all. It's so perfectly executed. It's like 516 00:31:24,200 --> 00:31:28,200 Speaker 1: nobody's mad when like Dominiquecio sticks the landing, like it's 517 00:31:28,240 --> 00:31:33,200 Speaker 1: just good cheer. There's nothing to be mad about. There's 518 00:31:33,240 --> 00:31:36,360 Speaker 1: nothing mad about. Let's take a quick break and then 519 00:31:36,360 --> 00:31:47,520 Speaker 1: we'll come right back to discuss and we're back. Where 520 00:31:47,560 --> 00:31:49,680 Speaker 1: do we want to start? I don't know. I mean, 521 00:31:49,720 --> 00:31:52,280 Speaker 1: I am Susie. You were talking about this at the 522 00:31:52,320 --> 00:31:55,120 Speaker 1: top of the episode as well. I was curious to 523 00:31:55,200 --> 00:31:58,560 Speaker 1: know what, ye know, what elements of this movie stuck 524 00:31:58,560 --> 00:32:01,840 Speaker 1: out to you as particular really authentic. Was there anything 525 00:32:01,880 --> 00:32:05,400 Speaker 1: that like didn't hit or felt kind of off Um? 526 00:32:05,560 --> 00:32:08,160 Speaker 1: Oh gosh, it hit on so many levels. And I 527 00:32:08,200 --> 00:32:11,160 Speaker 1: think more than anything, I was just so ecstatic to 528 00:32:11,240 --> 00:32:14,880 Speaker 1: be seeing a story about adult entertainment and adult industry 529 00:32:14,880 --> 00:32:18,560 Speaker 1: workers that was not necessarily something I had seen before, 530 00:32:19,040 --> 00:32:20,520 Speaker 1: and it was a story I mean, I've lived it 531 00:32:20,680 --> 00:32:24,440 Speaker 1: one percent. So it was like very exciting to see 532 00:32:24,960 --> 00:32:28,480 Speaker 1: things that felt so true and like my partner and 533 00:32:28,520 --> 00:32:29,800 Speaker 1: I were sitting in My partner has been in the 534 00:32:29,840 --> 00:32:32,640 Speaker 1: industry as long as I have. He's never been a stripper, 535 00:32:33,000 --> 00:32:36,440 Speaker 1: but he's been around a lot of us, and um, 536 00:32:36,560 --> 00:32:39,080 Speaker 1: we're just like clutching each other because you know the 537 00:32:39,640 --> 00:32:42,880 Speaker 1: stakes that we're seeing these like you know, new girls 538 00:32:43,000 --> 00:32:47,760 Speaker 1: make and the toxic fem for fem kinetic energy that 539 00:32:48,080 --> 00:32:52,920 Speaker 1: like contrauma bond to people, and like the desperation of 540 00:32:53,000 --> 00:32:56,320 Speaker 1: the world of economics. I mean, like two thousand seven 541 00:32:56,600 --> 00:32:59,280 Speaker 1: was when I shot my first porn scene in Eugene, Oregon. 542 00:33:00,040 --> 00:33:01,560 Speaker 1: It was a great time for me too, and I 543 00:33:01,840 --> 00:33:04,640 Speaker 1: and two dozen nine, I was dancing on Broadway in 544 00:33:04,640 --> 00:33:09,440 Speaker 1: San Francisco and entering the adult industry at the height 545 00:33:09,520 --> 00:33:13,760 Speaker 1: of the recession was a trip. You know, it's um, 546 00:33:13,800 --> 00:33:17,360 Speaker 1: you really had to believe because the wisdom of the 547 00:33:17,400 --> 00:33:20,320 Speaker 1: time was that there's there's no money in this everything's 548 00:33:20,400 --> 00:33:23,920 Speaker 1: doom and gloom, and it was a very one was 549 00:33:23,960 --> 00:33:25,720 Speaker 1: sure what was going to happen. You know, the way 550 00:33:25,720 --> 00:33:27,720 Speaker 1: that people had made money in the strip club was 551 00:33:27,840 --> 00:33:30,280 Speaker 1: changing the things that were doing in the strip clubs 552 00:33:30,280 --> 00:33:33,680 Speaker 1: were changing, the way that people made money online was 553 00:33:33,840 --> 00:33:37,320 Speaker 1: rapidly changing, and the way that adult industry workers made 554 00:33:37,560 --> 00:33:41,400 Speaker 1: made money from people who made money online. So really 555 00:33:41,440 --> 00:33:44,760 Speaker 1: really exciting. And then it was so obvious that sex 556 00:33:44,800 --> 00:33:47,840 Speaker 1: workers had been a part of creating this movie because 557 00:33:47,880 --> 00:33:50,160 Speaker 1: of some of the like symbols, like that I was 558 00:33:50,280 --> 00:33:53,600 Speaker 1: I was telling you earlier about the fur coat um 559 00:33:53,680 --> 00:33:55,440 Speaker 1: component like you at the top of the show. You 560 00:33:55,440 --> 00:33:59,360 Speaker 1: guys were acting out the little the scene where Destiny 561 00:33:59,400 --> 00:34:02,560 Speaker 1: goes up on the roof and Ramona as they're smoking 562 00:34:02,600 --> 00:34:06,440 Speaker 1: a cigarette in her massive floor length for coke and 563 00:34:06,480 --> 00:34:09,759 Speaker 1: when she like climbs inside that I was like, oh no, 564 00:34:09,920 --> 00:34:15,600 Speaker 1: it's over, It's over. And like I remember one night 565 00:34:15,680 --> 00:34:17,600 Speaker 1: I went to work this was it was not in 566 00:34:17,640 --> 00:34:21,440 Speaker 1: a strip club but something close um, and I met 567 00:34:21,480 --> 00:34:23,520 Speaker 1: a girl. I was like, I didn't really want to 568 00:34:23,560 --> 00:34:25,040 Speaker 1: go to work that night, Like I had a couple 569 00:34:25,080 --> 00:34:26,560 Speaker 1: of drinks and I got there and it was just 570 00:34:26,640 --> 00:34:29,600 Speaker 1: like like not really feeling it. And then I met 571 00:34:29,600 --> 00:34:32,640 Speaker 1: this girl and she was like, it looks like pretty 572 00:34:32,680 --> 00:34:34,440 Speaker 1: you should put And she had this like furs. It 573 00:34:34,480 --> 00:34:37,560 Speaker 1: wasn't real fur, but she had this like furs like 574 00:34:37,760 --> 00:34:39,799 Speaker 1: you should wear this night, and I was like, it 575 00:34:39,880 --> 00:34:43,120 Speaker 1: was over. It was over. I made no money that night, 576 00:34:43,200 --> 00:34:45,200 Speaker 1: not no money, but I like, but like, you know, 577 00:34:45,280 --> 00:34:47,279 Speaker 1: someone was like trying to talk to me. I'm like, yeah, 578 00:34:47,320 --> 00:34:50,439 Speaker 1: I know what you I was just enamored of this girl, 579 00:34:50,520 --> 00:34:53,439 Speaker 1: and like, I mean, Graham, I'm gay. But like I've 580 00:34:53,440 --> 00:34:56,480 Speaker 1: seen that happen to straight girls in the industry because 581 00:34:56,560 --> 00:34:59,719 Speaker 1: it's like it's that mother wound, you know that like 582 00:35:00,120 --> 00:35:03,480 Speaker 1: so many of us have it because of the schism 583 00:35:03,600 --> 00:35:07,160 Speaker 1: in feminism around the sex industry. Um. I was just 584 00:35:07,239 --> 00:35:11,440 Speaker 1: watching highly recommend Live New Girls Unite, which is a 585 00:35:11,480 --> 00:35:15,279 Speaker 1: documentary about the Lusty Lady Keep Show, which unionized in 586 00:35:15,320 --> 00:35:18,080 Speaker 1: the late nineties and then the workers bought the peep 587 00:35:18,120 --> 00:35:20,920 Speaker 1: show from the people who owned it and had been, 588 00:35:21,280 --> 00:35:23,400 Speaker 1: you know, so such bad business owners that they had 589 00:35:23,400 --> 00:35:27,080 Speaker 1: to unionize. They eventually bought the place. It's now defuncted 590 00:35:27,520 --> 00:35:29,799 Speaker 1: it closed in But that is where I got my 591 00:35:29,840 --> 00:35:33,160 Speaker 1: first strip club job. Was this unionized worker own Peach 592 00:35:33,360 --> 00:35:35,880 Speaker 1: Keep Show in two thousand and eight. It was really 593 00:35:35,880 --> 00:35:38,560 Speaker 1: struggling during the recession. I mean, like when they talked 594 00:35:38,600 --> 00:35:41,360 Speaker 1: about going fishing, I mean, we had our own version 595 00:35:41,360 --> 00:35:43,600 Speaker 1: of that, but we just not involved drugging anyone. We 596 00:35:43,640 --> 00:35:46,759 Speaker 1: would just like put on cute outfits and go down 597 00:35:46,840 --> 00:35:51,120 Speaker 1: to UM the ball game Giant Stadium because that's when 598 00:35:51,160 --> 00:35:54,640 Speaker 1: the Giants were having their like resurgence of success and 599 00:35:54,680 --> 00:35:57,200 Speaker 1: they've been to the World Series twice and so their 600 00:35:57,280 --> 00:36:00,239 Speaker 1: success was tied to our success, and so like on 601 00:36:00,400 --> 00:36:02,880 Speaker 1: game nights, we would go down and pass out flyers 602 00:36:02,880 --> 00:36:04,680 Speaker 1: at the game, like, hey, it's just a short walk 603 00:36:05,000 --> 00:36:07,080 Speaker 1: up the beach a dollar. You can see all the 604 00:36:07,160 --> 00:36:10,239 Speaker 1: naked chicks that you like. And um, you know, we 605 00:36:10,239 --> 00:36:13,680 Speaker 1: were doing everything that we could to stay afloat during 606 00:36:14,000 --> 00:36:16,000 Speaker 1: during a really a really rough time. But that fur 607 00:36:16,160 --> 00:36:20,000 Speaker 1: coat is such a just like symbol of opulence and 608 00:36:20,120 --> 00:36:23,680 Speaker 1: wealth and like old money. Um. Lily Berna who wrote 609 00:36:23,680 --> 00:36:27,759 Speaker 1: Strip City UM an incredible book about when the O'Farrell 610 00:36:27,840 --> 00:36:31,799 Speaker 1: Brothers theater the workers there sued the theater about their 611 00:36:31,800 --> 00:36:35,400 Speaker 1: independent contractor employee status. So if you like this type 612 00:36:35,400 --> 00:36:40,160 Speaker 1: of movie, like two recommendations, UM Live New Girls Unite, 613 00:36:40,400 --> 00:36:43,400 Speaker 1: which is such a like rinky dink Riot Girl nineteen 614 00:36:43,520 --> 00:36:47,719 Speaker 1: nineties mixtape of a documentary. It's so it's so good 615 00:36:47,760 --> 00:36:49,640 Speaker 1: if you if you like if you like a zine 616 00:36:49,640 --> 00:36:53,160 Speaker 1: You'll Love This. And then um, Strip City, which is 617 00:36:53,200 --> 00:36:56,200 Speaker 1: a book by Lily Berna, who occasionally it contributes to 618 00:36:56,760 --> 00:36:59,160 Speaker 1: The Atlantic New York Times and stuff. She's amazing, But 619 00:36:59,600 --> 00:37:03,160 Speaker 1: the equence in that book about the first time she 620 00:37:03,239 --> 00:37:07,360 Speaker 1: could afford a fur coat, and it's like an extravagant expense. 621 00:37:07,400 --> 00:37:10,160 Speaker 1: But like a nineties girl in San Francisco probably doesn't 622 00:37:10,200 --> 00:37:12,759 Speaker 1: really even need, right, but a strip a stripper and 623 00:37:12,800 --> 00:37:16,440 Speaker 1: Sanmons in New York certainly does. But it's such a symbol. 624 00:37:16,520 --> 00:37:20,120 Speaker 1: And then when again in the film Hustlers, when Ramona 625 00:37:20,239 --> 00:37:24,160 Speaker 1: gives Deskin a fur coat for Christmas, along with red 626 00:37:24,239 --> 00:37:27,000 Speaker 1: lu red bottom lubit Hans for Kiki, Like these are 627 00:37:27,040 --> 00:37:29,839 Speaker 1: symbols that are deeply meaningful to our community. Like I'm 628 00:37:29,840 --> 00:37:34,919 Speaker 1: getting goose bumps just thinking about. It's so stupid, um, 629 00:37:34,960 --> 00:37:37,840 Speaker 1: you know, in the same way that the glass slipper 630 00:37:37,960 --> 00:37:41,200 Speaker 1: or magic lamp. For like, these things hold meaning beyond 631 00:37:41,360 --> 00:37:44,879 Speaker 1: what they are, beyond the money that they cost. Um. 632 00:37:44,920 --> 00:37:47,600 Speaker 1: And so that I have a song that I wrote 633 00:37:47,600 --> 00:37:50,520 Speaker 1: a long time ago, like when I first had my 634 00:37:50,320 --> 00:37:53,759 Speaker 1: my first heartbreak, the first other sex worker that broke 635 00:37:53,840 --> 00:37:56,280 Speaker 1: my heart. Um, I wrote a song called homemance about 636 00:37:56,320 --> 00:38:00,239 Speaker 1: this very feeling. Even if you're not into girls, if 637 00:38:00,280 --> 00:38:03,160 Speaker 1: you enter the adult industry, the likelihood that you will 638 00:38:03,200 --> 00:38:07,160 Speaker 1: fall head over heels and this like deep promantic way 639 00:38:07,320 --> 00:38:11,719 Speaker 1: promantic way um with someone, the likelihood that she will 640 00:38:11,760 --> 00:38:14,160 Speaker 1: become your pimp and exploit you in some type of way. 641 00:38:14,280 --> 00:38:17,040 Speaker 1: It's very high. But and like the moral of the 642 00:38:17,120 --> 00:38:20,160 Speaker 1: story is that like this love is different and it's 643 00:38:20,239 --> 00:38:24,000 Speaker 1: unlike anything else, and it will probably destroy you. And 644 00:38:24,680 --> 00:38:28,280 Speaker 1: once you love in that way, like when you violate 645 00:38:28,320 --> 00:38:31,000 Speaker 1: the terms of that love and you violate that deep trust, 646 00:38:31,160 --> 00:38:33,320 Speaker 1: that like when you have to have someone's back because 647 00:38:33,400 --> 00:38:36,080 Speaker 1: like everybody out in the world wants to get you, 648 00:38:36,160 --> 00:38:38,920 Speaker 1: including the cops, including the manager of the place you were, 649 00:38:39,000 --> 00:38:41,440 Speaker 1: including the man that you're taking money from. The only 650 00:38:41,480 --> 00:38:43,840 Speaker 1: person that has your back is that other girl in 651 00:38:43,920 --> 00:38:47,680 Speaker 1: the room. And if you turn around and you exploit her, 652 00:38:48,080 --> 00:38:50,080 Speaker 1: or if you turn around and you rat on her 653 00:38:50,120 --> 00:38:52,439 Speaker 1: to the cops and you betray her, you never get 654 00:38:52,480 --> 00:38:57,560 Speaker 1: that back. And it's the most sacred thing in the world. Ah, 655 00:38:58,040 --> 00:39:02,200 Speaker 1: that's beautiful. Is that song is still available? Yeah? Check 656 00:39:02,239 --> 00:39:04,759 Speaker 1: it out? I can, I can send you the link. Yes, 657 00:39:04,800 --> 00:39:07,120 Speaker 1: that's just the link I would love to to share 658 00:39:07,160 --> 00:39:10,560 Speaker 1: it with our listeners. That's oh my god, that was 659 00:39:10,600 --> 00:39:14,279 Speaker 1: like so beautifully put. Thank you, thank you. It's very 660 00:39:14,840 --> 00:39:16,439 Speaker 1: to talk about it. I'm just so glad that there's 661 00:39:16,440 --> 00:39:21,920 Speaker 1: a movie about it, Like we needed this. Yeah, And 662 00:39:22,320 --> 00:39:24,680 Speaker 1: like you've said, this is so much of what this 663 00:39:24,719 --> 00:39:30,959 Speaker 1: movie is about. This like female friendship and camaraderie. There's 664 00:39:31,000 --> 00:39:34,560 Speaker 1: a line of voiceover from Destiny where she says, like 665 00:39:34,680 --> 00:39:38,880 Speaker 1: Ramona wasn't looking for friends, but it happened. Yeah. This 666 00:39:38,960 --> 00:39:42,240 Speaker 1: movie is just I mean, it's mostly about women looking 667 00:39:42,239 --> 00:39:45,200 Speaker 1: out for each other, helping each other out, lifting each 668 00:39:45,200 --> 00:39:49,840 Speaker 1: other up, knowing what circumstances they are in, because she's 669 00:39:49,880 --> 00:39:53,480 Speaker 1: also in the same boat kind of thing, and just 670 00:39:53,719 --> 00:39:57,040 Speaker 1: supporting each other. And while there is conflict between the 671 00:39:57,120 --> 00:40:00,279 Speaker 1: characters at different points in the movie, like I don't 672 00:40:00,280 --> 00:40:03,080 Speaker 1: agree on everything, they take different approaches to things, you know, 673 00:40:03,200 --> 00:40:07,800 Speaker 1: Ramona has this tendency to kind of take in strays 674 00:40:07,840 --> 00:40:11,600 Speaker 1: as as Destiny puts it with like Dawn and this 675 00:40:11,680 --> 00:40:17,440 Speaker 1: woman Coco keeps up. But the conflict that does exist 676 00:40:17,600 --> 00:40:20,240 Speaker 1: between them from time to time, like it always makes sense. 677 00:40:20,280 --> 00:40:25,160 Speaker 1: There's the context for it, and it's just beautiful to 678 00:40:25,280 --> 00:40:30,919 Speaker 1: watch that unfold, especially because and I want to pull 679 00:40:30,960 --> 00:40:35,880 Speaker 1: a quote from the article that this movie was based on, 680 00:40:36,160 --> 00:40:41,680 Speaker 1: which is entitled The Hustlers at Scores by Jessica Pressler, 681 00:40:42,200 --> 00:40:47,760 Speaker 1: originally published in The New Yorker. Quote, while evolutionary theory 682 00:40:47,920 --> 00:40:50,960 Speaker 1: and the Bachelor would suggest that a room full of 683 00:40:50,960 --> 00:40:54,160 Speaker 1: women hoping to attract the attention of a few men 684 00:40:54,560 --> 00:40:58,560 Speaker 1: would be cut throat competitive, it's actually better for strippers 685 00:40:58,600 --> 00:41:01,680 Speaker 1: to work together because while most men might be able 686 00:41:01,719 --> 00:41:05,440 Speaker 1: to keep their wits and their wallets around one scantily clad, 687 00:41:05,719 --> 00:41:09,720 Speaker 1: sweet smelling self, they tend to lose their grip around 688 00:41:09,880 --> 00:41:12,880 Speaker 1: three or four end quote. So and I feel like 689 00:41:12,880 --> 00:41:16,200 Speaker 1: this is actually something we talked about on the Mulan 690 00:41:16,320 --> 00:41:20,000 Speaker 1: Rouge episode, which was from like a million years ago. 691 00:41:20,080 --> 00:41:26,000 Speaker 1: But um, there's this really antagonistic relationship between Satine and 692 00:41:26,080 --> 00:41:30,800 Speaker 1: one of the other cortisans in that movie. And how 693 00:41:30,880 --> 00:41:35,680 Speaker 1: oftentimes relationships between sex workers are portrayed that way in movies, 694 00:41:36,080 --> 00:41:39,480 Speaker 1: where there's the idea that they are competing for the 695 00:41:39,480 --> 00:41:42,160 Speaker 1: attention of one man, so they have to be very 696 00:41:42,160 --> 00:41:46,040 Speaker 1: cutthroat and antagonistic towards each other. But how that is 697 00:41:46,120 --> 00:41:51,919 Speaker 1: often not the case in real life among real sex workers. Yeah, 698 00:41:52,320 --> 00:41:57,160 Speaker 1: interested if you have any like additional insight about that, Susie. Absolutely, 699 00:41:57,200 --> 00:42:00,400 Speaker 1: I mean like I mean, I shot horn, you know, 700 00:42:00,440 --> 00:42:02,920 Speaker 1: in college back in two thousand and seven. But I 701 00:42:02,960 --> 00:42:06,000 Speaker 1: consider my first real job in the adult industry at 702 00:42:06,000 --> 00:42:10,640 Speaker 1: the Lusty Lady, which is where workers literally banded together 703 00:42:10,840 --> 00:42:15,200 Speaker 1: to unionize, fight for their rights, um get represented by 704 00:42:15,520 --> 00:42:19,200 Speaker 1: s c IU Local seven ninety and eventually by the place. 705 00:42:19,680 --> 00:42:24,200 Speaker 1: And if that isn't proof empirical evidence of what's possible 706 00:42:24,400 --> 00:42:28,000 Speaker 1: when sex workers band together, and like a huge part 707 00:42:28,120 --> 00:42:31,120 Speaker 1: of I remember my very first day walking out on 708 00:42:31,400 --> 00:42:33,719 Speaker 1: to the stage, which was like a little fish tank, 709 00:42:33,840 --> 00:42:35,719 Speaker 1: you know, because the Keep Show is not a strip club. 710 00:42:35,760 --> 00:42:38,600 Speaker 1: It's like an enclosed stage with little tiny windows. If 711 00:42:38,600 --> 00:42:42,319 Speaker 1: you watch the Madonna Open Your Heart video or Real 712 00:42:42,360 --> 00:42:44,560 Speaker 1: Live New Girls Unite, you will get to see what 713 00:42:44,560 --> 00:42:47,560 Speaker 1: it's like. But you know, it's surrounded by mirrors, and 714 00:42:48,200 --> 00:42:51,239 Speaker 1: just this idea that like if the window went up 715 00:42:51,480 --> 00:42:53,839 Speaker 1: and the guy looked at me and I wasn't what 716 00:42:54,000 --> 00:42:58,520 Speaker 1: he wanted, the idea that the girl he wanted next 717 00:42:58,560 --> 00:43:01,040 Speaker 1: to me was maybe what you wanted. And at the 718 00:43:01,080 --> 00:43:03,640 Speaker 1: end of the day, because we all had collective ownership 719 00:43:03,680 --> 00:43:05,799 Speaker 1: of the business. It didn't matter. I was like, oh, 720 00:43:06,080 --> 00:43:07,840 Speaker 1: you want to you want to blind? Wasn't blonde at 721 00:43:07,840 --> 00:43:09,600 Speaker 1: the time? You want to blonde? Absolutely, Let me at 722 00:43:09,640 --> 00:43:13,480 Speaker 1: Princess real quick. She's so nice and they're that feeling 723 00:43:13,640 --> 00:43:17,520 Speaker 1: was always a part of that workplace. And I wish 724 00:43:17,600 --> 00:43:20,080 Speaker 1: that we saw more of that the adult industry, But 725 00:43:20,120 --> 00:43:22,520 Speaker 1: I think I think we are. I think that um, 726 00:43:22,600 --> 00:43:25,080 Speaker 1: the way that the workers now can own the means 727 00:43:25,080 --> 00:43:29,799 Speaker 1: of production in terms of like creating content online. We 728 00:43:30,000 --> 00:43:33,440 Speaker 1: see that there is a customer for every person, you know. 729 00:43:33,560 --> 00:43:37,440 Speaker 1: And and while white supremacy still exists, able ism still exists, 730 00:43:37,440 --> 00:43:41,200 Speaker 1: classes and sizes, and still exists. The ability for us 731 00:43:41,239 --> 00:43:44,840 Speaker 1: to find our niche and find the people who respond 732 00:43:44,880 --> 00:43:47,759 Speaker 1: to that niche is there, and it always has been. 733 00:43:47,920 --> 00:43:51,600 Speaker 1: It's just been like oppressed by management and um, you know, 734 00:43:51,600 --> 00:43:56,040 Speaker 1: other forces that be totally I really appreciated and that 735 00:43:56,200 --> 00:44:01,880 Speaker 1: it was just immediately in establishing this dynamic between Ramona 736 00:44:02,239 --> 00:44:06,680 Speaker 1: and Destiny of how immediately like Ramona does not gate 737 00:44:06,800 --> 00:44:10,839 Speaker 1: keep any information she doesn't get I mean, and and 738 00:44:10,920 --> 00:44:14,800 Speaker 1: it sounds like not only because she seems to really 739 00:44:14,880 --> 00:44:19,080 Speaker 1: get a lot out of taking younger strippers in under 740 00:44:19,120 --> 00:44:22,000 Speaker 1: her wing, but also because it's like she wouldn't benefit 741 00:44:22,080 --> 00:44:26,120 Speaker 1: from gatekeeping information in that scenario anyways, and and establishing 742 00:44:26,120 --> 00:44:30,200 Speaker 1: that really smoothly and simply at the beginning. I that 743 00:44:30,400 --> 00:44:34,399 Speaker 1: was just so cool because I think for like you're saying, 744 00:44:34,440 --> 00:44:38,880 Speaker 1: caulin a lot of movies about strippers and also just 745 00:44:38,960 --> 00:44:44,040 Speaker 1: about you know, how it's perceived that women fundamentally interact 746 00:44:44,080 --> 00:44:47,400 Speaker 1: with each other is like inherently competitive, when that is 747 00:44:47,560 --> 00:44:49,960 Speaker 1: most often not the case. We talked about this all 748 00:44:49,960 --> 00:44:53,160 Speaker 1: the time, even dance movies. If we think of this 749 00:44:53,200 --> 00:44:55,400 Speaker 1: as a dance movie, there's always that part of the 750 00:44:55,440 --> 00:44:57,520 Speaker 1: movie of just like, oh, you think that you're this, 751 00:44:57,800 --> 00:45:00,680 Speaker 1: well you're not, sister, let me tell you. But like 752 00:45:00,719 --> 00:45:02,880 Speaker 1: we don't. We don't get that moment. And until she 753 00:45:02,960 --> 00:45:05,719 Speaker 1: comes back at the very end, and it's even it's 754 00:45:05,760 --> 00:45:07,800 Speaker 1: not that it's just that the whole place has changed. 755 00:45:07,840 --> 00:45:09,879 Speaker 1: It's not that these women are hazing her in any 756 00:45:09,880 --> 00:45:13,040 Speaker 1: particular way. She's just not part of it anymore. There's 757 00:45:13,040 --> 00:45:16,400 Speaker 1: only one tiny moment that I clocked where there felt 758 00:45:16,400 --> 00:45:19,000 Speaker 1: like there was a little bit of competitiveness where Destiny 759 00:45:19,280 --> 00:45:21,799 Speaker 1: is trying to get a guy early on in the 760 00:45:21,840 --> 00:45:25,040 Speaker 1: movie to buy a private dance and Cardi B. It 761 00:45:25,160 --> 00:45:28,080 Speaker 1: is like, back off, bitch, but that's kind of that 762 00:45:28,120 --> 00:45:30,120 Speaker 1: only a quick moment. And then later, like a few 763 00:45:30,120 --> 00:45:33,480 Speaker 1: scenes later, Cardi B Is helping Destiny and like showing 764 00:45:33,520 --> 00:45:36,359 Speaker 1: her how to give a lap Dancey that that's just 765 00:45:36,480 --> 00:45:39,200 Speaker 1: learning that, that's just your training wheels. I remember my again, 766 00:45:39,280 --> 00:45:41,839 Speaker 1: my very first moment stepping onto the stage. I was like, oh, 767 00:45:41,920 --> 00:45:44,320 Speaker 1: when a window came up, I'll go, I'll go talk 768 00:45:44,360 --> 00:45:47,440 Speaker 1: to that window. And this girl being like, hey, just 769 00:45:47,480 --> 00:45:49,960 Speaker 1: so you know, so like these are my windows, but 770 00:45:50,360 --> 00:45:53,920 Speaker 1: this is my dance space. That is your dance space. 771 00:45:54,360 --> 00:45:57,160 Speaker 1: Like you have to learn those those ins and outs 772 00:45:57,160 --> 00:45:59,040 Speaker 1: of the club because you can't funk with somebody else's 773 00:45:59,040 --> 00:46:00,960 Speaker 1: money if they're in the middle of sale. Just if 774 00:46:01,000 --> 00:46:03,719 Speaker 1: you were a hot tub salesman and like somebody came 775 00:46:03,800 --> 00:46:05,520 Speaker 1: up and you're talking to a nice family at the fair. 776 00:46:05,560 --> 00:46:07,160 Speaker 1: They're gonna buy a great hot tub, and this other 777 00:46:07,160 --> 00:46:09,080 Speaker 1: guy comes in, it's like, you know what, let me 778 00:46:09,080 --> 00:46:11,400 Speaker 1: show you this hot tub. Fuck that guy, you know, 779 00:46:11,520 --> 00:46:15,440 Speaker 1: like right, it's the same same thing I wanted. I 780 00:46:15,480 --> 00:46:18,719 Speaker 1: wanted to talk a little more about the I mean, 781 00:46:19,000 --> 00:46:23,239 Speaker 1: it's the Ramana, destiny, friendship, and dynamic, and I mean, 782 00:46:23,280 --> 00:46:26,880 Speaker 1: it's it becomes so many things. It becomes a friendship, 783 00:46:26,920 --> 00:46:31,080 Speaker 1: it becomes this like really intense, almost romantic, emotional connection. 784 00:46:31,200 --> 00:46:35,080 Speaker 1: They become business partners for a good portion of the movie. 785 00:46:35,239 --> 00:46:39,719 Speaker 1: And it's just it's so complicated in a way that 786 00:46:40,120 --> 00:46:44,480 Speaker 1: you I feel like, almost never see between characters in 787 00:46:44,520 --> 00:46:47,840 Speaker 1: a movie of any kind of total of like you 788 00:46:47,840 --> 00:46:50,960 Speaker 1: were saying, Caitland, they're they're in conflict, or they're they're 789 00:46:51,080 --> 00:46:53,759 Speaker 1: disagreeing with each other. They're not necessarily in conflict, but 790 00:46:53,760 --> 00:46:58,120 Speaker 1: they disagree with each other on almost everything, and their 791 00:46:58,200 --> 00:47:02,720 Speaker 1: approaches to the world and to money and to work 792 00:47:02,800 --> 00:47:09,360 Speaker 1: are fundamentally different, but they are still able to I 793 00:47:09,400 --> 00:47:11,839 Speaker 1: don't know, like exist in so many different ways to 794 00:47:11,880 --> 00:47:14,919 Speaker 1: each other. And I thought it was really interesting that 795 00:47:15,320 --> 00:47:18,600 Speaker 1: the writing of the movie, I like that you're kind 796 00:47:18,640 --> 00:47:20,840 Speaker 1: of given that opening at the end of like, maybe 797 00:47:20,840 --> 00:47:24,120 Speaker 1: they will reconcile and maybe this will be, you know, 798 00:47:24,280 --> 00:47:26,719 Speaker 1: something that could be rekindled down the line, because what 799 00:47:26,760 --> 00:47:29,240 Speaker 1: did they have to lose by being in each other's 800 00:47:29,320 --> 00:47:32,960 Speaker 1: lives at this point. But but going back to that, 801 00:47:33,360 --> 00:47:36,520 Speaker 1: going back to the real story, it that's a little 802 00:47:36,800 --> 00:47:39,360 Speaker 1: less clear, or at least at the time of writing, 803 00:47:39,360 --> 00:47:41,480 Speaker 1: it sounds like that they were still very much the 804 00:47:41,520 --> 00:47:44,279 Speaker 1: two women that these are based on, these characters are 805 00:47:44,280 --> 00:47:47,920 Speaker 1: based on, We're still very much on the outs, which 806 00:47:47,960 --> 00:47:51,279 Speaker 1: is like makes me sad. It does seem like by 807 00:47:51,320 --> 00:47:53,719 Speaker 1: the end, it's like, well, what, it's totally fair, But 808 00:47:53,800 --> 00:47:56,920 Speaker 1: it's totally fair. She ratted her out to the cops 809 00:47:57,040 --> 00:48:00,279 Speaker 1: and she like himp handed her. You don't get to 810 00:48:00,320 --> 00:48:02,120 Speaker 1: come back from that. You don't get to kids and 811 00:48:02,160 --> 00:48:05,919 Speaker 1: be like I'm fine. Those are those are deep transgressions 812 00:48:05,920 --> 00:48:10,960 Speaker 1: that you don't heal from. It's it's such a complicated 813 00:48:11,080 --> 00:48:13,720 Speaker 1: like it's I don't know, and it's like beautifully acted 814 00:48:13,760 --> 00:48:16,880 Speaker 1: and written and shot, and especially because they both have children, 815 00:48:17,280 --> 00:48:18,520 Speaker 1: you know what I mean, It's just like if it 816 00:48:18,560 --> 00:48:20,759 Speaker 1: was just them and they were still single girls. But no, 817 00:48:20,960 --> 00:48:24,080 Speaker 1: like when you when you established that somebody that you 818 00:48:24,120 --> 00:48:28,399 Speaker 1: once saw as safe is actually not safe, like you, 819 00:48:28,400 --> 00:48:30,120 Speaker 1: you hope that you hope the best for them, and 820 00:48:30,160 --> 00:48:32,720 Speaker 1: you are a mother and you cannot let that person 821 00:48:32,760 --> 00:48:34,640 Speaker 1: in your life because you will lose your child, or 822 00:48:34,640 --> 00:48:36,960 Speaker 1: you will have or you are yourself or that child. 823 00:48:37,000 --> 00:48:39,720 Speaker 1: You will be in an exploitative situation that risk. Nope, 824 00:48:40,080 --> 00:48:43,359 Speaker 1: so like I completely understand it's sad. But and that's 825 00:48:43,400 --> 00:48:47,760 Speaker 1: scene with Ramona and Destiny as well, when when Ramona 826 00:48:47,880 --> 00:48:50,880 Speaker 1: learns that Destiny has taken the Plea deal and she's 827 00:48:51,000 --> 00:48:54,000 Speaker 1: you know, not aligning at any point. At this point, 828 00:48:54,480 --> 00:48:57,120 Speaker 1: Ramona is furious. I mean, it's like it's such a 829 00:48:57,120 --> 00:49:02,279 Speaker 1: hard Ultimately she knows why Destiny made that decision, even 830 00:49:02,320 --> 00:49:06,040 Speaker 1: if it's the last worst possible thing for her. I 831 00:49:06,040 --> 00:49:09,640 Speaker 1: don't know. That scene was just like so good but 832 00:49:09,800 --> 00:49:13,200 Speaker 1: like terrible, yeah, yeah, good bit terrible yeah, And like 833 00:49:13,280 --> 00:49:16,040 Speaker 1: the the scene that I think parallels that because that 834 00:49:16,120 --> 00:49:18,600 Speaker 1: was like the breaking point for Ramona, but the breaking 835 00:49:18,600 --> 00:49:22,399 Speaker 1: point for Destiny happened months before when Ramona like hit 836 00:49:22,440 --> 00:49:24,719 Speaker 1: her basically tried to get the phone away from her 837 00:49:24,719 --> 00:49:26,920 Speaker 1: and like for good cause, like Destiny was about to 838 00:49:26,960 --> 00:49:29,839 Speaker 1: suck it up and like essentially did. But um that 839 00:49:29,920 --> 00:49:32,239 Speaker 1: was that was the pimpand coming out and like once 840 00:49:32,280 --> 00:49:36,600 Speaker 1: that comes out, that girl's not your friend anymore. Yeah. 841 00:49:37,000 --> 00:49:40,759 Speaker 1: The justification that Destiny uses when she's like, this is 842 00:49:40,760 --> 00:49:44,840 Speaker 1: why I took the Plea deal was she's like quoting 843 00:49:45,000 --> 00:49:47,680 Speaker 1: what Ramona had said earlier. But she said, you know, 844 00:49:47,840 --> 00:49:50,440 Speaker 1: motherhood is a mental illness. I'm doing this for my daughter. 845 00:49:50,680 --> 00:49:54,920 Speaker 1: I'm curious what everyone thinks about. That just kind of 846 00:49:55,000 --> 00:49:58,960 Speaker 1: as a bit of a through line in the movie. 847 00:49:59,400 --> 00:50:02,920 Speaker 1: And I don't know if I don't Sometimes I forgot 848 00:50:02,920 --> 00:50:06,200 Speaker 1: that Destiny even had a daughter, because she comes up 849 00:50:06,239 --> 00:50:08,920 Speaker 1: so sparingly in the movie. So I would have I 850 00:50:09,120 --> 00:50:12,759 Speaker 1: almost would have liked to see her relationship with her 851 00:50:12,800 --> 00:50:16,480 Speaker 1: daughter a little more because when she says that, I'm like, 852 00:50:16,520 --> 00:50:18,920 Speaker 1: all right, you have a daughter, and I did. I 853 00:50:18,960 --> 00:50:21,960 Speaker 1: did feel like, yeah, Ramona's relationship. I feel like they 854 00:50:22,000 --> 00:50:24,239 Speaker 1: probably get about the same amount of screen time. But 855 00:50:24,280 --> 00:50:27,839 Speaker 1: it's just like telegraphed way clearer that Ramona and her 856 00:50:27,920 --> 00:50:32,719 Speaker 1: daughter are like very very close, and like Ramona says repeatedly, 857 00:50:32,800 --> 00:50:35,239 Speaker 1: like I would do anything for her, like motherhood is 858 00:50:35,239 --> 00:50:38,680 Speaker 1: a mental illness in the whole bit, and we it's 859 00:50:38,719 --> 00:50:40,719 Speaker 1: I mean, I don't know, I mean, I guess that 860 00:50:40,719 --> 00:50:43,880 Speaker 1: that didn't really stick out to me too. It made 861 00:50:44,160 --> 00:50:47,480 Speaker 1: sense to me story wise that that was the decision 862 00:50:47,480 --> 00:50:51,200 Speaker 1: that Destiny made, not just logistically, but because of what 863 00:50:51,239 --> 00:50:54,560 Speaker 1: we know about her and because of her personal history. 864 00:50:54,640 --> 00:50:56,479 Speaker 1: That's where it made the most sense to me, where 865 00:50:56,560 --> 00:50:58,759 Speaker 1: like she was struggling as a single mother, and we 866 00:50:58,840 --> 00:51:01,359 Speaker 1: know that throughout this story, but we also know that 867 00:51:01,400 --> 00:51:05,839 Speaker 1: she was struggling with how she was abandoned by her 868 00:51:05,840 --> 00:51:08,160 Speaker 1: own mother, and it sounds like she would do almost 869 00:51:08,200 --> 00:51:12,879 Speaker 1: anything to prevent that from happening to her daughter, even 870 00:51:12,880 --> 00:51:15,640 Speaker 1: if it screws someone else over or that was how 871 00:51:15,680 --> 00:51:22,080 Speaker 1: I was interpreting that totally. Let's take another quick break 872 00:51:22,280 --> 00:51:31,160 Speaker 1: and then we will come right back, and we're back. 873 00:51:31,800 --> 00:51:33,640 Speaker 1: I would love to talk a little bit more about 874 00:51:34,080 --> 00:51:36,400 Speaker 1: police and how police are portrayed in this movie, and 875 00:51:36,520 --> 00:51:42,240 Speaker 1: like the interaction of the industry and the cops. Um, 876 00:51:42,280 --> 00:51:44,920 Speaker 1: you know, I've never really done sex work in New 877 00:51:44,960 --> 00:51:47,520 Speaker 1: York little and danced um there, so I'm not like 878 00:51:47,560 --> 00:51:51,680 Speaker 1: as familiar with with the nuances of that relationship between 879 00:51:51,719 --> 00:51:54,319 Speaker 1: like strippers and cops and strip clubs and cops as 880 00:51:54,800 --> 00:51:57,520 Speaker 1: we saw in the film, Like we know that police 881 00:51:57,719 --> 00:52:01,600 Speaker 1: frequent these places, and like think one of the most 882 00:52:01,640 --> 00:52:04,760 Speaker 1: like biting moments of the film is when the reporter 883 00:52:04,880 --> 00:52:07,240 Speaker 1: I guess it's po V Julius Styles at this point, 884 00:52:07,560 --> 00:52:10,120 Speaker 1: is talking to the cops that like put together the 885 00:52:10,160 --> 00:52:13,080 Speaker 1: investigation that eventually took these women down, and like the 886 00:52:13,200 --> 00:52:15,560 Speaker 1: takeaway for them was like, yeah, I really spooked some 887 00:52:15,640 --> 00:52:17,719 Speaker 1: of the guys. We stopped going to the clubs altogether. 888 00:52:19,600 --> 00:52:23,840 Speaker 1: Like that's what he wanted her to know. Like, yeah, 889 00:52:24,160 --> 00:52:29,279 Speaker 1: oh okay, cool sir, that was on the record, right. 890 00:52:30,280 --> 00:52:33,040 Speaker 1: So um, But just in general, I think that it's 891 00:52:33,080 --> 00:52:38,560 Speaker 1: important to we hear Jennifer Lopez's characters say like, what 892 00:52:38,560 --> 00:52:40,120 Speaker 1: what are these guys gonna do? Are they going to 893 00:52:40,239 --> 00:52:42,680 Speaker 1: call the cops and say, please, officer, helped me? I 894 00:52:42,719 --> 00:52:45,040 Speaker 1: spent five thousand dollars at the strip club last night. 895 00:52:46,280 --> 00:52:49,400 Speaker 1: The inverse of that, though, is what are they going 896 00:52:49,440 --> 00:52:54,680 Speaker 1: to do? They can't call the cops? Oh please help me, officer. Uh, 897 00:52:54,800 --> 00:52:57,480 Speaker 1: this guy that we gave ketamine an M D m 898 00:52:57,560 --> 00:53:01,400 Speaker 1: A to is now you know, and if he wasn't, 899 00:53:01,440 --> 00:53:03,680 Speaker 1: Like what if we know that kenemine and M D 900 00:53:03,800 --> 00:53:06,640 Speaker 1: m A have different effects on different people, you know, 901 00:53:06,719 --> 00:53:09,640 Speaker 1: Like the likelihood that a person could have gotten violent 902 00:53:09,840 --> 00:53:13,600 Speaker 1: or had a weapon or sexually assaulted one of those 903 00:53:13,600 --> 00:53:16,280 Speaker 1: girls in one of those hotel rooms is just so high, 904 00:53:16,320 --> 00:53:20,040 Speaker 1: And then what is the police recourse there? Um is 905 00:53:20,080 --> 00:53:22,080 Speaker 1: the question that we don't get into in this film. 906 00:53:22,120 --> 00:53:24,279 Speaker 1: Because it is like, even though it's eighteen and up, 907 00:53:24,840 --> 00:53:29,120 Speaker 1: somebody says something about like that ends the PG thirteen component, 908 00:53:29,320 --> 00:53:32,520 Speaker 1: But it is a PG thirteen stripper movie, Like even 909 00:53:32,560 --> 00:53:35,160 Speaker 1: though it's very like there's full nudity, it's there's something 910 00:53:35,880 --> 00:53:39,160 Speaker 1: even it doesn't like even their sentences. Right. I don't 911 00:53:39,200 --> 00:53:42,319 Speaker 1: know how true to life these are, but it was 912 00:53:42,360 --> 00:53:44,840 Speaker 1: satisfying that at the end of this movie about the 913 00:53:44,880 --> 00:53:47,759 Speaker 1: industry that usually ends with protagonists who work in this 914 00:53:47,840 --> 00:53:53,080 Speaker 1: industry being punished, like severely punished within the the world 915 00:53:53,120 --> 00:53:56,719 Speaker 1: of the Felm, either through death, dismemberment, or like lifelong 916 00:53:56,840 --> 00:53:59,839 Speaker 1: stigma or heartbreak. Right, um, is usually what we see 917 00:53:59,840 --> 00:54:03,040 Speaker 1: in and these these women all were able to serve 918 00:54:03,040 --> 00:54:05,399 Speaker 1: their time and move on. At least that's what the 919 00:54:05,440 --> 00:54:08,680 Speaker 1: film that was wants us to believe. As far as 920 00:54:08,719 --> 00:54:11,200 Speaker 1: I know, that was also true of of their real 921 00:54:11,239 --> 00:54:13,840 Speaker 1: life story, that the sentences that were like put on 922 00:54:13,960 --> 00:54:17,120 Speaker 1: screen at the end were reflective of what actually happened. 923 00:54:18,800 --> 00:54:24,279 Speaker 1: So you know, it's a rare in that you know 924 00:54:24,440 --> 00:54:28,920 Speaker 1: somebody and get out of a police encounter alive, especially 925 00:54:28,960 --> 00:54:30,760 Speaker 1: if they're a woman of color and a sex worker. 926 00:54:31,640 --> 00:54:35,320 Speaker 1: So um, I think that those arrests. Sequences were handled 927 00:54:35,360 --> 00:54:38,080 Speaker 1: really well by the filmmakers because in a time right now, 928 00:54:38,200 --> 00:54:41,000 Speaker 1: like I don't want to see Keiki Palmer, you're a cop, 929 00:54:42,120 --> 00:54:45,080 Speaker 1: And like that sequence was like just brief enough that 930 00:54:45,200 --> 00:54:47,839 Speaker 1: like I didn't I don't know, perhaps it was traumatizing 931 00:54:47,880 --> 00:54:50,440 Speaker 1: for a lot of viewers, um, but they it was 932 00:54:50,600 --> 00:54:53,560 Speaker 1: very cinematic. It was very like the end of the 933 00:54:53,560 --> 00:54:56,280 Speaker 1: heist with all the cops like waiting at the line, 934 00:54:56,320 --> 00:54:59,239 Speaker 1: but you know, like where I'm sure the reality was 935 00:54:59,280 --> 00:55:02,880 Speaker 1: a lot uglier, you know, right, Yeah, Yeah, I do 936 00:55:02,920 --> 00:55:06,799 Speaker 1: appreciate that the movie doesn't dwell on those moments or 937 00:55:06,880 --> 00:55:09,360 Speaker 1: like you know, make too much of a meal on it, 938 00:55:09,400 --> 00:55:13,799 Speaker 1: because we're not on even though these women are, you know, 939 00:55:13,920 --> 00:55:20,360 Speaker 1: engaging in some very morally questionable behavior, we're still rooting 940 00:55:20,360 --> 00:55:22,880 Speaker 1: for them, Like we're not rooting for the cops in 941 00:55:22,920 --> 00:55:26,799 Speaker 1: this story. So so many movies ask you to do 942 00:55:27,480 --> 00:55:30,960 Speaker 1: every single one. I feel like, I feel like growing 943 00:55:31,080 --> 00:55:33,920 Speaker 1: up is realizing that like every person you've liked in 944 00:55:33,960 --> 00:55:37,319 Speaker 1: a movie is actually a cop. I this happens to 945 00:55:37,360 --> 00:55:40,319 Speaker 1: me all the time, Like oh my gosh, wow, um 946 00:55:40,440 --> 00:55:43,719 Speaker 1: silence and the lambs, Oh wait, she's a cop. Yeah, yeah, 947 00:55:44,120 --> 00:55:46,880 Speaker 1: oh my god speed. Oh wait, he's a cop. Everybody's 948 00:55:46,920 --> 00:55:51,080 Speaker 1: a sucking copy. Um okay here really quick. I have 949 00:55:51,120 --> 00:55:53,239 Speaker 1: been trying to get this movement, this going for like 950 00:55:53,719 --> 00:55:55,920 Speaker 1: years and years. Nobody wants it, nobody asked for us, 951 00:55:55,960 --> 00:55:58,120 Speaker 1: but I'm gonna. I'm gonna so like go for it, 952 00:55:58,239 --> 00:56:01,960 Speaker 1: shoot your shot. I had the privilege of like getting 953 00:56:02,040 --> 00:56:05,440 Speaker 1: a little taste of like the Time's Up moment. I 954 00:56:05,480 --> 00:56:08,640 Speaker 1: definitely got to spend like Valentine's Day two thousand and 955 00:56:08,719 --> 00:56:12,000 Speaker 1: seventeen or eighteen with like Leese, Witherspid Liver and Cox 956 00:56:12,040 --> 00:56:14,319 Speaker 1: and like on the Warner Brothers Law, like the top 957 00:56:14,440 --> 00:56:18,040 Speaker 1: of people started to get together and talk about and 958 00:56:18,080 --> 00:56:20,680 Speaker 1: it was all like very exciting and YadA YadA, like 959 00:56:20,719 --> 00:56:22,719 Speaker 1: you know, it's some things have happened, but we all 960 00:56:22,719 --> 00:56:26,880 Speaker 1: know where we are. But yeah, what I would like 961 00:56:26,960 --> 00:56:29,400 Speaker 1: to see for Times Up to move forward, Like the 962 00:56:29,440 --> 00:56:32,600 Speaker 1: next step in Times Up is Time's up cops. Hollywood 963 00:56:32,640 --> 00:56:36,840 Speaker 1: has to stop doing this. Hollywood has to stop glorifying 964 00:56:36,960 --> 00:56:40,439 Speaker 1: police and the bucked up work that they do. Like 965 00:56:41,120 --> 00:56:44,080 Speaker 1: obviously we have to stop seeing I think it was 966 00:56:44,080 --> 00:56:48,800 Speaker 1: really exemplified in the Central Park five series on Netflix 967 00:56:48,840 --> 00:56:53,080 Speaker 1: when we saw that this like the way that prosecutors 968 00:56:53,120 --> 00:56:58,160 Speaker 1: and police and investigators abused children and you know, other 969 00:56:58,200 --> 00:57:00,440 Speaker 1: suspects that they have in custody, and the way that 970 00:57:00,440 --> 00:57:03,200 Speaker 1: that has been glorified through like nineteen nineties drama and 971 00:57:03,280 --> 00:57:06,200 Speaker 1: like SPU and law and order and all of this 972 00:57:06,480 --> 00:57:12,200 Speaker 1: glorification of literal police misconduct and violence, and Hollywood needs 973 00:57:12,239 --> 00:57:16,680 Speaker 1: to be responsible for that and like put together a 974 00:57:16,760 --> 00:57:21,000 Speaker 1: resolution to fucking stop it. Just stop it. We don't 975 00:57:21,040 --> 00:57:24,160 Speaker 1: need to see any more stories about quote unquote good 976 00:57:24,200 --> 00:57:27,160 Speaker 1: cops or bad cops who turn good or good cops 977 00:57:27,240 --> 00:57:29,040 Speaker 1: or bad or just bad cops. We don't need any 978 00:57:29,080 --> 00:57:33,280 Speaker 1: more stories about cops, like except Wellington Paranormal and that's fine. 979 00:57:33,600 --> 00:57:36,600 Speaker 1: Oh my god, yes I love that show. But yeah, 980 00:57:37,200 --> 00:57:40,480 Speaker 1: I'm fully on board with your movement, and what can 981 00:57:40,600 --> 00:57:43,720 Speaker 1: we do to help just hashtag times up cops, Like 982 00:57:43,760 --> 00:57:46,400 Speaker 1: anytime you are are having a moment where you're like, 983 00:57:46,400 --> 00:57:49,120 Speaker 1: oh my god, I thought that I could watch twin Peaks, 984 00:57:49,160 --> 00:57:51,960 Speaker 1: but actually it is just a story about an FBI agent. 985 00:57:52,080 --> 00:57:55,680 Speaker 1: It's more compaganda. Yeah, Like it's it's just capaganda, fucking 986 00:57:55,720 --> 00:57:59,240 Speaker 1: pop patrol. Like you're indoctrinated at such a young age 987 00:57:59,280 --> 00:58:02,400 Speaker 1: oh my gosh, to cop media. But it's like it's 988 00:58:02,520 --> 00:58:05,440 Speaker 1: it's the fact that pop patrol exists and is wildly 989 00:58:05,600 --> 00:58:09,520 Speaker 1: popular is and this maybe sounds over but I think 990 00:58:09,520 --> 00:58:12,000 Speaker 1: it's I think that that's really disturbing that that is 991 00:58:12,120 --> 00:58:16,000 Speaker 1: like something that exists. And I totally yeah, I totally 992 00:58:16,080 --> 00:58:18,480 Speaker 1: agree with you that there should be in the same 993 00:58:18,560 --> 00:58:21,920 Speaker 1: way that the times of movement, which it sounds like 994 00:58:21,960 --> 00:58:27,960 Speaker 1: we all have some criticisms of perhaps but the yeah, 995 00:58:28,120 --> 00:58:30,520 Speaker 1: like is it, but the way that there was at 996 00:58:30,600 --> 00:58:33,560 Speaker 1: least some push to be like here is like a 997 00:58:33,600 --> 00:58:37,160 Speaker 1: tangible like result that we want and not just like 998 00:58:37,360 --> 00:58:39,800 Speaker 1: we don't like this and you should stop, because I 999 00:58:39,800 --> 00:58:42,840 Speaker 1: feel like that almost never yields something. It's like, like 1000 00:58:42,920 --> 00:58:44,840 Speaker 1: this is exactly what we want. We want to see 1001 00:58:45,440 --> 00:58:51,320 Speaker 1: cop media like decreased by like seventy by two thousand 1002 00:58:51,400 --> 00:58:55,640 Speaker 1: and twenty seven, and like have that like a tangible 1003 00:58:55,720 --> 00:58:59,560 Speaker 1: results because otherwise it feels like, I mean, this was 1004 00:58:59,640 --> 00:59:04,160 Speaker 1: so recently, like copaganda was understandably so recently a huge discussion, 1005 00:59:04,240 --> 00:59:07,440 Speaker 1: and in terms of the media discussion at least of 1006 00:59:07,440 --> 00:59:09,840 Speaker 1: how it appears how cops appear in media, I feel 1007 00:59:09,880 --> 00:59:13,040 Speaker 1: like that discussion did not last for very long and 1008 00:59:13,080 --> 00:59:16,920 Speaker 1: didn't I mean definitely didn't really move the move the 1009 00:59:16,960 --> 00:59:19,480 Speaker 1: dial very much. And I think it's a key part 1010 00:59:19,520 --> 00:59:22,920 Speaker 1: of how we move forward with imagining a world beyond police. 1011 00:59:22,960 --> 00:59:25,240 Speaker 1: We have to first imagine it and make movies about it. 1012 00:59:26,120 --> 00:59:29,080 Speaker 1: That is key. It's just it's not the only thing, 1013 00:59:29,200 --> 00:59:32,760 Speaker 1: but it's something that we as content creator slash like 1014 00:59:33,000 --> 00:59:36,560 Speaker 1: media coal miners can do to just you know, call 1015 00:59:36,600 --> 00:59:38,600 Speaker 1: it out, call it out in your favorite movies. I mean, 1016 00:59:38,640 --> 00:59:40,600 Speaker 1: like if you're listening to this, I'm sure you have 1017 00:59:40,600 --> 00:59:43,480 Speaker 1: a social media account, Like next time you get mad 1018 00:59:43,520 --> 00:59:45,560 Speaker 1: when you're watching s VU and you're like, you know what, 1019 00:59:45,680 --> 00:59:50,760 Speaker 1: actually Detective Olivia Benson, you maybe Jane Mansfield's daughter, but like, no, right, 1020 00:59:50,880 --> 00:59:53,120 Speaker 1: you can't. You can't treat that suspect that way. You 1021 00:59:53,200 --> 00:59:57,040 Speaker 1: have to actually let them see a lawyer like Francis 1022 00:59:57,120 --> 01:00:00,760 Speaker 1: McDorman and Fargo, don't god, I know. And it would 1023 01:00:00,760 --> 01:00:04,240 Speaker 1: be it would be nice to see more popular actors 1024 01:00:04,360 --> 01:00:09,680 Speaker 1: like acknowledge and distance themselves from prominent cops that they've 1025 01:00:09,680 --> 01:00:13,440 Speaker 1: played I have done it imporn, yeah, like I mean, 1026 01:00:13,720 --> 01:00:15,600 Speaker 1: and also just like as actors, you know what I mean. 1027 01:00:15,640 --> 01:00:18,720 Speaker 1: But it's something I am constantly, you know, cognizant of 1028 01:00:18,800 --> 01:00:23,040 Speaker 1: as like a performer. If someone asks me to play 1029 01:00:23,080 --> 01:00:26,640 Speaker 1: a role like that, I tried to avoid it or 1030 01:00:26,720 --> 01:00:28,560 Speaker 1: like switch, you know. And this is not always true 1031 01:00:28,600 --> 01:00:30,920 Speaker 1: outside of the adult entertainment industry. It's like, excuse me, 1032 01:00:31,080 --> 01:00:34,280 Speaker 1: I have some feedback about my role. It doesn't really felt. 1033 01:00:34,720 --> 01:00:37,600 Speaker 1: It's not things that generally actors can do. But in 1034 01:00:37,640 --> 01:00:42,200 Speaker 1: the adult industry we are blessed and bratty. But blessed 1035 01:00:42,200 --> 01:00:46,520 Speaker 1: and braddy is a great way to be. But yeah, 1036 01:00:46,600 --> 01:00:49,240 Speaker 1: I I didn't I don't want to say I didn't 1037 01:00:49,360 --> 01:00:51,640 Speaker 1: mind how cops were portrayed in this film, like in 1038 01:00:51,720 --> 01:00:55,480 Speaker 1: terms of just like how egregious it usually is within 1039 01:00:55,520 --> 01:00:58,960 Speaker 1: the context of this film, like it was okay, like 1040 01:00:59,040 --> 01:01:03,680 Speaker 1: nobody was googled horrified, but the tension and like the 1041 01:01:03,800 --> 01:01:08,720 Speaker 1: real sort of risks and steaks, and like how rough 1042 01:01:08,760 --> 01:01:11,760 Speaker 1: it is between sex workers, sex workers of color, specifically 1043 01:01:11,800 --> 01:01:16,320 Speaker 1: Emplolice was mark I think absent was markedly absent in 1044 01:01:16,360 --> 01:01:20,320 Speaker 1: this film. Yeah, that is something that I feel like 1045 01:01:20,680 --> 01:01:24,440 Speaker 1: there was room to explore in this movie, especially because 1046 01:01:24,440 --> 01:01:28,439 Speaker 1: several of the main characters are women of color. But yes, 1047 01:01:29,040 --> 01:01:33,240 Speaker 1: the way that cops have been historically represented in movies 1048 01:01:33,440 --> 01:01:36,520 Speaker 1: as heroes, and it maybe like just the best people 1049 01:01:36,560 --> 01:01:38,360 Speaker 1: in the world and they're awesome and they saved the 1050 01:01:38,440 --> 01:01:43,120 Speaker 1: day all the time, versus how sex workers have historically 1051 01:01:43,200 --> 01:01:46,480 Speaker 1: been represented in film and meet the media of any 1052 01:01:46,560 --> 01:01:51,480 Speaker 1: kind really aside from like adult entertainment. Just like think 1053 01:01:51,720 --> 01:01:57,120 Speaker 1: about how many movies you've seen that are usually directed 1054 01:01:57,160 --> 01:01:59,720 Speaker 1: by men, where there's a scene that takes place in 1055 01:01:59,760 --> 01:02:03,640 Speaker 1: a drip club for absolutely no narrative reason, usually just 1056 01:02:03,800 --> 01:02:07,720 Speaker 1: as an excuse, you have naked women be set dressing 1057 01:02:08,080 --> 01:02:12,800 Speaker 1: in the movie. We never learn anything about them. They're 1058 01:02:12,960 --> 01:02:17,200 Speaker 1: just objectified and dehumanized because of the way they are 1059 01:02:17,400 --> 01:02:23,240 Speaker 1: just bodies that we don't know anything about versus this 1060 01:02:23,520 --> 01:02:27,640 Speaker 1: movie and of small handful of others, and only in 1061 01:02:27,720 --> 01:02:32,720 Speaker 1: pretty recent years that take care to show the interior 1062 01:02:32,880 --> 01:02:37,080 Speaker 1: lives of women who do or people of any gender 1063 01:02:37,120 --> 01:02:41,680 Speaker 1: who do adult entertainment. And we obviously learned tons of 1064 01:02:41,760 --> 01:02:46,040 Speaker 1: information about the interior lives of Destiny and Ramona, we 1065 01:02:46,360 --> 01:02:50,280 Speaker 1: learned some details about more secondary characters like Mercedes and Annabelle, 1066 01:02:50,760 --> 01:02:53,560 Speaker 1: and then we even get a peek into the lives 1067 01:02:53,840 --> 01:02:57,600 Speaker 1: of several tertiary characters. For example, there's a scene pretty 1068 01:02:57,600 --> 01:03:01,640 Speaker 1: early on where they're going around like the dressing room 1069 01:03:01,880 --> 01:03:05,360 Speaker 1: and like Cardi B And Lizzo and a couple other 1070 01:03:05,440 --> 01:03:08,560 Speaker 1: women are like talking about their sex lives and they're 1071 01:03:08,600 --> 01:03:13,520 Speaker 1: like romantic lives. They're like, I remember the first day 1072 01:03:13,720 --> 01:03:16,520 Speaker 1: I walked I walked into audition, actually not my first day. Um, 1073 01:03:16,880 --> 01:03:20,040 Speaker 1: I was you know, seeing if I was allowed to 1074 01:03:20,160 --> 01:03:22,880 Speaker 1: dance naked, and it was very dorky. But I remember 1075 01:03:22,960 --> 01:03:25,520 Speaker 1: seeing this girl in the dressing room, her name was 1076 01:03:25,560 --> 01:03:29,400 Speaker 1: Dolores Park, just screaming in these like eight inch heels, 1077 01:03:29,520 --> 01:03:31,600 Speaker 1: screaming on the phone to her boyfriend, just like I 1078 01:03:31,640 --> 01:03:35,000 Speaker 1: had never seen a woman just like let our have 1079 01:03:35,280 --> 01:03:38,360 Speaker 1: it so hard before and this was just like normal. 1080 01:03:38,440 --> 01:03:41,680 Speaker 1: But that first sequence, like we felt so very familiar 1081 01:03:41,800 --> 01:03:45,760 Speaker 1: of just like women usually nude, just like with their 1082 01:03:45,880 --> 01:03:50,600 Speaker 1: genital yet out being there full selves. We don't get 1083 01:03:50,640 --> 01:03:53,640 Speaker 1: to see that very often. And it's that that strip 1084 01:03:53,720 --> 01:03:58,360 Speaker 1: club dressing room space sacred as sacred, yeah, and it's 1085 01:03:58,400 --> 01:04:03,120 Speaker 1: like met with all support and like love and energy 1086 01:04:03,520 --> 01:04:07,360 Speaker 1: and those scenes are so so wonderful. And I also 1087 01:04:07,560 --> 01:04:11,480 Speaker 1: wanted to shout out how cinematography is handled in this 1088 01:04:11,720 --> 01:04:16,560 Speaker 1: movie too, where uh, there is a there there's it's 1089 01:04:16,560 --> 01:04:20,200 Speaker 1: almost it's interesting because it's written and directed by Lorraine Scafaria. 1090 01:04:20,280 --> 01:04:22,920 Speaker 1: It's edited by a female editor, Kila m. There is 1091 01:04:23,040 --> 01:04:25,400 Speaker 1: a male cinematographer, but I think that the way that 1092 01:04:26,040 --> 01:04:30,640 Speaker 1: cinematography is handled, it's like, so, I mean whatever, I mean, 1093 01:04:30,680 --> 01:04:32,920 Speaker 1: it's all these scenes and strip clubs that are focusing 1094 01:04:33,040 --> 01:04:36,880 Speaker 1: on the strippers faces, and a lot of a lot 1095 01:04:36,960 --> 01:04:41,800 Speaker 1: of scenes what Ramona is doing is controlling the camera entirely, 1096 01:04:42,440 --> 01:04:46,040 Speaker 1: and then as the power dynamic shifts, then it's Destiny 1097 01:04:46,120 --> 01:04:48,400 Speaker 1: starts to take control of the camera at certain moments. 1098 01:04:48,440 --> 01:04:52,360 Speaker 1: But it's so it's still sexy when it needs to 1099 01:04:52,440 --> 01:04:56,200 Speaker 1: be sexy, but it's not. I don't know, I didn't 1100 01:04:56,240 --> 01:04:59,880 Speaker 1: find the camera work to be creepy or leering or 1101 01:05:00,520 --> 01:05:03,080 Speaker 1: I mean, because it was you were usually seeing things 1102 01:05:03,400 --> 01:05:06,680 Speaker 1: through one of these women's eyes, and if what they 1103 01:05:06,760 --> 01:05:08,840 Speaker 1: were seeing was sexy, and they thought what they were 1104 01:05:08,840 --> 01:05:11,360 Speaker 1: seeing was sexy, it was sexy, but it wasn't like 1105 01:05:12,000 --> 01:05:13,880 Speaker 1: and then you also get kind of the reverse of this, 1106 01:05:14,040 --> 01:05:16,440 Speaker 1: which I always enjoy seeing in a movie, where it 1107 01:05:16,600 --> 01:05:20,840 Speaker 1: cuts over to like, you know, the patrons like goofy 1108 01:05:21,000 --> 01:05:25,720 Speaker 1: faces while they're while they're like looking at beautiful women dancing, 1109 01:05:25,840 --> 01:05:28,280 Speaker 1: Like I just I really thought that was like a 1110 01:05:28,360 --> 01:05:30,600 Speaker 1: cool element of this movie. And it's something that is 1111 01:05:30,720 --> 01:05:33,320 Speaker 1: so often I don't know, I think we take it 1112 01:05:33,400 --> 01:05:36,080 Speaker 1: for granted when it's well done, because when it's poorly done, 1113 01:05:36,200 --> 01:05:40,439 Speaker 1: it's so obvious. That's the thing. Like, and we talked 1114 01:05:40,480 --> 01:05:43,840 Speaker 1: about women being objectified and being like the objects of 1115 01:05:43,920 --> 01:05:46,800 Speaker 1: the male gaze all the time and so many movies, 1116 01:05:47,000 --> 01:05:49,800 Speaker 1: and it's not as though we have a problem with 1117 01:05:50,440 --> 01:05:55,440 Speaker 1: women being sexy on screen and being sexual on screen, 1118 01:05:55,560 --> 01:05:57,560 Speaker 1: Like that's not where we take issue. It's all about 1119 01:05:57,640 --> 01:06:01,920 Speaker 1: like it has to be on and her terms, like 1120 01:06:02,040 --> 01:06:06,360 Speaker 1: how she is presented and and how she is framed 1121 01:06:06,560 --> 01:06:10,320 Speaker 1: by the camera, and like again, yeah, who's point of 1122 01:06:10,400 --> 01:06:13,800 Speaker 1: view or if you're doing there have been leering shots 1123 01:06:13,920 --> 01:06:16,640 Speaker 1: in movies that you don't love that, But it's like 1124 01:06:16,880 --> 01:06:18,959 Speaker 1: it just needs to make sense in the story because 1125 01:06:18,960 --> 01:06:21,720 Speaker 1: I feel like that's a huge Michael Bay thing when 1126 01:06:21,880 --> 01:06:24,320 Speaker 1: even with and like, of course that's like the most 1127 01:06:24,360 --> 01:06:28,040 Speaker 1: extreme example, but like on the page, Like on the page, 1128 01:06:28,600 --> 01:06:31,840 Speaker 1: a lot of Michael Bay characters are not inherently sexual. 1129 01:06:32,000 --> 01:06:34,560 Speaker 1: It's just the fact that the camera is just like 1130 01:06:35,280 --> 01:06:39,360 Speaker 1: for no narrative reason just like making a complete meal 1131 01:06:39,520 --> 01:06:43,040 Speaker 1: of them that they become so sexualized, and it's like 1132 01:06:43,120 --> 01:06:46,200 Speaker 1: it's it's in no way motivated by the story. Is 1133 01:06:46,280 --> 01:06:49,080 Speaker 1: just like, well, that's just what he wanted to do. Well. 1134 01:06:49,240 --> 01:06:52,960 Speaker 1: Teenage boys are the target audience for this Transformers, so 1135 01:06:53,840 --> 01:06:59,360 Speaker 1: we have to show Megan Fox's ass. I'll never forget doing. 1136 01:06:59,520 --> 01:07:01,720 Speaker 1: I do a lot of media advocacy and like, um, 1137 01:07:01,920 --> 01:07:04,440 Speaker 1: you know, I'll talk to the press because because I 1138 01:07:04,560 --> 01:07:07,360 Speaker 1: know how to do offensively. But it was I think 1139 01:07:09,120 --> 01:07:11,040 Speaker 1: when my red book dot com was taken out by 1140 01:07:11,040 --> 01:07:14,800 Speaker 1: the FBI, which was like a advertising website that I 1141 01:07:14,840 --> 01:07:16,640 Speaker 1: actually used when I as a stripper working at The 1142 01:07:16,760 --> 01:07:19,160 Speaker 1: Lefty Lady, because there was like an exotic dance section. 1143 01:07:19,240 --> 01:07:21,520 Speaker 1: There was a section where we could like exchange information 1144 01:07:21,680 --> 01:07:24,160 Speaker 1: about that dates and things like that. So I gave 1145 01:07:24,240 --> 01:07:26,080 Speaker 1: I talked to the news and my little like red 1146 01:07:26,160 --> 01:07:30,280 Speaker 1: blazer and pencil skirt, my little advocacy outfit on and 1147 01:07:30,440 --> 01:07:32,040 Speaker 1: I ended up like meeting them in like a parking 1148 01:07:32,120 --> 01:07:35,160 Speaker 1: lot somewhere, like Chevy's parking lot in Oakland or something, 1149 01:07:35,640 --> 01:07:38,000 Speaker 1: and I gave the interview and I hit my talking points. 1150 01:07:38,040 --> 01:07:40,080 Speaker 1: I talked all about you know, like the risks to 1151 01:07:40,160 --> 01:07:42,600 Speaker 1: the industry and blah blah blah. And when I saw 1152 01:07:43,280 --> 01:07:45,840 Speaker 1: the sequence that came out that evening on the evening news, 1153 01:07:46,200 --> 01:07:50,120 Speaker 1: they literally started at my high heels and pan and 1154 01:07:50,200 --> 01:07:52,840 Speaker 1: spent and used a whole shot of just my feet 1155 01:07:53,680 --> 01:07:57,360 Speaker 1: on the news and then like panned up my entire 1156 01:07:57,440 --> 01:08:00,040 Speaker 1: body as I was like talking about the f B 1157 01:08:00,120 --> 01:08:02,280 Speaker 1: I taking down a resource that helps keep sex workers 1158 01:08:02,320 --> 01:08:05,600 Speaker 1: alive on the fucking news. So like, it's not just 1159 01:08:05,720 --> 01:08:08,600 Speaker 1: Mike Away, It's not just Michael Bay. It's like it's 1160 01:08:08,640 --> 01:08:12,840 Speaker 1: the news, the fucking news that's ridiculous. It's ridiculous. And 1161 01:08:12,920 --> 01:08:15,959 Speaker 1: I think that when I'm looking back on the movie 1162 01:08:16,040 --> 01:08:19,160 Speaker 1: Hustlers and like thinking about like objectification or like, you 1163 01:08:19,240 --> 01:08:22,240 Speaker 1: know these things that we often critique um in films 1164 01:08:22,280 --> 01:08:26,280 Speaker 1: made for the mail gaze slashed by men. Something happens, 1165 01:08:26,360 --> 01:08:29,080 Speaker 1: or at least happened to me when I started profiting 1166 01:08:29,240 --> 01:08:32,320 Speaker 1: off off the mail gates and like using my body 1167 01:08:32,479 --> 01:08:35,920 Speaker 1: as a tool to survive under capitalism by exploiting the 1168 01:08:36,000 --> 01:08:40,160 Speaker 1: mail gaze and also being gay and wanting to attract 1169 01:08:40,280 --> 01:08:44,080 Speaker 1: women who were also doing this dance. Uh, something happens 1170 01:08:44,160 --> 01:08:47,360 Speaker 1: to your aesthetic and like people can't see me right now, 1171 01:08:47,400 --> 01:08:50,200 Speaker 1: but like I I am a cartoon character, like through 1172 01:08:50,280 --> 01:08:52,920 Speaker 1: and through, and I think that there is just a 1173 01:08:53,040 --> 01:08:56,720 Speaker 1: piece of alchemy that happens when you are because you're 1174 01:08:56,720 --> 01:09:00,439 Speaker 1: getting dressed at the strip club to make money that night, 1175 01:09:00,520 --> 01:09:03,840 Speaker 1: but you're also making sure that you like look good 1176 01:09:03,920 --> 01:09:06,960 Speaker 1: to your peers and coworkers and maybe that girl you're 1177 01:09:06,960 --> 01:09:09,120 Speaker 1: going to get a doughnut with after work, you know. 1178 01:09:09,360 --> 01:09:12,400 Speaker 1: And if you've ever been in like them, lesbian circles 1179 01:09:12,479 --> 01:09:16,280 Speaker 1: or from fem spaces, the way that we dressed to 1180 01:09:16,439 --> 01:09:20,000 Speaker 1: attract each other like goes it goes into drag, right, 1181 01:09:20,040 --> 01:09:23,639 Speaker 1: it goes beyond like the male gaze like a mail 1182 01:09:23,680 --> 01:09:26,320 Speaker 1: gays left long ago. Honey, I'm so sorry it's not 1183 01:09:26,400 --> 01:09:29,640 Speaker 1: with these like glitter eyelashes or for they're not for 1184 01:09:29,800 --> 01:09:33,519 Speaker 1: the man in the room, okay, Like and that's very 1185 01:09:33,600 --> 01:09:35,840 Speaker 1: much what this film felt like for me. I'm just like, yes, 1186 01:09:35,960 --> 01:09:37,880 Speaker 1: we're all. I'm here at the strip club and I'm 1187 01:09:37,880 --> 01:09:39,720 Speaker 1: going to make money because this healthfit is hot. But 1188 01:09:39,800 --> 01:09:43,000 Speaker 1: I am looking at you, ma'am, and I'm wondering what 1189 01:09:43,160 --> 01:09:48,280 Speaker 1: you're doing later, what that film feels like. That's cinematically 1190 01:09:48,320 --> 01:09:51,920 Speaker 1: like cinematography was, Yeah, that is, it's it. It does 1191 01:09:52,040 --> 01:09:55,840 Speaker 1: feel it's pretty. I'm like, I don't understand cinematography like 1192 01:09:56,240 --> 01:09:58,600 Speaker 1: technically at all, but I'm like, they fucking pulled it 1193 01:09:58,680 --> 01:10:02,000 Speaker 1: off it. Yeah, it only makes you feel the story 1194 01:10:02,080 --> 01:10:05,840 Speaker 1: beats stronger. My partner is a cinematographer slash like director 1195 01:10:05,880 --> 01:10:08,120 Speaker 1: of photography, and like loves like. I mean, you can 1196 01:10:08,160 --> 01:10:10,040 Speaker 1: see we've got like these a weird little like colored 1197 01:10:10,160 --> 01:10:13,280 Speaker 1: lights all over, so I've started to understand it more, 1198 01:10:13,600 --> 01:10:19,760 Speaker 1: not unlike the lighting in Hustlers, so lots of like 1199 01:10:19,920 --> 01:10:25,280 Speaker 1: pinks and purples, which it's very hot. Um. I wanted 1200 01:10:25,320 --> 01:10:29,080 Speaker 1: to share another quote from Jacqueline Francis that's from the 1201 01:10:29,320 --> 01:10:33,200 Speaker 1: oral history of this movie. Who it was talking about 1202 01:10:34,080 --> 01:10:38,240 Speaker 1: being in the strip club that they used as like 1203 01:10:38,360 --> 01:10:41,799 Speaker 1: the set of this movie. So being on set, Jacqueline says, 1204 01:10:42,120 --> 01:10:46,000 Speaker 1: quote it was like a utopian strip club from days 1205 01:10:46,080 --> 01:10:49,120 Speaker 1: gone by. I felt so respected for my opinion and 1206 01:10:49,200 --> 01:10:52,560 Speaker 1: my expertise, coming from my background where sex work is 1207 01:10:52,720 --> 01:10:57,200 Speaker 1: stigmatized and considered not real work, and that we are disposable, 1208 01:10:57,439 --> 01:11:00,679 Speaker 1: and that violence against us is acceptable. It's really important 1209 01:11:00,720 --> 01:11:04,120 Speaker 1: to have compassionate and authentic representation of sex workers in 1210 01:11:04,240 --> 01:11:07,160 Speaker 1: mainstream media, and the only way that's going to be 1211 01:11:07,240 --> 01:11:10,240 Speaker 1: achieved is by hiring sex workers to play the parts 1212 01:11:10,600 --> 01:11:14,000 Speaker 1: and to consult on these films. People are constantly shifting 1213 01:11:14,040 --> 01:11:16,799 Speaker 1: on me all the time about strippers being dumb bitches. 1214 01:11:17,200 --> 01:11:20,639 Speaker 1: It's so toxic and it's violent. It results in literal 1215 01:11:20,840 --> 01:11:26,080 Speaker 1: violence against sex workers unquote. So that's just I mean, 1216 01:11:26,200 --> 01:11:30,080 Speaker 1: one of many things I deeply appreciate about this movie, 1217 01:11:30,360 --> 01:11:37,160 Speaker 1: which is that strippers were consulted and paid, paid and 1218 01:11:38,160 --> 01:11:43,120 Speaker 1: just had voices in terms of how strippers were represented 1219 01:11:43,160 --> 01:11:47,439 Speaker 1: in the in the movie. And because yeah, like she said, 1220 01:11:47,880 --> 01:11:51,880 Speaker 1: how this is the thesis of our show. How people 1221 01:11:52,000 --> 01:11:57,520 Speaker 1: are represented effects kind of public opinion and cultural perceptions 1222 01:11:58,280 --> 01:12:02,720 Speaker 1: of any particular. So so whyan earths would strippers not 1223 01:12:02,840 --> 01:12:07,640 Speaker 1: have a say in how in shaping their own cultural persona? 1224 01:12:07,840 --> 01:12:12,320 Speaker 1: Like right, it's so silly, Yeah, Jacqueline Francis is quote 1225 01:12:12,360 --> 01:12:14,280 Speaker 1: like every single quote I came across that she had 1226 01:12:14,320 --> 01:12:16,720 Speaker 1: ever said, I was like, she's a genius. She's so great, 1227 01:12:16,800 --> 01:12:19,639 Speaker 1: Like she's so artic, like just like the I don't 1228 01:12:19,640 --> 01:12:22,839 Speaker 1: know anytime someone can like get a thought into two sentences, 1229 01:12:22,880 --> 01:12:24,559 Speaker 1: I'm like, how did you do that. It takes us 1230 01:12:24,600 --> 01:12:28,920 Speaker 1: two hours to do that. Well, she also does these cartoons. 1231 01:12:29,000 --> 01:12:33,080 Speaker 1: Have you seen her? Like that's that's the way you 1232 01:12:33,160 --> 01:12:36,600 Speaker 1: have the little like words and the truth's, you know, 1233 01:12:36,760 --> 01:12:41,800 Speaker 1: paired with these like adorable little like cartoons watercolors. It's remarkable. 1234 01:12:41,920 --> 01:12:44,120 Speaker 1: She is one of the greatest artists for a time. 1235 01:12:45,040 --> 01:12:48,799 Speaker 1: And I really liked how and I'm curious what everyone 1236 01:12:48,960 --> 01:12:56,800 Speaker 1: thinks of how the Journalists is used to challenge assumptions 1237 01:12:57,080 --> 01:13:00,360 Speaker 1: made about strippers as well, because I feel like using 1238 01:13:00,439 --> 01:13:02,840 Speaker 1: that device and I mean, not only is it reflective 1239 01:13:02,920 --> 01:13:06,519 Speaker 1: of the fact that it was, you know, a journalist 1240 01:13:06,600 --> 01:13:09,280 Speaker 1: from a somewhat privileged background who wrote this story for 1241 01:13:09,360 --> 01:13:12,479 Speaker 1: New York Magazine originally, but even on top of that, 1242 01:13:12,600 --> 01:13:17,880 Speaker 1: I really liked that exchange between Destiny Slash, Dorothy and 1243 01:13:18,080 --> 01:13:24,280 Speaker 1: Elizabeth when Elizabeth is doing the journalism thing, where she's like, well, 1244 01:13:24,600 --> 01:13:28,040 Speaker 1: what about the crime, and that's you know, clearly what 1245 01:13:28,520 --> 01:13:31,160 Speaker 1: she has been sent to do. And we I mean, 1246 01:13:31,200 --> 01:13:33,759 Speaker 1: you barely notice as an audience member because it's so awesome, 1247 01:13:33,920 --> 01:13:36,920 Speaker 1: but like you've been focused on the relationship and the 1248 01:13:37,200 --> 01:13:40,439 Speaker 1: and the moment, the cultural moment for for most of 1249 01:13:40,520 --> 01:13:42,439 Speaker 1: the movie, and she's like, okay, but what about crime? 1250 01:13:43,080 --> 01:13:47,200 Speaker 1: And Destiny pushes back on this right away, and it's like, well, 1251 01:13:47,280 --> 01:13:50,040 Speaker 1: I don't want to be a part of some larger 1252 01:13:50,240 --> 01:13:53,000 Speaker 1: narrative that like I'm not quoting her exactly here, but 1253 01:13:53,160 --> 01:13:54,920 Speaker 1: I don't want to be a part of some larger 1254 01:13:55,000 --> 01:14:00,920 Speaker 1: stigma enforcing narrative that frames strippers as criminal a whole sale. 1255 01:14:01,000 --> 01:14:03,040 Speaker 1: So if that's what you're trying to do, I want 1256 01:14:03,200 --> 01:14:07,439 Speaker 1: no part in this, and even goes further to challenge 1257 01:14:07,680 --> 01:14:11,080 Speaker 1: Elizabeth on what her background is and like, can you 1258 01:14:11,200 --> 01:14:14,320 Speaker 1: really empathize with me with you know? It's and and 1259 01:14:15,160 --> 01:14:20,120 Speaker 1: I think, does something really really smart that you know, 1260 01:14:20,200 --> 01:14:23,400 Speaker 1: maybe a lesser journalist would have been scared and quit 1261 01:14:23,520 --> 01:14:25,920 Speaker 1: the story. And she was just like, you know, I'm 1262 01:14:25,960 --> 01:14:28,920 Speaker 1: not going to be a part of a toxic narrative that, 1263 01:14:29,040 --> 01:14:32,280 Speaker 1: of course she would be well aware of. And I 1264 01:14:32,600 --> 01:14:35,080 Speaker 1: feel like it's almost that was almost like a clever 1265 01:14:35,320 --> 01:14:40,400 Speaker 1: riting way of talking to the audience too. Yeah. I 1266 01:14:40,520 --> 01:14:44,080 Speaker 1: just thought that that was like a a really cool moment. Yeah. 1267 01:14:44,360 --> 01:14:46,760 Speaker 1: Part of that is also I don't know if it's 1268 01:14:46,800 --> 01:14:52,120 Speaker 1: that same scene or not, but she asks Elizabeth, you know, like, yeah, 1269 01:14:52,160 --> 01:14:54,160 Speaker 1: did you grow up with money, and she's like, yeah, 1270 01:14:54,200 --> 01:14:58,160 Speaker 1: I'm we were comfortable my dad like people saying people 1271 01:14:58,280 --> 01:15:01,559 Speaker 1: say comfortable. I'm like that shouldn't be allowed anymore. Yeah, 1272 01:15:01,640 --> 01:15:04,760 Speaker 1: that's your way of downplaying the fact that you grew 1273 01:15:04,880 --> 01:15:08,719 Speaker 1: up in an upper middle class or like upper class family. 1274 01:15:08,920 --> 01:15:12,240 Speaker 1: So but anyway, that's that's I actually just watched Crazy 1275 01:15:12,360 --> 01:15:18,679 Speaker 1: Rich Asians and that's the thing when people say, wow, 1276 01:15:18,800 --> 01:15:25,280 Speaker 1: Constance Woo. Movies are full of this interaction. Uh wild um. 1277 01:15:25,840 --> 01:15:29,840 Speaker 1: But then she she Destiny challenges Elizabeth a little further 1278 01:15:29,920 --> 01:15:32,320 Speaker 1: and says, well, what would you do for a thousand dollars? 1279 01:15:32,560 --> 01:15:34,560 Speaker 1: Because of course the answer is going to depend on 1280 01:15:35,080 --> 01:15:38,559 Speaker 1: what you already have and what you need, because up 1281 01:15:38,600 --> 01:15:41,240 Speaker 1: until this point there's been this kind of like probably 1282 01:15:41,320 --> 01:15:45,599 Speaker 1: as objective as Elizabeth can make herself seen, but she's 1283 01:15:45,640 --> 01:15:48,280 Speaker 1: still like passing some judgment in terms of, like, you 1284 01:15:48,520 --> 01:15:51,200 Speaker 1: were drugging these people, and she's like, why are you 1285 01:15:51,280 --> 01:15:53,360 Speaker 1: fixated on that? Yeah, we were doing that, but also 1286 01:15:53,479 --> 01:15:55,760 Speaker 1: these guys were mainline and coke every day on their 1287 01:15:55,760 --> 01:15:59,200 Speaker 1: way to work, so like, but it just brings up 1288 01:15:59,240 --> 01:16:05,040 Speaker 1: this class conversation of a large part of Destiny's motivation 1289 01:16:05,240 --> 01:16:07,800 Speaker 1: is that she wants to be completely independent. She doesn't 1290 01:16:07,840 --> 01:16:10,040 Speaker 1: want to have to rely on anyone else financially. She 1291 01:16:10,160 --> 01:16:13,920 Speaker 1: says this multiple times in the movie. And for someone 1292 01:16:14,000 --> 01:16:18,520 Speaker 1: who grew up in what was clearly a pretty financially 1293 01:16:18,640 --> 01:16:23,559 Speaker 1: unstable situation, her grandmother seems to be the sole provider 1294 01:16:23,680 --> 01:16:27,519 Speaker 1: for her. She was in debt, her parents left her 1295 01:16:27,680 --> 01:16:31,080 Speaker 1: when she was young. You know, you know, she's coming 1296 01:16:31,160 --> 01:16:36,800 Speaker 1: from a low socioeconomic background and motivated by trying to 1297 01:16:37,960 --> 01:16:41,479 Speaker 1: get out of the cycle of poverty and wanting to 1298 01:16:41,640 --> 01:16:46,439 Speaker 1: be independent. And yeah, it goes back to that other 1299 01:16:46,560 --> 01:16:51,080 Speaker 1: quote from Jacqueline about surviving under capitalism and how like 1300 01:16:52,080 --> 01:16:55,800 Speaker 1: that's just kind of inherently problematic, and and it kind 1301 01:16:55,840 --> 01:17:00,479 Speaker 1: of like doubles as a commentary on how media is 1302 01:17:00,600 --> 01:17:04,840 Speaker 1: trained to view strippers and and sex workers as well, 1303 01:17:05,320 --> 01:17:09,520 Speaker 1: because of how it's like, I mean, and and Elizabeth 1304 01:17:09,640 --> 01:17:12,320 Speaker 1: kind of tries to do this again where I don't know, 1305 01:17:12,360 --> 01:17:14,440 Speaker 1: I mean, this is this is just how I interpreted 1306 01:17:14,520 --> 01:17:18,400 Speaker 1: her behavior in this scene. But later on, like I 1307 01:17:18,520 --> 01:17:20,519 Speaker 1: keep wanting to just call her Julia Styles, but like 1308 01:17:20,640 --> 01:17:25,559 Speaker 1: Julia Styles like leans in to destiny, and it's like, well, 1309 01:17:25,720 --> 01:17:28,120 Speaker 1: you know, I know I'm supposed to feel bad for 1310 01:17:28,200 --> 01:17:31,000 Speaker 1: the guys that this happened too, But I really don't. 1311 01:17:31,439 --> 01:17:34,679 Speaker 1: And I kind of viewed that from a journalistic perspective. 1312 01:17:34,720 --> 01:17:36,360 Speaker 1: I was like, Oh, is she trying to kind of 1313 01:17:36,479 --> 01:17:39,960 Speaker 1: lead her to say something? And you know, I don't. 1314 01:17:40,240 --> 01:17:42,800 Speaker 1: I'm I mean, I saw her apartment. I don't think 1315 01:17:42,800 --> 01:17:46,280 Speaker 1: she really felt that way. Whatever I cannon, I don't know. 1316 01:17:46,880 --> 01:17:51,120 Speaker 1: But all that to say, then Destiny doesn't take the bait. 1317 01:17:51,280 --> 01:17:54,080 Speaker 1: And it's like, oh, that's interesting because there were times 1318 01:17:54,120 --> 01:17:56,920 Speaker 1: where I felt not good about the situation at all. 1319 01:17:57,000 --> 01:18:01,120 Speaker 1: And again it's like this supposedly objective source making an 1320 01:18:01,160 --> 01:18:04,760 Speaker 1: assumption about how the person they're in interviewing would feel 1321 01:18:04,960 --> 01:18:10,479 Speaker 1: based on this preconceived notion they have, and like, yeah, yeah, 1322 01:18:10,640 --> 01:18:14,880 Speaker 1: those scenes are wild. I really appreciated the including that 1323 01:18:15,040 --> 01:18:16,760 Speaker 1: that is a device, just because I think it is 1324 01:18:16,800 --> 01:18:19,880 Speaker 1: a really important part of the coming of age sex 1325 01:18:19,920 --> 01:18:23,000 Speaker 1: worker story that we're sort of approaching in this In 1326 01:18:23,120 --> 01:18:26,240 Speaker 1: this movie, UM like, yes, you will meet a girl 1327 01:18:26,360 --> 01:18:29,800 Speaker 1: who will like consume you and possibly destroy you. She 1328 01:18:29,960 --> 01:18:32,920 Speaker 1: may exploit you, and lest you turn her into the cops, 1329 01:18:33,320 --> 01:18:36,200 Speaker 1: you will never get her back. And be careful when 1330 01:18:36,200 --> 01:18:38,840 Speaker 1: you talk to the media. Babes. They will make you 1331 01:18:38,920 --> 01:18:41,560 Speaker 1: know like they're not your friend. They're not trying to 1332 01:18:42,200 --> 01:18:44,680 Speaker 1: help you in any way. They are part of that 1333 01:18:44,840 --> 01:18:47,160 Speaker 1: strip club. You know, are they doing the dance because 1334 01:18:47,200 --> 01:18:51,599 Speaker 1: they're definitely not throwing money, So be mindful, be mindful. 1335 01:18:52,680 --> 01:18:55,960 Speaker 1: I like that part. Shall we talk a little bit 1336 01:18:56,000 --> 01:19:01,920 Speaker 1: about the production? Yeah, yes, So we referenced this a 1337 01:19:02,000 --> 01:19:05,960 Speaker 1: little earlier, and I know, I mean there's a million 1338 01:19:06,479 --> 01:19:08,960 Speaker 1: quotes from the oral history that supports this as well. 1339 01:19:09,120 --> 01:19:13,280 Speaker 1: But I was I didn't know much about the production 1340 01:19:13,640 --> 01:19:16,080 Speaker 1: of this movie, even though I've seen it a couple 1341 01:19:16,160 --> 01:19:20,680 Speaker 1: of times. And Loren Scafaria prior to this movie was 1342 01:19:20,960 --> 01:19:23,639 Speaker 1: she directed stuff, but she was I think better known 1343 01:19:23,760 --> 01:19:28,400 Speaker 1: as a writer. She had written this script and then 1344 01:19:29,479 --> 01:19:32,479 Speaker 1: it's just it's so typical, but it's like three years ago, 1345 01:19:32,600 --> 01:19:35,000 Speaker 1: so it's double annoying. I was like, oh, great, this 1346 01:19:35,160 --> 01:19:40,400 Speaker 1: was happening in amazing post times the time that it 1347 01:19:40,560 --> 01:19:46,080 Speaker 1: was up. Anyways, So Loren Scafaria basically was like really lobbying, 1348 01:19:46,160 --> 01:19:49,360 Speaker 1: like I want to direct this movie. And I believe 1349 01:19:49,400 --> 01:19:52,760 Speaker 1: like three or four big name male directors had to 1350 01:19:52,880 --> 01:19:57,479 Speaker 1: pass on making the movie before they would even consider her. 1351 01:19:58,080 --> 01:20:00,240 Speaker 1: And on top of that this movie was origin only 1352 01:20:00,320 --> 01:20:04,120 Speaker 1: with like the Annapurna production company, which they've made a 1353 01:20:04,200 --> 01:20:07,280 Speaker 1: bunch of famous movies. I can't think of any of 1354 01:20:07,360 --> 01:20:10,760 Speaker 1: them right now, but they're whatever. They exist. And oh, 1355 01:20:10,880 --> 01:20:14,200 Speaker 1: this is a quote from Elaine Goldsmith Thomas, who is 1356 01:20:14,240 --> 01:20:17,640 Speaker 1: one of the producers, and but she says of Annapurna, 1357 01:20:17,680 --> 01:20:21,160 Speaker 1: who eventually pulled out from this movie. Um, she says, quote, 1358 01:20:21,200 --> 01:20:24,479 Speaker 1: the male studio executives were a little uncomfortable. Everybody could 1359 01:20:24,520 --> 01:20:26,800 Speaker 1: see the commercial value of this movie, but they were like, 1360 01:20:27,200 --> 01:20:29,920 Speaker 1: can they just drug the bad guys? Can they just 1361 01:20:30,040 --> 01:20:33,400 Speaker 1: do that to people that deserve it? And so it 1362 01:20:33,560 --> 01:20:36,240 Speaker 1: just at almost every That's why I'm like so happy 1363 01:20:36,280 --> 01:20:41,679 Speaker 1: that this movie does exist and was directed not only 1364 01:20:41,800 --> 01:20:45,240 Speaker 1: by a woman, but by a woman who wanted to 1365 01:20:46,000 --> 01:20:50,320 Speaker 1: consult strippers and consult people who could make the story 1366 01:20:50,439 --> 01:20:53,040 Speaker 1: authentic in the way that it needed to be, because 1367 01:20:53,120 --> 01:20:56,360 Speaker 1: it sounds like the production originally had no intention of 1368 01:20:56,439 --> 01:20:58,040 Speaker 1: doing that. They're like, um, we're just going to let 1369 01:20:58,080 --> 01:21:00,800 Speaker 1: Martin Scorsese walk around and kind of guess his way 1370 01:21:00,880 --> 01:21:04,840 Speaker 1: through this. And it's like, thank god no one had 1371 01:21:04,880 --> 01:21:07,120 Speaker 1: to see that movie. He would have done what he 1372 01:21:07,840 --> 01:21:13,680 Speaker 1: did to Margot Robbie in Wolf of Wall Street the 1373 01:21:16,720 --> 01:21:23,479 Speaker 1: Scorsese cut. I have no desire to see things, but yeah. 1374 01:21:23,960 --> 01:21:26,760 Speaker 1: Jessica L. Baum, who is the founder of Glory of 1375 01:21:26,840 --> 01:21:30,600 Speaker 1: Sanchez Productions, who had originally bought the rights for like 1376 01:21:30,720 --> 01:21:33,639 Speaker 1: the article to make it into the film, had been 1377 01:21:33,680 --> 01:21:36,720 Speaker 1: the one to like go out to Martin Scorsese, and 1378 01:21:37,640 --> 01:21:41,240 Speaker 1: then Adam McKay was another possible contender to be the director, 1379 01:21:41,439 --> 01:21:45,400 Speaker 1: but then Lorraine Scarfaria was like, no, look, I can 1380 01:21:45,479 --> 01:21:48,560 Speaker 1: do this. I made this awesome sizzle reel and they're like, 1381 01:21:48,600 --> 01:21:50,640 Speaker 1: oh wow, this is a great reel. Okay, fine, you 1382 01:21:50,680 --> 01:21:53,600 Speaker 1: can direct the movie, which which is like, so I 1383 01:21:53,640 --> 01:21:55,680 Speaker 1: would be less annoyed by that if she were like 1384 01:21:55,880 --> 01:21:59,920 Speaker 1: an inexperienced director, like a sizzle real makes more sense 1385 01:22:00,080 --> 01:22:03,519 Speaker 1: when you're not already a well respected director. She shouldn't 1386 01:22:03,520 --> 01:22:06,000 Speaker 1: have had to do that to like prove she could 1387 01:22:06,000 --> 01:22:08,720 Speaker 1: direct her own script. It's stories like that makes me 1388 01:22:08,840 --> 01:22:17,920 Speaker 1: so annoyed. It's imperious. That's why do you want? Does 1389 01:22:17,960 --> 01:22:21,880 Speaker 1: anyone have anything else they want to discuss? Um? I 1390 01:22:22,000 --> 01:22:25,400 Speaker 1: wanted to note that I love love love, cannot say 1391 01:22:25,439 --> 01:22:28,360 Speaker 1: how much I love that. We don't know anything basically 1392 01:22:28,560 --> 01:22:31,200 Speaker 1: or care about any of the boyfriends in the stories. 1393 01:22:31,960 --> 01:22:33,960 Speaker 1: When you said his name was Johnny, I was like, 1394 01:22:34,160 --> 01:22:36,479 Speaker 1: was that his name? That I believe was his name? 1395 01:22:36,680 --> 01:22:40,800 Speaker 1: But the fact that we barely know is telling is 1396 01:22:40,880 --> 01:22:43,160 Speaker 1: Johnny a name. Johnny is not a name. Johnny is 1397 01:22:43,200 --> 01:22:48,280 Speaker 1: just like a young john. There's John's, there's Johnny's, and 1398 01:22:48,320 --> 01:22:50,560 Speaker 1: there's Jonathan. That's the name of the guy from the 1399 01:22:50,720 --> 01:22:58,920 Speaker 1: room john Johnny exactly. It's not a name name, it's Johnny. 1400 01:22:59,040 --> 01:23:02,160 Speaker 1: Johnny is a good right hand for like random young 1401 01:23:02,320 --> 01:23:08,320 Speaker 1: man Johnny here. Yeah. No, But I love that because 1402 01:23:08,360 --> 01:23:11,240 Speaker 1: I think so often when people talk about stories that 1403 01:23:11,320 --> 01:23:13,680 Speaker 1: like humanize sex with hers, they're like, yeah, what's it 1404 01:23:13,760 --> 01:23:17,280 Speaker 1: like when she goes home to her boyfriend fucking cares 1405 01:23:17,640 --> 01:23:19,360 Speaker 1: he's a douche bag, just like all the other men 1406 01:23:19,400 --> 01:23:22,439 Speaker 1: in her life, Like, sorry, my boyfriend, for the record 1407 01:23:22,520 --> 01:23:25,760 Speaker 1: is but I hate seeing that. It's just like such 1408 01:23:25,800 --> 01:23:29,040 Speaker 1: a boring like, oh you the fact that Destiny has 1409 01:23:29,040 --> 01:23:31,760 Speaker 1: a child, and like we see this moment that we 1410 01:23:31,840 --> 01:23:33,880 Speaker 1: just sort of like get sucked into, like the two 1411 01:23:33,920 --> 01:23:37,240 Speaker 1: thousand eight crash happens, Destiny gets pregnant. Suddenly there's this 1412 01:23:37,400 --> 01:23:39,320 Speaker 1: dude next to her. I was like, oh God, are 1413 01:23:39,360 --> 01:23:41,200 Speaker 1: we about to see this movie? I don't want to 1414 01:23:41,240 --> 01:23:43,760 Speaker 1: see this, but we weren't. Thank god we did not. 1415 01:23:44,120 --> 01:23:47,920 Speaker 1: Thank God. I think the only boyfriend of any who 1416 01:23:48,040 --> 01:23:52,599 Speaker 1: who is like I mean, I guess not extremely narratively relevant, 1417 01:23:52,640 --> 01:23:56,560 Speaker 1: but that is one of Kiki Palmer's motivations is to 1418 01:23:56,720 --> 01:24:00,559 Speaker 1: get her boyfriend who is in jail for I don't 1419 01:24:00,560 --> 01:24:04,000 Speaker 1: know if they tell you what it's for, but that 1420 01:24:04,320 --> 01:24:06,920 Speaker 1: that's the only boyfriend that I think comes up multiple 1421 01:24:07,000 --> 01:24:10,920 Speaker 1: times that she's trying to get her boyfriend legal assistance 1422 01:24:11,840 --> 01:24:14,920 Speaker 1: and and does end up and she's successful. Right, But yeah, 1423 01:24:15,000 --> 01:24:18,679 Speaker 1: that's treated as more just like not even a subplot, 1424 01:24:18,800 --> 01:24:22,000 Speaker 1: that's just like a few here and there. Yeah. Yeah, 1425 01:24:22,000 --> 01:24:25,720 Speaker 1: it's like it's like wants a brain, she wants a heart. Yeah, 1426 01:24:25,720 --> 01:24:28,160 Speaker 1: And I like that everyone does, even though it's like 1427 01:24:28,439 --> 01:24:31,280 Speaker 1: what I mean, for for Kiky Palmer's character and oh 1428 01:24:31,360 --> 01:24:35,720 Speaker 1: my god, Lily Reinhart's character definitely definitely know who she is, 1429 01:24:36,640 --> 01:24:41,040 Speaker 1: but they each have a scene that explains their why 1430 01:24:41,160 --> 01:24:43,839 Speaker 1: and that's all. That's all comes from the source material 1431 01:24:44,560 --> 01:24:48,960 Speaker 1: as well. That's good. So I liked that. Speaking of 1432 01:24:49,040 --> 01:24:52,479 Speaker 1: that really heart character, I um so from twenty I 1433 01:24:52,520 --> 01:24:57,519 Speaker 1: moved to l A L. I started taking REP around 1434 01:24:57,560 --> 01:25:00,479 Speaker 1: that time, which is pre exposure propyl axis UM, which 1435 01:25:00,560 --> 01:25:03,200 Speaker 1: is like a daily pill you take that prevents acquiring 1436 01:25:03,280 --> 01:25:05,880 Speaker 1: the HIV virus. It's like birth control for chid um. 1437 01:25:05,960 --> 01:25:08,320 Speaker 1: It was really hard on my stomach. So for those 1438 01:25:08,479 --> 01:25:12,600 Speaker 1: like two years eighteen, not only did I live in 1439 01:25:12,680 --> 01:25:15,080 Speaker 1: a tiny apartment with my cat, I was also the 1440 01:25:15,200 --> 01:25:20,040 Speaker 1: puking girl that just gone the moment when they like 1441 01:25:20,160 --> 01:25:21,920 Speaker 1: pulled up next to the cop and it's like everybody 1442 01:25:21,960 --> 01:25:24,720 Speaker 1: played cool. Everybody played cool, and then they finally pull 1443 01:25:24,800 --> 01:25:27,920 Speaker 1: away and she just barbs in front of like I've 1444 01:25:28,120 --> 01:25:34,000 Speaker 1: done that, Like that was puking. This like movie season 1445 01:25:34,200 --> 01:25:36,200 Speaker 1: was big for puk and girls because it was like 1446 01:25:36,280 --> 01:25:39,559 Speaker 1: Lily Reinhardt in this movie Annada Armas and Knives Out. 1447 01:25:39,680 --> 01:25:42,960 Speaker 1: It was like hit Girl City. That that Christmas season 1448 01:25:43,200 --> 01:25:47,960 Speaker 1: representation matters. Girls live alone with their cats and puke 1449 01:25:48,080 --> 01:25:53,799 Speaker 1: for no reason. We matter. There was a small moment 1450 01:25:53,960 --> 01:25:57,720 Speaker 1: that I felt very seen by where Destiny is describing 1451 01:25:57,960 --> 01:26:00,840 Speaker 1: this recurring dreams she's she has or she's in the 1452 01:26:00,880 --> 01:26:04,120 Speaker 1: backseat of a moving car. There's no one driving. She 1453 01:26:04,240 --> 01:26:06,639 Speaker 1: has to like scramble to get to the front seat 1454 01:26:06,680 --> 01:26:08,800 Speaker 1: to try to gain control of the vehicle. She can 1455 01:26:08,880 --> 01:26:12,840 Speaker 1: never do it. I've had that dream probably fifty or 1456 01:26:12,880 --> 01:26:14,600 Speaker 1: more times in my life. It is like one of 1457 01:26:14,680 --> 01:26:18,599 Speaker 1: my recurring stress nightmares. Yes, and I'm like to see 1458 01:26:18,680 --> 01:26:22,000 Speaker 1: that described and then like play out on screen. I 1459 01:26:22,120 --> 01:26:26,080 Speaker 1: was like, I feel seen. Yes, that sequence was so 1460 01:26:26,280 --> 01:26:29,639 Speaker 1: good too. I love dream sequences that are successfully pulled 1461 01:26:29,640 --> 01:26:32,040 Speaker 1: off or it's the thing is happening and you don't 1462 01:26:32,040 --> 01:26:34,040 Speaker 1: know that it's a dream until like right before you 1463 01:26:34,200 --> 01:26:37,439 Speaker 1: It's would be so good. Yeah, I'm so sorry you 1464 01:26:37,560 --> 01:26:40,439 Speaker 1: have that dream though. That sounds so stressful. Oh it's okay. 1465 01:26:40,680 --> 01:26:44,760 Speaker 1: I am clearly need to work on managing my anxiety 1466 01:26:47,040 --> 01:26:48,880 Speaker 1: versions of that dream. But it was I haven't had 1467 01:26:48,960 --> 01:26:51,680 Speaker 1: him since I was a kid, except when I was 1468 01:26:51,760 --> 01:26:54,160 Speaker 1: like I was in a station wagon and it was 1469 01:26:54,280 --> 01:26:56,200 Speaker 1: rolling backwards and I was like, I wonder when my 1470 01:26:56,240 --> 01:26:59,679 Speaker 1: Grandma's gonna pull the emergency brake and I was like, oh, no, no, grandma, 1471 01:27:00,160 --> 01:27:03,360 Speaker 1: there's no mamma. That might have been a princess diaries 1472 01:27:03,400 --> 01:27:09,400 Speaker 1: into a stream to be honest, because okay, um, can 1473 01:27:09,479 --> 01:27:12,920 Speaker 1: I ask some questions of you guys. I was absolutely 1474 01:27:13,520 --> 01:27:15,160 Speaker 1: I've talked to like a fair amount about like my 1475 01:27:15,280 --> 01:27:19,519 Speaker 1: experience in strip club life. But I'm curious about how 1476 01:27:19,640 --> 01:27:22,120 Speaker 1: much time y'all sputton strip clubs, what that's been like, 1477 01:27:22,560 --> 01:27:24,920 Speaker 1: Like what what your point of rock, because like it 1478 01:27:25,000 --> 01:27:26,920 Speaker 1: was very striking to me, I didn't spend I was 1479 01:27:27,000 --> 01:27:29,000 Speaker 1: never in a two thousand seven strip clubs, so that 1480 01:27:29,160 --> 01:27:32,360 Speaker 1: like big floor show. I've seen that when I was 1481 01:27:32,400 --> 01:27:35,240 Speaker 1: like on tour in like those big states that have 1482 01:27:35,439 --> 01:27:39,120 Speaker 1: like Walmart size strip clubs, but like a city strip 1483 01:27:39,160 --> 01:27:42,479 Speaker 1: club that popping I had never really quite seen before. 1484 01:27:42,520 --> 01:27:44,840 Speaker 1: And then the shot of the two thousand eight strip club, 1485 01:27:45,120 --> 01:27:47,280 Speaker 1: it like chilled my bones. I was like, oh, this 1486 01:27:47,520 --> 01:27:52,120 Speaker 1: is the strip club. I know it just like hurt inside. 1487 01:27:52,160 --> 01:27:56,120 Speaker 1: But I'm curious, what if anything your friend references for 1488 01:27:56,320 --> 01:27:59,280 Speaker 1: for those faces I was in a I think I 1489 01:27:59,360 --> 01:28:01,000 Speaker 1: went to my first of her strip club in two 1490 01:28:01,040 --> 01:28:05,200 Speaker 1: thousand nine, so not long after, because I had moved 1491 01:28:05,280 --> 01:28:08,960 Speaker 1: to New York right around the time the economy tanked 1492 01:28:09,280 --> 01:28:12,920 Speaker 1: and was struggling to find a job, and when I 1493 01:28:13,000 --> 01:28:16,639 Speaker 1: did finally find one, it was at a literary management 1494 01:28:16,680 --> 01:28:21,160 Speaker 1: company where one of the managers was like kind of 1495 01:28:21,280 --> 01:28:24,720 Speaker 1: doing that part time, but her main job was that 1496 01:28:24,840 --> 01:28:28,479 Speaker 1: she was the general manager of and I forget which 1497 01:28:28,560 --> 01:28:30,800 Speaker 1: club it was, but it was one of the more 1498 01:28:30,880 --> 01:28:35,840 Speaker 1: popular ship clubs in Manhattan. And so she would let 1499 01:28:36,160 --> 01:28:40,479 Speaker 1: my colleague and I at this literary management company come 1500 01:28:40,520 --> 01:28:43,559 Speaker 1: in for free. She would buy us drinks, she would 1501 01:28:43,600 --> 01:28:49,680 Speaker 1: buy us lap dances. So we would go and just 1502 01:28:49,920 --> 01:28:52,840 Speaker 1: like have a ball. Was it a place with food? 1503 01:28:52,920 --> 01:28:54,600 Speaker 1: Would you get to like get a meal or was 1504 01:28:54,640 --> 01:28:59,200 Speaker 1: it drinks? I think it was just drinks. Um. And 1505 01:28:59,320 --> 01:29:02,920 Speaker 1: then I've been to few other strip clubs in Albuquerque, 1506 01:29:02,960 --> 01:29:06,600 Speaker 1: New Mexico, Portland, Oregon, Los Angeles. I was with you 1507 01:29:06,720 --> 01:29:09,240 Speaker 1: in Portland. Yeah, we we went to one in Portland together. 1508 01:29:09,320 --> 01:29:13,200 Speaker 1: A listener of the show and worked at this club 1509 01:29:13,360 --> 01:29:16,560 Speaker 1: invited us for to come in for breakfast. It was 1510 01:29:17,040 --> 01:29:19,680 Speaker 1: very delightful. Wait, I'm about to go to Portland? Which 1511 01:29:19,720 --> 01:29:23,080 Speaker 1: strip club serves breakfast? What was We'll get you the 1512 01:29:23,160 --> 01:29:24,920 Speaker 1: name of the club. Well, yeah, we'll have to look 1513 01:29:25,000 --> 01:29:26,479 Speaker 1: up to it. Let me know, a couple of years ago. 1514 01:29:27,280 --> 01:29:31,880 Speaker 1: But it was fabulous. It was incredible. Strip clubs are special, yes, um, 1515 01:29:32,080 --> 01:29:33,840 Speaker 1: yeah I have. I have not spent a ton of 1516 01:29:33,960 --> 01:29:35,880 Speaker 1: time in strip clubs, but I think I go like 1517 01:29:37,040 --> 01:29:42,320 Speaker 1: once every two years. My first time was when in Massachusetts. 1518 01:29:42,439 --> 01:29:45,320 Speaker 1: It's it's like or I don't know how state to 1519 01:29:45,360 --> 01:29:49,320 Speaker 1: state this is, but I'm from Massachusetts and went to 1520 01:29:49,720 --> 01:29:52,400 Speaker 1: college there, and I was so excited to move to 1521 01:29:52,439 --> 01:29:55,360 Speaker 1: Boston because I wanted to go to a strip club 1522 01:29:55,520 --> 01:29:59,800 Speaker 1: so badly, and I just like I was especially as 1523 01:29:59,840 --> 01:30:05,760 Speaker 1: it teenager. I was so like fixated on stripper personas 1524 01:30:05,800 --> 01:30:08,000 Speaker 1: and like I read a ton of blogs and I 1525 01:30:08,200 --> 01:30:11,080 Speaker 1: was just like, I was so excited to go. And 1526 01:30:11,120 --> 01:30:13,880 Speaker 1: then I got to Boston. I was eighteen, and they 1527 01:30:13,920 --> 01:30:17,280 Speaker 1: didn't let anyone in under twenty one, so I ended 1528 01:30:17,320 --> 01:30:19,400 Speaker 1: up going to I ended up getting my dad to 1529 01:30:19,560 --> 01:30:21,320 Speaker 1: drive me to an eighteen plus night and I went 1530 01:30:21,360 --> 01:30:24,639 Speaker 1: to a strip club with my dad and oh my god, 1531 01:30:25,120 --> 01:30:31,360 Speaker 1: bless your goddamn heart. And we had amazing food and 1532 01:30:31,520 --> 01:30:33,599 Speaker 1: a great time. But it was my dad was way 1533 01:30:33,600 --> 01:30:35,439 Speaker 1: more uncomfortable than I was. I was like, this is 1534 01:30:36,040 --> 01:30:39,639 Speaker 1: this is incredible, this is the best, and everyone everything, 1535 01:30:39,720 --> 01:30:42,439 Speaker 1: everyone who worked there was so nice. And then once 1536 01:30:42,479 --> 01:30:45,280 Speaker 1: they figured out what our dynamic was, they were like, um, okay, 1537 01:30:45,479 --> 01:30:52,360 Speaker 1: and like but that that's my most memorable strip club experience. 1538 01:30:52,439 --> 01:30:58,200 Speaker 1: But it's amazing. Love that beautiful, I asked, because, um hey, 1539 01:30:58,280 --> 01:31:00,120 Speaker 1: I always say that. I think it's really important, like 1540 01:31:00,320 --> 01:31:02,559 Speaker 1: people when people ask, like what can we what can 1541 01:31:02,600 --> 01:31:04,640 Speaker 1: we do for a sex work or rights movement to 1542 01:31:04,800 --> 01:31:08,240 Speaker 1: make the world a less violent, despicable place for people 1543 01:31:08,280 --> 01:31:10,000 Speaker 1: who do this type of work. I always try to 1544 01:31:10,120 --> 01:31:12,600 Speaker 1: encourage people to come out about their consumption, you know, 1545 01:31:12,680 --> 01:31:16,840 Speaker 1: whether it's a great Portland's strip club experience with breakfast, 1546 01:31:17,040 --> 01:31:19,840 Speaker 1: or like a weird night out with you know, your 1547 01:31:19,920 --> 01:31:24,720 Speaker 1: relatives compatriots um or you know, like hey, I I 1548 01:31:25,080 --> 01:31:28,040 Speaker 1: subscribe to peg him dot com, or like, you know whatever, 1549 01:31:28,120 --> 01:31:30,759 Speaker 1: I admire this porn star or follow her on Twitter, 1550 01:31:31,000 --> 01:31:33,760 Speaker 1: just like take us out of the shadows when when 1551 01:31:33,840 --> 01:31:36,400 Speaker 1: it's safe for you to do so, because it's generally 1552 01:31:36,520 --> 01:31:39,120 Speaker 1: safer for you than it is for us to talk 1553 01:31:39,200 --> 01:31:42,560 Speaker 1: about like the this world society does not punish the 1554 01:31:42,640 --> 01:31:45,400 Speaker 1: consumer in the same way that they punish the practitioner, 1555 01:31:45,520 --> 01:31:48,920 Speaker 1: right in this instance. So I love that you guys 1556 01:31:49,000 --> 01:31:52,040 Speaker 1: have had positive experiences, which I fucking love a strip 1557 01:31:52,120 --> 01:31:56,960 Speaker 1: club I um um. I went on tour with Stormy 1558 01:31:57,040 --> 01:32:00,120 Speaker 1: Daniels when she was doing her strip club tour or 1559 01:32:00,280 --> 01:32:03,160 Speaker 1: after like her book, I was about to come out, 1560 01:32:03,200 --> 01:32:05,200 Speaker 1: I think. But I was registering voters in the clubs, 1561 01:32:05,600 --> 01:32:09,559 Speaker 1: and so I saw strip clubs all over this world, 1562 01:32:10,120 --> 01:32:15,920 Speaker 1: and just the some thing's like something shift of course, 1563 01:32:16,040 --> 01:32:18,560 Speaker 1: like region to region, Like some places you have to 1564 01:32:18,640 --> 01:32:20,439 Speaker 1: wear a gown if you're on the floor. Some places 1565 01:32:20,479 --> 01:32:23,120 Speaker 1: you have to have like a t strap thong or 1566 01:32:23,240 --> 01:32:26,000 Speaker 1: pastys or a new cover color, like all of these 1567 01:32:26,360 --> 01:32:28,479 Speaker 1: weird rules, which is why I store me um was 1568 01:32:28,600 --> 01:32:31,439 Speaker 1: arrested in um. Oh. This is one thing I wanted 1569 01:32:31,439 --> 01:32:33,479 Speaker 1: to say about the movie. I think in that first 1570 01:32:33,520 --> 01:32:36,800 Speaker 1: sequence where we see Jennifer Lopez dancing, she motor boats 1571 01:32:36,840 --> 01:32:40,400 Speaker 1: somebody right or some variety. She like rubs her her 1572 01:32:40,439 --> 01:32:42,920 Speaker 1: boobs and somebody's paces. That is the move that got 1573 01:32:42,960 --> 01:32:46,120 Speaker 1: Stormy Daniel's arrested in Columbus. She was set up on 1574 01:32:46,240 --> 01:32:51,200 Speaker 1: a sting. These white women came in as undercover cops 1575 01:32:51,240 --> 01:32:53,280 Speaker 1: were hitting me up. They're like, oh I love Stormy. 1576 01:32:54,280 --> 01:32:59,280 Speaker 1: They were undercovers, and they initiated that move and because 1577 01:32:59,360 --> 01:33:03,280 Speaker 1: like laws very state to state, they arrested her and 1578 01:33:03,320 --> 01:33:05,240 Speaker 1: a bunch of other girls, including girls I had registered 1579 01:33:05,280 --> 01:33:08,920 Speaker 1: to vote that night, who were like terrified, like please, okay, 1580 01:33:08,960 --> 01:33:10,880 Speaker 1: I'm gonna give you my legal name to registered to vote, 1581 01:33:10,920 --> 01:33:12,439 Speaker 1: Like that's a scary thing to do in a strip 1582 01:33:12,520 --> 01:33:14,639 Speaker 1: club when you're trying to keep your legal name private. 1583 01:33:14,680 --> 01:33:16,560 Speaker 1: And I was like, I swear to you, only me 1584 01:33:16,960 --> 01:33:19,559 Speaker 1: and the registrar of voters are going to know who 1585 01:33:19,640 --> 01:33:22,400 Speaker 1: you are. Except then the cops came and arrested them, 1586 01:33:22,400 --> 01:33:23,840 Speaker 1: and their names were in the paper the next day, 1587 01:33:23,840 --> 01:33:27,759 Speaker 1: and that girl wasn't get to get nursed anymore. But also, 1588 01:33:29,080 --> 01:33:31,760 Speaker 1: sorry to be a downer on what we were having 1589 01:33:31,800 --> 01:33:35,839 Speaker 1: a very name conversation, but it's these these issues are important. 1590 01:33:35,880 --> 01:33:39,200 Speaker 1: I think that like when folks watch um and consume 1591 01:33:39,479 --> 01:33:43,559 Speaker 1: entertainment about this industry, it's important to know the reality 1592 01:33:43,680 --> 01:33:47,360 Speaker 1: is that base even like the most privileged among us, 1593 01:33:47,400 --> 01:33:51,919 Speaker 1: I mean Sworemy Daniels is like the whitest, blondest dallist 1594 01:33:52,040 --> 01:33:55,519 Speaker 1: slept with the presidentist uh, you know, sex worker of 1595 01:33:55,600 --> 01:33:57,479 Speaker 1: our our generation and still like a cop with an 1596 01:33:57,479 --> 01:34:03,400 Speaker 1: agenda can take her out if he wants. So. Great movie, though, 1597 01:34:04,120 --> 01:34:10,000 Speaker 1: it's great. Hustlers rules, Hustlers rules. Yes, I'm I like 1598 01:34:10,120 --> 01:34:11,880 Speaker 1: this movie. I will watch it again. Like I said, 1599 01:34:12,320 --> 01:34:15,000 Speaker 1: I think it's a dance movie, and dance movies are 1600 01:34:15,120 --> 01:34:18,960 Speaker 1: like my number one, So this goes in the butt 1601 01:34:19,000 --> 01:34:22,640 Speaker 1: like I will put this on before center stage and uh, 1602 01:34:23,080 --> 01:34:25,599 Speaker 1: you know, make a night of it. Just drumline counter. Yeah, 1603 01:34:25,720 --> 01:34:33,960 Speaker 1: absolutely awesome. Any other thoughts questions, I've I have one 1604 01:34:34,000 --> 01:34:37,320 Speaker 1: more question for you, Susie on behalf of us but 1605 01:34:37,439 --> 01:34:42,160 Speaker 1: also our listeners. Is there I guess for our listeners 1606 01:34:42,439 --> 01:34:47,160 Speaker 1: who are just starting to learn more, what can they 1607 01:34:47,320 --> 01:34:50,160 Speaker 1: do to be supportive? What can they do? Like? Yeah, 1608 01:34:50,240 --> 01:34:53,600 Speaker 1: that the for for kind of the lay listener and 1609 01:34:53,800 --> 01:34:58,120 Speaker 1: the lay listener, where would you suggest? Well, if you 1610 01:34:58,160 --> 01:35:00,320 Speaker 1: want to stay in touch with me, I can I 1611 01:35:00,560 --> 01:35:04,000 Speaker 1: encourage you to do so? I am always harassing people 1612 01:35:04,479 --> 01:35:07,800 Speaker 1: who follow me about getting out the vote, um, calling 1613 01:35:07,840 --> 01:35:11,400 Speaker 1: your elected representatives about you know, there's always legislation in 1614 01:35:11,479 --> 01:35:14,320 Speaker 1: the works. There's always a politician with an agenda who 1615 01:35:14,360 --> 01:35:17,200 Speaker 1: wants to use our communities escapegoate. So there's always work 1616 01:35:17,280 --> 01:35:19,519 Speaker 1: to be done. So if you want to keep in touch, 1617 01:35:19,680 --> 01:35:23,599 Speaker 1: shoot me a text at four one five five eight 1618 01:35:24,120 --> 01:35:26,240 Speaker 1: nine one eight five and I'll send that to you. Guys, 1619 01:35:26,280 --> 01:35:28,000 Speaker 1: you can put in the show notes. It is my 1620 01:35:28,160 --> 01:35:30,360 Speaker 1: personal direct line, but it's also a way for you 1621 01:35:30,439 --> 01:35:33,599 Speaker 1: to access my email list. So um email is terrible. 1622 01:35:33,640 --> 01:35:35,240 Speaker 1: I never check it and I don't think you should either. 1623 01:35:35,400 --> 01:35:37,439 Speaker 1: But I do check my text messages because I'm an 1624 01:35:37,479 --> 01:35:40,879 Speaker 1: elder millennial UM, so that's a great way to stay connected. 1625 01:35:40,960 --> 01:35:45,640 Speaker 1: But also check out pass certified dot org p a 1626 01:35:46,000 --> 01:35:49,320 Speaker 1: s S certified dot org. That is the health and 1627 01:35:49,439 --> 01:35:52,760 Speaker 1: Safety organization UM that focuses on health and safety and 1628 01:35:52,840 --> 01:35:57,600 Speaker 1: legal industry and provides like regulatory recommendations around like what 1629 01:35:57,880 --> 01:35:59,760 Speaker 1: s T I S we test for when we have 1630 01:35:59,840 --> 01:36:03,360 Speaker 1: a production hole due to COVID or somebody test positive 1631 01:36:03,400 --> 01:36:07,759 Speaker 1: for HIV, things of that nature. And find the adult 1632 01:36:07,800 --> 01:36:13,120 Speaker 1: performer that you support and pay them, whether it's cash app, venmo, 1633 01:36:13,760 --> 01:36:17,840 Speaker 1: the afternoon strip club, brunch, buffet, whatever you can do 1634 01:36:18,080 --> 01:36:22,679 Speaker 1: to support individual sex workers directly. That is the most 1635 01:36:22,800 --> 01:36:25,080 Speaker 1: important thing that you can do, because every one of 1636 01:36:25,200 --> 01:36:27,960 Speaker 1: us is struggling. You know, even folks who are who 1637 01:36:28,080 --> 01:36:30,680 Speaker 1: seem to be you live in that life on on 1638 01:36:30,840 --> 01:36:34,160 Speaker 1: Instagram is one second away from losing that Instagram and 1639 01:36:34,280 --> 01:36:37,559 Speaker 1: that way of making money. So find ways to support 1640 01:36:38,200 --> 01:36:40,920 Speaker 1: your local sex worker directly and do so. And if 1641 01:36:40,960 --> 01:36:43,040 Speaker 1: you would like to do that to me, you can. 1642 01:36:43,280 --> 01:36:46,400 Speaker 1: You can follow my mostly safer work pursuits at the 1643 01:36:46,560 --> 01:36:50,679 Speaker 1: forecast dot com. That's my Patreon page. Um, it'll Repute 1644 01:36:50,800 --> 01:36:54,320 Speaker 1: pod is the Twitter for my podcast will Repute podcast. 1645 01:36:54,400 --> 01:36:57,880 Speaker 1: I am by my friend's sovereign sire who is also 1646 01:36:58,280 --> 01:37:02,280 Speaker 1: amportant star. Yeah, she is to perform at the comedy 1647 01:37:02,400 --> 01:37:06,800 Speaker 1: venue that I ran at a wild Nerd medal. She 1648 01:37:06,880 --> 01:37:10,280 Speaker 1: would come for different like storytelling shows and other were 1649 01:37:10,360 --> 01:37:14,640 Speaker 1: just like comedics, the best storytelling performances. Yeah, so we 1650 01:37:15,000 --> 01:37:19,799 Speaker 1: um take different people and figures throughout history of ill repute. 1651 01:37:20,040 --> 01:37:22,320 Speaker 1: Initially it was sex workers, but now it's just like 1652 01:37:22,439 --> 01:37:26,120 Speaker 1: people with reputations that are you know, history didn't get 1653 01:37:26,200 --> 01:37:29,360 Speaker 1: right and so we nerd out. And this last week 1654 01:37:29,439 --> 01:37:32,799 Speaker 1: where we covered Gidget, which is one of my favorite films, 1655 01:37:33,240 --> 01:37:37,960 Speaker 1: definitely doesn't pass the Bechtel testum, not at all. But 1656 01:37:39,080 --> 01:37:40,880 Speaker 1: so yeah, that's that's mostly where you can find me. 1657 01:37:40,920 --> 01:37:44,000 Speaker 1: The Daddy Issue dot com and your American Babe dot 1658 01:37:44,080 --> 01:37:48,360 Speaker 1: com is where you can find my spicy things. Very good. Yeah, 1659 01:37:49,000 --> 01:37:51,519 Speaker 1: thank you for sharing all that. Speaking of the Bechtel 1660 01:37:51,560 --> 01:37:57,440 Speaker 1: test oh my goodness already No, I'm not ready. Insteady drumroll, 1661 01:37:57,520 --> 01:38:02,559 Speaker 1: please does this movie pass the Bactel the yes, yes, 1662 01:38:03,600 --> 01:38:06,599 Speaker 1: that's a lot. What I always like to find out, 1663 01:38:06,760 --> 01:38:08,800 Speaker 1: like at what point, like are we five minutes in? 1664 01:38:08,840 --> 01:38:11,880 Speaker 1: Are we ten minutes? And I didn't look like it's 1665 01:38:11,920 --> 01:38:16,400 Speaker 1: almost immediately yeah, I mean, for there are plenty of 1666 01:38:16,560 --> 01:38:20,120 Speaker 1: interactions in this movie where men are the subtext of 1667 01:38:20,160 --> 01:38:25,240 Speaker 1: a conversation, but there's also I mean, I guess whatever, 1668 01:38:25,320 --> 01:38:28,240 Speaker 1: I didn't. I didn't do a math problem about it, 1669 01:38:28,360 --> 01:38:31,240 Speaker 1: but I would guess that more almost more often than not, 1670 01:38:31,680 --> 01:38:35,719 Speaker 1: conversations between women are not about men. They're about money, 1671 01:38:35,880 --> 01:38:39,360 Speaker 1: they're about business, they're about daughters or about mothers. They're 1672 01:38:39,360 --> 01:38:46,599 Speaker 1: about friendship, they're about for coats, journalistic ethics, they're like yeah. 1673 01:38:46,960 --> 01:38:49,840 Speaker 1: And when they are talking about men um they're often 1674 01:38:49,960 --> 01:38:55,400 Speaker 1: saying things like they're awful and degrading and possessive and 1675 01:38:55,800 --> 01:38:59,240 Speaker 1: violent and they never get into into any trouble because 1676 01:38:59,320 --> 01:39:01,840 Speaker 1: they think they're a of the law because they're so rich, 1677 01:39:02,360 --> 01:39:05,439 Speaker 1: and all these guys tank the economy and it's their fault. 1678 01:39:05,760 --> 01:39:08,559 Speaker 1: They lied and they cheated and they stole, but none 1679 01:39:08,560 --> 01:39:10,880 Speaker 1: of them went to jail. These assholes blah blah blah. 1680 01:39:10,960 --> 01:39:16,960 Speaker 1: Shakespearean monologues, like some some of Ramona's monologues are literally 1681 01:39:17,320 --> 01:39:23,240 Speaker 1: like shakes soliloquy, Oh my god, who wouldn't be taken 1682 01:39:23,280 --> 01:39:27,120 Speaker 1: in there's not a high opinion of a certain kind 1683 01:39:27,160 --> 01:39:32,759 Speaker 1: of man in this movie, which is how they justify 1684 01:39:33,240 --> 01:39:39,880 Speaker 1: their illegal actions. Who. I will say that the Doug 1685 01:39:40,080 --> 01:39:42,320 Speaker 1: is the guy that we feel sorry for, Like, but 1686 01:39:42,479 --> 01:39:45,280 Speaker 1: even before Doug, the first guy that she calls, that's 1687 01:39:45,320 --> 01:39:47,360 Speaker 1: like the last on the list of regulars before she 1688 01:39:47,439 --> 01:39:50,639 Speaker 1: go back to the strip club. Stephen, Stephen, I would 1689 01:39:50,680 --> 01:39:53,920 Speaker 1: say that both of those guys were humanized in a 1690 01:39:54,000 --> 01:39:57,160 Speaker 1: way that we don't typically get to see. Um, consumers 1691 01:39:57,280 --> 01:39:59,400 Speaker 1: of sex were humanized, And I think that that's really 1692 01:39:59,439 --> 01:40:02,160 Speaker 1: important because the first step when people say like yes, 1693 01:40:02,200 --> 01:40:05,760 Speaker 1: sex worker rights, Okay, great, we'll just criminalize the consumer. 1694 01:40:06,360 --> 01:40:08,880 Speaker 1: And that's what really is getting pushed in in a 1695 01:40:08,960 --> 01:40:11,479 Speaker 1: lot of places these days with the Nordic model or 1696 01:40:11,840 --> 01:40:15,320 Speaker 1: um Oregon. Some places are calling it the liberty or 1697 01:40:15,360 --> 01:40:19,360 Speaker 1: the justice the equality model or just garbage, double garbage, 1698 01:40:19,360 --> 01:40:23,080 Speaker 1: double speak. But yeah, it's nice to see that. Yeah, Okay, 1699 01:40:23,160 --> 01:40:26,519 Speaker 1: not every one of these guys was a piece of ship, 1700 01:40:26,680 --> 01:40:31,760 Speaker 1: Like people consume things that you are selling, and right, yeah, 1701 01:40:31,800 --> 01:40:36,439 Speaker 1: you can't. You can't decriminalize and destigmatize sex work without 1702 01:40:36,720 --> 01:40:41,120 Speaker 1: also having empathy for the people who want to engage 1703 01:40:41,160 --> 01:40:46,160 Speaker 1: with it and consume it so or just like wholesale demonizing. Yeah, 1704 01:40:46,200 --> 01:40:49,599 Speaker 1: I thought that this movie like towed the ethics line 1705 01:40:49,640 --> 01:40:52,439 Speaker 1: and the consumer line pretty smart because it's also like 1706 01:40:53,040 --> 01:40:57,439 Speaker 1: very location specific of like totally these are Wall Street 1707 01:40:57,680 --> 01:41:01,040 Speaker 1: bankers and and it's and this this happens in that 1708 01:41:01,840 --> 01:41:05,519 Speaker 1: it's referenced constantly in the article as well, where you know, 1709 01:41:05,640 --> 01:41:08,559 Speaker 1: the parts of this that are criminal are as we've 1710 01:41:08,600 --> 01:41:12,080 Speaker 1: been talking about, like it's a survival based thing that 1711 01:41:12,320 --> 01:41:16,519 Speaker 1: is being done. And I I kind of appreciated that 1712 01:41:16,600 --> 01:41:19,400 Speaker 1: the movie doesn't mire you down with like, well, what 1713 01:41:19,520 --> 01:41:22,800 Speaker 1: are the ethics of this? It's like that's separate, Like 1714 01:41:22,960 --> 01:41:25,160 Speaker 1: you can have that discussion on the ride home. That's 1715 01:41:25,160 --> 01:41:27,360 Speaker 1: not what the movie is about. But then on the 1716 01:41:27,400 --> 01:41:30,800 Speaker 1: other side, Yeah, you do see the empathetic like genuinely 1717 01:41:30,920 --> 01:41:35,120 Speaker 1: caring people who we're we're at this club and actually 1718 01:41:35,200 --> 01:41:40,280 Speaker 1: making like friendships and like actually talking to the dancers 1719 01:41:40,320 --> 01:41:43,439 Speaker 1: and getting to know them, And I don't know's I 1720 01:41:43,520 --> 01:41:45,120 Speaker 1: thought it was like well done. How you do see 1721 01:41:45,120 --> 01:41:48,240 Speaker 1: the flip side of like it's not like this didn't 1722 01:41:48,400 --> 01:41:50,880 Speaker 1: do harm And that also seems to be something that 1723 01:41:51,840 --> 01:41:56,080 Speaker 1: Destiny was really bothered by by the end, which I mean, 1724 01:41:56,200 --> 01:41:59,800 Speaker 1: it's it's so easy to see Destiny and Ramona's perspective 1725 01:42:00,080 --> 01:42:03,439 Speaker 1: in that moment, and it was cool to see kind 1726 01:42:03,479 --> 01:42:06,960 Speaker 1: of that split and that like dilemma represented without the 1727 01:42:07,000 --> 01:42:11,519 Speaker 1: movie telling you how to feel about it totally. One 1728 01:42:11,560 --> 01:42:14,519 Speaker 1: piece that about like class that was in there that 1729 01:42:14,600 --> 01:42:18,559 Speaker 1: I think is maybe wouldn't stick out to someone outside 1730 01:42:18,560 --> 01:42:21,519 Speaker 1: the industry. But the piece about like the folks with 1731 01:42:21,640 --> 01:42:23,519 Speaker 1: the most money are the ones who are going to 1732 01:42:23,600 --> 01:42:26,800 Speaker 1: push your boundaries. And I remember when I started doing 1733 01:42:26,960 --> 01:42:29,200 Speaker 1: in person work outside of the club, you know, like 1734 01:42:29,280 --> 01:42:34,240 Speaker 1: two thousand and ten eleven ish, you know, rates varied 1735 01:42:34,400 --> 01:42:37,080 Speaker 1: between like a couple hundred on up to like closer 1736 01:42:37,120 --> 01:42:40,120 Speaker 1: to you know, four figures. And I remember a friend 1737 01:42:40,200 --> 01:42:42,920 Speaker 1: of mine being like, Yeah, I don't want to see 1738 01:42:43,200 --> 01:42:46,200 Speaker 1: guys that will pay X amount of money. I I 1739 01:42:47,120 --> 01:42:50,920 Speaker 1: like my clients who pay a little bit less. It's 1740 01:42:51,000 --> 01:42:56,240 Speaker 1: just safer that way. And that's been my experience that like, 1741 01:42:56,400 --> 01:42:58,760 Speaker 1: the more money someone is willing to part with, the 1742 01:42:58,880 --> 01:43:01,840 Speaker 1: more they expect to be able to do whatever they 1743 01:43:01,920 --> 01:43:04,719 Speaker 1: want and get away with it. Um And we see 1744 01:43:04,800 --> 01:43:08,840 Speaker 1: that specter a little tiny bit, but that specter is 1745 01:43:09,080 --> 01:43:13,120 Speaker 1: much larger in real life. M And I think that 1746 01:43:13,280 --> 01:43:16,640 Speaker 1: like this is like a little bit of a parable 1747 01:43:17,280 --> 01:43:21,559 Speaker 1: about the hustle. You know. It's just like the thrill 1748 01:43:22,000 --> 01:43:24,600 Speaker 1: of and the temptation of these like massive amounts of 1749 01:43:24,680 --> 01:43:27,040 Speaker 1: money is there as soon as you enter the sex industry. 1750 01:43:27,160 --> 01:43:31,280 Speaker 1: But like the more money you get into, the higher 1751 01:43:31,560 --> 01:43:34,760 Speaker 1: the risk goes up. And like that is why I 1752 01:43:34,840 --> 01:43:38,800 Speaker 1: think it's so important that we approached discussions about sex 1753 01:43:38,880 --> 01:43:43,240 Speaker 1: work with our feet firmly planted in like labor activism 1754 01:43:43,320 --> 01:43:47,800 Speaker 1: practice of just like we are workers fundamentally, and like, yes, 1755 01:43:47,920 --> 01:43:51,360 Speaker 1: there is the jackpot, but we are we have to 1756 01:43:51,760 --> 01:43:55,559 Speaker 1: fight for, you know, like safety nets for all of us, 1757 01:43:55,680 --> 01:43:56,920 Speaker 1: you know what I mean, There has to be like 1758 01:43:57,000 --> 01:44:01,360 Speaker 1: a baseline of safety. Like if you get lost in 1759 01:44:01,439 --> 01:44:04,479 Speaker 1: the sauce, you'll get got And that's so much what 1760 01:44:04,640 --> 01:44:08,040 Speaker 1: this movie shows. But it's way easier to get lost 1761 01:44:08,080 --> 01:44:10,400 Speaker 1: in the sauce when the pressures of capitalism are like 1762 01:44:10,520 --> 01:44:13,559 Speaker 1: literally breathing down your neck, right. And it's like, I mean, 1763 01:44:14,120 --> 01:44:19,080 Speaker 1: Ramona is like using Wall Street tactics to Robin Hood 1764 01:44:19,200 --> 01:44:23,200 Speaker 1: from Wall Street guy, Like it I don't know, there's 1765 01:44:23,520 --> 01:44:28,880 Speaker 1: I can talk about this movie for five years. Yeah. Well, 1766 01:44:29,240 --> 01:44:32,080 Speaker 1: with that in mind, let's rate the movie on our 1767 01:44:32,160 --> 01:44:36,680 Speaker 1: nipple scale zero to five nipples based on how affairs. 1768 01:44:36,880 --> 01:44:41,719 Speaker 1: Looking at it from an intersectional feminist lens, I really 1769 01:44:41,840 --> 01:44:45,920 Speaker 1: can't think of a reason why not to give this 1770 01:44:46,160 --> 01:44:51,960 Speaker 1: movie five nipples. Yeah, I don't really have anything bad 1771 01:44:52,040 --> 01:44:54,559 Speaker 1: to say about it. I mean, there are five nipples 1772 01:44:54,600 --> 01:44:57,439 Speaker 1: in this film. There are at least five. There are 1773 01:44:57,439 --> 01:45:00,120 Speaker 1: at least five nipples that we see so like, and 1774 01:45:00,120 --> 01:45:06,040 Speaker 1: and a full frontal penis in a non erotic capacity, 1775 01:45:06,080 --> 01:45:08,080 Speaker 1: which I always like. I mean, you can't really show, 1776 01:45:08,439 --> 01:45:14,040 Speaker 1: but it's like a well definitely a moment. Right. Yeah, 1777 01:45:14,200 --> 01:45:17,040 Speaker 1: I'm I think I'm gonna give this five nipples. Uh. 1778 01:45:17,800 --> 01:45:23,320 Speaker 1: I love that this is a movie about female friendship 1779 01:45:23,520 --> 01:45:26,840 Speaker 1: in that friendship is it's complicated, it's nuanced. It feels 1780 01:45:26,960 --> 01:45:32,320 Speaker 1: very authentic and real and compelling. I'm like very much 1781 01:45:32,479 --> 01:45:35,960 Speaker 1: rooting for them to like get back together by the 1782 01:45:36,120 --> 01:45:39,240 Speaker 1: end of the story, totally get the band back together, 1783 01:45:40,439 --> 01:45:43,640 Speaker 1: even though the reconciliation, like you know, it would be 1784 01:45:44,200 --> 01:45:49,040 Speaker 1: a lot for Ramona to forgive Destiny for they need 1785 01:45:49,120 --> 01:45:51,960 Speaker 1: to bring a mediator, get a mediator in the mix 1786 01:45:52,040 --> 01:45:56,519 Speaker 1: for this, I know pro bono therapy. I love that 1787 01:45:56,640 --> 01:46:01,080 Speaker 1: that friendship is at the core of this film. I 1788 01:46:02,160 --> 01:46:06,640 Speaker 1: appreciate the class commentary. I appreciate you learning about the 1789 01:46:06,800 --> 01:46:11,120 Speaker 1: interior lives of sex workers. We learned so much about 1790 01:46:11,640 --> 01:46:15,160 Speaker 1: not only the two main characters, but several of the 1791 01:46:15,479 --> 01:46:18,320 Speaker 1: other women at the club. I love that you get 1792 01:46:18,360 --> 01:46:23,599 Speaker 1: to see women defying the expectation to be quote unquote 1793 01:46:23,840 --> 01:46:29,040 Speaker 1: well behaved because they're such a high standard in society. 1794 01:46:29,200 --> 01:46:32,320 Speaker 1: And this sixtense to movie characters where like women just 1795 01:46:32,439 --> 01:46:33,880 Speaker 1: have to be perfect and they're not allowed to do 1796 01:46:33,920 --> 01:46:36,160 Speaker 1: anything bad, and if they are, they get punished for it, 1797 01:46:36,400 --> 01:46:41,000 Speaker 1: and usually by like being fridged in the story. And 1798 01:46:41,520 --> 01:46:46,160 Speaker 1: in this movie, it is all about them engaging in 1799 01:46:46,280 --> 01:46:51,839 Speaker 1: like morally questionable and corrupt behavior. Like how many movies 1800 01:46:51,960 --> 01:46:54,760 Speaker 1: like not like this plot point for a plot point, 1801 01:46:54,760 --> 01:46:56,960 Speaker 1: but how many movies are about does a group of 1802 01:46:57,080 --> 01:47:01,920 Speaker 1: men doing extremely illegal ings, not even for a reason, 1803 01:47:02,960 --> 01:47:06,000 Speaker 1: not for a reason, and and and like they're not 1804 01:47:06,240 --> 01:47:09,240 Speaker 1: punished for it at all, And it's like who, yeah, 1805 01:47:09,360 --> 01:47:12,599 Speaker 1: go and murder everyone who comes and across your path, 1806 01:47:12,800 --> 01:47:17,839 Speaker 1: Like yeah, So I appreciate that this, you know, subverts 1807 01:47:17,920 --> 01:47:21,320 Speaker 1: that expectation for for women to just always be on 1808 01:47:21,400 --> 01:47:25,920 Speaker 1: their best behavior and always be adhering to what society 1809 01:47:25,960 --> 01:47:30,640 Speaker 1: expects of women. And um, I appreciate that it's a 1810 01:47:30,760 --> 01:47:37,040 Speaker 1: diverse cast and not just a bunch of white, waspy women. Yes, 1811 01:47:37,120 --> 01:47:40,160 Speaker 1: so I'm gonna give this five nipples. And I gotta 1812 01:47:40,160 --> 01:47:45,759 Speaker 1: give one to Lizzo. Good cameo, good cameo, the flute 1813 01:47:45,800 --> 01:47:50,519 Speaker 1: and everything. Oh the titt fucking that I think it 1814 01:47:50,640 --> 01:47:53,840 Speaker 1: was on Jacqueline not oh yeah, not only did j 1815 01:47:53,960 --> 01:47:59,360 Speaker 1: Lo grab Jacqueline Francis titties Lizzou Like, how is she 1816 01:47:59,439 --> 01:48:05,760 Speaker 1: even live her life? Right there? I'll give one to Jacqueline. 1817 01:48:06,040 --> 01:48:11,559 Speaker 1: I'll give one to writer director Lorraine Scafaria. I will 1818 01:48:11,640 --> 01:48:17,560 Speaker 1: give one to the montage where Britney spears. Give me 1819 01:48:17,640 --> 01:48:22,280 Speaker 1: more is playing over it. I'll give one to Constance 1820 01:48:22,320 --> 01:48:26,200 Speaker 1: Wou And I don't know how many nipples that is, 1821 01:48:26,439 --> 01:48:31,559 Speaker 1: but it sounds like enough. Sounds right? Yeah, Yeah, I'm 1822 01:48:31,600 --> 01:48:34,560 Speaker 1: gonna go five nipples as well. This is like, this 1823 01:48:34,720 --> 01:48:36,800 Speaker 1: movie delivers on so many levels. I feel like we 1824 01:48:36,880 --> 01:48:38,880 Speaker 1: could talk about it for another two hours if we 1825 01:48:38,960 --> 01:48:42,360 Speaker 1: wanted to, Like I I just I mean, on on 1826 01:48:42,560 --> 01:48:45,320 Speaker 1: top of what I'm really glad to hear from you. 1827 01:48:45,439 --> 01:48:49,320 Speaker 1: Susie seems to be like an authentic representation of strippers, 1828 01:48:49,439 --> 01:48:54,960 Speaker 1: that strippers are actively consulted, compensated, and intimately involved in 1829 01:48:55,040 --> 01:48:58,439 Speaker 1: the production. That is incredible, the fact that we are 1830 01:48:58,800 --> 01:49:03,120 Speaker 1: we have these really complicated stories about women disagreeing and 1831 01:49:03,240 --> 01:49:07,720 Speaker 1: misbehaving and having different standards of ethics and ideas, but 1832 01:49:08,200 --> 01:49:13,120 Speaker 1: but having it all come into this like really strong 1833 01:49:13,520 --> 01:49:16,599 Speaker 1: relationship that you totally understand, but you're also like, oh 1834 01:49:16,760 --> 01:49:21,040 Speaker 1: my god, Like even when you understand and see how 1835 01:49:21,160 --> 01:49:25,559 Speaker 1: things fall apart between Ramona and Destiny, and even if 1836 01:49:25,600 --> 01:49:28,320 Speaker 1: you don't, you know, I agree with everything they do, 1837 01:49:28,720 --> 01:49:32,680 Speaker 1: it's like you're rooting for them to be together and 1838 01:49:32,760 --> 01:49:34,880 Speaker 1: in each other's life still, and it's just like, it's 1839 01:49:34,920 --> 01:49:39,080 Speaker 1: such incredible writing. I liked that there was care taken 1840 01:49:39,160 --> 01:49:43,720 Speaker 1: that even the characters that aren't the main characters, we 1841 01:49:43,920 --> 01:49:47,519 Speaker 1: understand what their motivations are. They have distinct personalities, they 1842 01:49:47,600 --> 01:49:50,519 Speaker 1: have friendships, they have opinions, they have disagreements, and it 1843 01:49:50,600 --> 01:49:54,519 Speaker 1: all just fits so seamlessly into a movie with perfect 1844 01:49:55,000 --> 01:49:59,280 Speaker 1: dance scenes and perfect soundtrack and really good cinematography. And 1845 01:49:59,840 --> 01:50:02,639 Speaker 1: I just loved it so I will I will give 1846 01:50:03,479 --> 01:50:07,360 Speaker 1: uh nipple to Jacqueline as well. I'll give a nipple 1847 01:50:07,400 --> 01:50:11,160 Speaker 1: to Cardi b I'll give a nipple to Ryin Scafaria. 1848 01:50:11,680 --> 01:50:15,919 Speaker 1: I'll give a nipple to the editor of this movie, 1849 01:50:16,280 --> 01:50:18,280 Speaker 1: whose work we didn't shut up but was really good 1850 01:50:18,400 --> 01:50:22,479 Speaker 1: kaylea empter. And I'll give a nipple to Kiki Palmer. 1851 01:50:22,880 --> 01:50:29,639 Speaker 1: Nice living legend. I love your rating system. Care to rate? 1852 01:50:30,040 --> 01:50:33,760 Speaker 1: Oh sure, yeah, I mean obviously five nipples for sure. UM, 1853 01:50:34,160 --> 01:50:37,600 Speaker 1: I have to give one too. I should pull up 1854 01:50:37,640 --> 01:50:41,759 Speaker 1: this quote, but I just remember. Shortly before or after 1855 01:50:41,920 --> 01:50:45,479 Speaker 1: this movie dropped. I remember Cardi got some like flak 1856 01:50:46,160 --> 01:50:50,400 Speaker 1: for coming out and being like, yeah, Robin men, we 1857 01:50:50,560 --> 01:50:52,559 Speaker 1: love to see it. I don't remember what she said, 1858 01:50:52,600 --> 01:50:54,760 Speaker 1: and she was like, yes, sometimes you have to rob 1859 01:50:54,880 --> 01:51:01,280 Speaker 1: a trick, right, No, okay, I didn't. I thought I 1860 01:51:01,400 --> 01:51:04,360 Speaker 1: just made you see a movie. UM. I don't remember 1861 01:51:04,640 --> 01:51:07,360 Speaker 1: that controversy just makes you love her so to you 1862 01:51:08,120 --> 01:51:13,080 Speaker 1: so much. UM. I don't endorse committing crimes, of course, 1863 01:51:13,320 --> 01:51:20,040 Speaker 1: um for legal reasons, but definitely worthy of a nipple. UM. 1864 01:51:20,800 --> 01:51:23,320 Speaker 1: And I would love to know if Diamond was Cardi's 1865 01:51:23,479 --> 01:51:26,240 Speaker 1: name when she was dancing us easy to find somewhere 1866 01:51:26,360 --> 01:51:30,519 Speaker 1: if it's true. But yeah, five nipples, hands down a 1867 01:51:30,640 --> 01:51:34,920 Speaker 1: nipple to whoever hired and got Jacqueline paid. I'm sure 1868 01:51:34,960 --> 01:51:37,719 Speaker 1: that Jacqueline had a lot to do with actually making 1869 01:51:37,760 --> 01:51:41,640 Speaker 1: that happen, But whoever was the gatekeeper that opened the 1870 01:51:41,680 --> 01:51:43,920 Speaker 1: gate to actually make that real? Because I can't tell 1871 01:51:43,960 --> 01:51:46,960 Speaker 1: you how many times all of us have been in 1872 01:51:47,000 --> 01:51:49,720 Speaker 1: a situation where somebody wants to pick your brain for 1873 01:51:49,840 --> 01:51:52,280 Speaker 1: a movie or ask you a couple of things, and like, 1874 01:51:52,720 --> 01:51:57,800 Speaker 1: the likelihood of you getting credit paid screen time is 1875 01:51:57,920 --> 01:52:01,640 Speaker 1: just so small, So major props to the folks that 1876 01:52:01,920 --> 01:52:05,400 Speaker 1: that got that happening. Um. I don't know who the 1877 01:52:05,439 --> 01:52:10,000 Speaker 1: rest of my nipples go to, but like everybody, redistribute 1878 01:52:10,000 --> 01:52:14,840 Speaker 1: the nipples, redistribute the noble. Absolutely take that Wall Street, 1879 01:52:15,160 --> 01:52:17,479 Speaker 1: all those Wall Street nipples and redistribute it back to 1880 01:52:17,560 --> 01:52:24,400 Speaker 1: the people. Absolutely occupy the nipple. But yeah, I will 1881 01:52:24,400 --> 01:52:26,680 Speaker 1: watch this movie again and again. I will swap this 1882 01:52:26,840 --> 01:52:30,320 Speaker 1: movie out for a center stage or dirty dancing when 1883 01:52:30,360 --> 01:52:33,360 Speaker 1: I like need to feel that feeling. Um, a nipple 1884 01:52:33,439 --> 01:52:37,200 Speaker 1: for the training montage. A really crucial component of any 1885 01:52:37,320 --> 01:52:41,080 Speaker 1: like sports or dance movie is the training montage, which 1886 01:52:41,320 --> 01:52:45,320 Speaker 1: this really delivered. On. You know it's it's a very magical, 1887 01:52:45,840 --> 01:52:47,680 Speaker 1: magical film, and I have to I feel like I 1888 01:52:47,760 --> 01:52:51,760 Speaker 1: have to give a nipple to like the collective, problematic, 1889 01:52:51,960 --> 01:52:55,960 Speaker 1: toxic them that has been in my life in different 1890 01:52:56,000 --> 01:52:59,639 Speaker 1: iterations throughout my time as a sex worker and will continue, 1891 01:52:59,680 --> 01:53:02,360 Speaker 1: I'm sure or until I'm dead, and is personified in 1892 01:53:02,400 --> 01:53:05,280 Speaker 1: the archetypes for trade in this film. A nipple for 1893 01:53:05,400 --> 01:53:09,720 Speaker 1: each of those girls that I've loved and no longer beautiful. 1894 01:53:10,479 --> 01:53:13,680 Speaker 1: A nipple to all the girls I love before uh 1895 01:53:14,360 --> 01:53:19,080 Speaker 1: shout out to another great movie exactly Well, Susie, thank 1896 01:53:19,120 --> 01:53:22,880 Speaker 1: you so much for joining us and having this wonderful discussion. 1897 01:53:23,240 --> 01:53:27,920 Speaker 1: My pleasure. Come back anytime I'm doing another dance movie. 1898 01:53:28,280 --> 01:53:30,880 Speaker 1: I would love to. I I warned you like I 1899 01:53:31,280 --> 01:53:36,040 Speaker 1: have despicable taste in film, and I am completely proud 1900 01:53:36,120 --> 01:53:39,800 Speaker 1: of it. Like perfect. I am John Waters child and 1901 01:53:40,160 --> 01:53:43,280 Speaker 1: I am here to play if I haven't done John 1902 01:53:43,400 --> 01:53:48,000 Speaker 1: Waters movies. Oh please, anytime, anytime you want to talk 1903 01:53:48,080 --> 01:53:51,200 Speaker 1: John Waters. My dad's from Baltimore. I it's a little 1904 01:53:51,240 --> 01:53:54,400 Speaker 1: bit of a religion in my life. Here for it 1905 01:53:55,560 --> 01:53:58,880 Speaker 1: remind us where people can support you and follow you 1906 01:53:58,920 --> 01:54:02,800 Speaker 1: on social media and stuff. I'll repute podcast dot com, 1907 01:54:03,360 --> 01:54:07,439 Speaker 1: Your American Babe dot com, Daddy Issue dot com. You 1908 01:54:07,479 --> 01:54:14,080 Speaker 1: can find me on Instagram at your Americans Amazing. You 1909 01:54:14,200 --> 01:54:17,040 Speaker 1: can find us on not all of the socials, the 1910 01:54:17,080 --> 01:54:20,080 Speaker 1: socials that we use, which our Twitter and Instagram at 1911 01:54:20,240 --> 01:54:25,599 Speaker 1: Bechtel Cast. You can support our Patreon ak Matreon at 1912 01:54:25,680 --> 01:54:29,519 Speaker 1: patreon dot com slash Bechtel Cast for five dollars a 1913 01:54:29,600 --> 01:54:33,200 Speaker 1: myth to get to bonus episodes every single month. What 1914 01:54:33,360 --> 01:54:37,120 Speaker 1: a treat couple. And we also have merch We do 1915 01:54:37,240 --> 01:54:40,320 Speaker 1: have merchants at public dot com slash the Bechtel Cast. 1916 01:54:40,800 --> 01:54:43,440 Speaker 1: All of it was designed by Jamie. By the way, 1917 01:54:43,520 --> 01:54:45,520 Speaker 1: I don't think we shot that out enough, but it's true. 1918 01:54:46,000 --> 01:54:49,560 Speaker 1: That's very cool, so all the more reason to grab 1919 01:54:49,720 --> 01:54:55,480 Speaker 1: some merch and other wise, thanks for tuning in, and 1920 01:54:56,600 --> 01:55:01,760 Speaker 1: um hey, let's all go to a strip club? Okay? Yes, 1921 01:55:02,360 --> 01:55:04,760 Speaker 1: oh quick, quick public service announcement. When you go to 1922 01:55:04,840 --> 01:55:08,040 Speaker 1: a strip club, always tip, even if you're not getting 1923 01:55:08,080 --> 01:55:09,840 Speaker 1: a dance like you know, I mean, like most people 1924 01:55:09,920 --> 01:55:12,440 Speaker 1: know that, I think. But in case for the lay listener, 1925 01:55:12,880 --> 01:55:14,920 Speaker 1: if you're gonna go, especially if you are like a 1926 01:55:15,000 --> 01:55:17,720 Speaker 1: fem presenting person, because let me tell you when you 1927 01:55:17,920 --> 01:55:19,520 Speaker 1: are on that stage and you look at and you 1928 01:55:19,560 --> 01:55:21,480 Speaker 1: see a bunch of girls and you think that they're 1929 01:55:21,560 --> 01:55:24,360 Speaker 1: like saying mean things about you. It ruined your entire night. 1930 01:55:24,480 --> 01:55:26,240 Speaker 1: So if you are a firm presenting person, you go 1931 01:55:26,320 --> 01:55:28,720 Speaker 1: to the strip club, go to the front. Tip the girl, 1932 01:55:28,840 --> 01:55:32,320 Speaker 1: make sure she knows you're not a girl. It'll help awesome. 1933 01:55:32,800 --> 01:55:38,200 Speaker 1: But thank you for that. Thank you, Bye bye bye, y'all.