1 00:00:07,160 --> 00:00:11,000 Speaker 1: Welcome back to Jenna World. I'm your host, Molly Lambert. 2 00:00:11,680 --> 00:00:15,560 Speaker 1: This is episode nine and a half Moms I'd like 3 00:00:15,640 --> 00:00:21,400 Speaker 1: to film. This is a short, fun, little mini episode 4 00:00:21,800 --> 00:00:25,000 Speaker 1: to tide you over before the next full length one. 5 00:00:25,160 --> 00:00:28,960 Speaker 1: It's about another low budget genre of film that runs 6 00:00:29,000 --> 00:00:33,960 Speaker 1: adjacent to porn and sometimes features actors from porn. I 7 00:00:34,000 --> 00:00:40,960 Speaker 1: am talking, of course, about sex comedies. Before the stock 8 00:00:41,159 --> 00:00:44,520 Speaker 1: character of a horny older woman was known as a milf, 9 00:00:45,159 --> 00:00:49,240 Speaker 1: she was called Missus Robinson for Anne Bancroft's board housewife 10 00:00:49,280 --> 00:00:53,680 Speaker 1: in The Graduate. The first historical MILFs are the wife 11 00:00:53,680 --> 00:00:57,600 Speaker 1: of Bath from Chaucer's The Canterbury Tales and Grendel's mother 12 00:00:57,680 --> 00:01:02,600 Speaker 1: and Beowulf. In the late nineteen nineties, a screenplay called 13 00:01:03,200 --> 00:01:06,560 Speaker 1: untitled teenage Sex Comedy that can be made for under 14 00:01:06,680 --> 00:01:09,920 Speaker 1: ten million that most readers will probably hate, but I 15 00:01:09,959 --> 00:01:15,640 Speaker 1: think you will love sells to Universal Studios. Originally titled 16 00:01:15,760 --> 00:01:18,959 Speaker 1: East Great Falls High, it's about a group of high 17 00:01:19,000 --> 00:01:24,399 Speaker 1: schoolers trying to lose their virginities before graduation. Like the 18 00:01:24,440 --> 00:01:29,319 Speaker 1: script title says, studios like sex comedies. They're cheap to make, 19 00:01:29,720 --> 00:01:33,400 Speaker 1: have an obvious hook, and can potentially make huge profits 20 00:01:34,480 --> 00:01:38,160 Speaker 1: made for eleven million dollars. The film debuts in nineteen 21 00:01:38,240 --> 00:01:41,640 Speaker 1: ninety nine with the new title American Pie and makes 22 00:01:41,680 --> 00:01:47,040 Speaker 1: a cool two hundred and thirty five point five million dollars. 23 00:01:48,400 --> 00:01:53,240 Speaker 1: Erotic literature begins with body tales and folk songs, horny 24 00:01:53,280 --> 00:01:58,280 Speaker 1: poetry by writers like Nazami and Sappho, erotic manuals like 25 00:01:58,520 --> 00:02:02,680 Speaker 1: Imodi or the sixteen Pleasures in the Kamasutra, and comic 26 00:02:02,920 --> 00:02:08,440 Speaker 1: verse about buggery. During the sixteen sixties Restoration period, sex 27 00:02:08,520 --> 00:02:12,560 Speaker 1: comedies became popular fair on the English stage because British 28 00:02:12,600 --> 00:02:17,960 Speaker 1: people simply love dick jokes. In sixteen seventy seven, sperm 29 00:02:18,000 --> 00:02:20,680 Speaker 1: cells are observed in a laboratory for the first time 30 00:02:21,040 --> 00:02:24,280 Speaker 1: when a Dutch scientist decides to jack off onto a slide, 31 00:02:24,720 --> 00:02:27,960 Speaker 1: puts the slide under a microscope and sees some weird 32 00:02:28,000 --> 00:02:33,519 Speaker 1: little wiggly guys. In seventeen forty eight, British erotic novel 33 00:02:33,760 --> 00:02:36,480 Speaker 1: Fanny Hill, or Memoirs of a Woman of Pleasure, is 34 00:02:36,520 --> 00:02:40,359 Speaker 1: written by John Clelland from Debtors prison where all writers live. 35 00:02:41,760 --> 00:02:46,160 Speaker 1: Fanny Hill is generally considered the first modern pornographic novel. 36 00:02:47,360 --> 00:02:51,680 Speaker 1: Clelland is arrested on counts of quote corrupting the king's subjects. 37 00:02:52,040 --> 00:02:55,360 Speaker 1: Even though Fanny Hill is not technically obscene because it 38 00:02:55,480 --> 00:03:01,000 Speaker 1: uses more graphic euphemisms like the nether mouth. Llan renounces 39 00:03:01,040 --> 00:03:05,120 Speaker 1: the novel in court and copies are allegedly destroyed. But 40 00:03:05,720 --> 00:03:09,520 Speaker 1: the controversy over Fanny Hill just fuels interest and it 41 00:03:09,560 --> 00:03:13,200 Speaker 1: gets pirated everywhere, which in those days means bootlegged in 42 00:03:13,240 --> 00:03:17,880 Speaker 1: print and sold through various underground channels. Fanny Hill hits 43 00:03:17,880 --> 00:03:21,480 Speaker 1: American shores, and in eighteen twenty one it is banned 44 00:03:21,480 --> 00:03:26,679 Speaker 1: in Boston for being lude and obscene. By the twentieth century, 45 00:03:26,800 --> 00:03:30,240 Speaker 1: English people are honoring the tradition of comic operas like 46 00:03:30,400 --> 00:03:34,519 Speaker 1: Lady Bum Tickler's Rebels, That's a real title by making 47 00:03:34,600 --> 00:03:39,200 Speaker 1: movie sex comedies with broad body innuendo, leering close ups 48 00:03:39,240 --> 00:03:43,280 Speaker 1: of big breasted women and stock characters like strict nuns 49 00:03:43,360 --> 00:03:47,560 Speaker 1: and clever schoolboys in movies called carry on Up the Junction. 50 00:03:47,760 --> 00:03:54,520 Speaker 1: Govna's That's a made up title. In America, there's frank 51 00:03:54,600 --> 00:03:57,560 Speaker 1: sex talk in the movies until the Hayes Film censorship 52 00:03:57,600 --> 00:04:01,240 Speaker 1: Code bans all explicit horniness starting in nineteen thirty four. 53 00:04:02,520 --> 00:04:06,400 Speaker 1: In the Haze era, sex comedies starred hot queer people 54 00:04:06,680 --> 00:04:09,760 Speaker 1: like Carrie Grant and Rock Hudson and left all the 55 00:04:09,840 --> 00:04:14,520 Speaker 1: sex implied. My favorite mid century sex comedies are the 56 00:04:14,600 --> 00:04:19,600 Speaker 1: nineteen sixties Beach Party movies starring Annette Funicello and Frankie Avalon, 57 00:04:20,200 --> 00:04:23,640 Speaker 1: two Italian American kids surfing in front of green screens 58 00:04:24,000 --> 00:04:27,560 Speaker 1: and expressing their horny, youthful vigor in swim trunks and 59 00:04:27,600 --> 00:04:33,200 Speaker 1: bikinis through increasingly frantic rock and roll dance numbers. During 60 00:04:33,240 --> 00:04:36,480 Speaker 1: the Hayes Code, there was nudity in European art films 61 00:04:36,480 --> 00:04:39,520 Speaker 1: that screened in theaters in big cities, as well as 62 00:04:39,520 --> 00:04:43,440 Speaker 1: in proto pornographic films called Nudi Cuties by directors like 63 00:04:43,520 --> 00:04:47,880 Speaker 1: Doris Wishman and Russ Myers, as well as pseudo documentary 64 00:04:47,920 --> 00:04:53,080 Speaker 1: films about nudism that screened in grindhouse theaters. During filming 65 00:04:53,160 --> 00:04:56,520 Speaker 1: in nineteen sixty for The Misfits, Marilyn Monroe dropped a 66 00:04:56,520 --> 00:04:59,799 Speaker 1: bedsheet to reveal her breasts because she said it's simply 67 00:05:00,000 --> 00:05:02,440 Speaker 1: made no sense to cover them in a realistic film, 68 00:05:02,839 --> 00:05:04,960 Speaker 1: because no woman on earth would try to hide her 69 00:05:04,960 --> 00:05:07,599 Speaker 1: breasts with a bed sheet while getting dressed alone in 70 00:05:07,640 --> 00:05:12,520 Speaker 1: her room. Director John Houston excluded the topless takes from 71 00:05:12,560 --> 00:05:16,080 Speaker 1: the final cut, but Marilyn was in tune with the future. 72 00:05:17,440 --> 00:05:21,680 Speaker 1: By the nineteen sixties, dusty antiquated censorship rules are increasingly 73 00:05:21,760 --> 00:05:24,200 Speaker 1: out of step with the new swinging culture. As the 74 00:05:24,240 --> 00:05:30,400 Speaker 1: sexual revolution starts. American movies seem regressive, phony and repressed 75 00:05:30,680 --> 00:05:33,560 Speaker 1: to hip kids who have now seen foreign art films. 76 00:05:34,839 --> 00:05:38,480 Speaker 1: The American censorship code starts to fall in nineteen sixty 77 00:05:38,480 --> 00:05:42,640 Speaker 1: four with The Pawnbroker, a Sydney Lumette movie about a 78 00:05:42,640 --> 00:05:47,880 Speaker 1: Holocaust survivor adrift in early sixties New York. The Pawnbroker 79 00:05:48,000 --> 00:05:51,240 Speaker 1: breaks a few of the Hayes Code's rules. It has 80 00:05:51,320 --> 00:05:54,240 Speaker 1: an openly gay character and a sex scene that shows 81 00:05:54,240 --> 00:05:58,839 Speaker 1: bare breasts. It also features Quincy Jones's soul Bosa Nova, 82 00:05:59,279 --> 00:06:03,520 Speaker 1: which becomes theme song for another sex comedy, Austin Powers 83 00:06:03,520 --> 00:06:07,760 Speaker 1: International Man of Mystery. It is crazy to now watch 84 00:06:07,800 --> 00:06:11,640 Speaker 1: The Pawnbroker, a very serious movie about social issues and 85 00:06:11,680 --> 00:06:16,400 Speaker 1: Holocaust trauma, and hear this shaggedelic song within that context. 86 00:06:17,240 --> 00:06:19,840 Speaker 1: Does it make you horny? Baby? Does it? 87 00:06:21,120 --> 00:06:21,200 Speaker 2: No? 88 00:06:24,200 --> 00:06:29,360 Speaker 1: When Jenna World returns, Animal House and Porky's Kick open 89 00:06:29,440 --> 00:06:39,800 Speaker 1: the doors for the modern day sex comedy. Oh my God, 90 00:06:41,279 --> 00:06:49,080 Speaker 1: welcome back to Jenna World. After you could show Baar 91 00:06:49,200 --> 00:06:55,720 Speaker 1: breasths in movies, American sex comedies exploded. The modern foundational 92 00:06:55,760 --> 00:07:00,000 Speaker 1: texts of American sex comedy are nineteen seventy eight's National Lampoos, 93 00:07:00,279 --> 00:07:05,080 Speaker 1: Animal House, and nineteen eighty one's Porkies. They define sex 94 00:07:05,160 --> 00:07:08,200 Speaker 1: comedy and gross out comedies for the next several decades, 95 00:07:08,640 --> 00:07:13,040 Speaker 1: so we have to talk about them. My generous reading 96 00:07:13,080 --> 00:07:16,320 Speaker 1: of Animal House is that while it's ostensibly about an 97 00:07:16,360 --> 00:07:20,400 Speaker 1: underdog fraternity in the early nineteen sixties, it's really about 98 00:07:20,440 --> 00:07:25,160 Speaker 1: the Harvard Lampoon, National Lampoon, Saturday Night Live in the seventies, 99 00:07:25,560 --> 00:07:27,520 Speaker 1: and all the boys clubs for straight white men. 100 00:07:27,520 --> 00:07:27,640 Speaker 2: Then. 101 00:07:27,640 --> 00:07:29,480 Speaker 1: I'm sure we're very fun to be in if you 102 00:07:29,480 --> 00:07:32,960 Speaker 1: are part of them, and very unfun for truly everyone else. 103 00:07:33,800 --> 00:07:37,040 Speaker 1: And it's fascinating because it's a lens on the dominant culture. 104 00:07:37,120 --> 00:07:39,440 Speaker 1: From a point of view I can never be part 105 00:07:39,520 --> 00:07:44,480 Speaker 1: of Ultimately, frat guys are losers and boys clubs are bad, 106 00:07:44,720 --> 00:07:47,200 Speaker 1: and it's hard for me to personally understand feeling like 107 00:07:47,320 --> 00:07:50,440 Speaker 1: underdogs when you've been a dominating cultural force for decades. 108 00:07:51,120 --> 00:07:54,480 Speaker 1: But watching Animal House a million Times doesn't change my 109 00:07:54,520 --> 00:07:57,720 Speaker 1: own opinion on that, because I'm capable of processing art 110 00:07:57,760 --> 00:08:00,760 Speaker 1: that comes from a different viewpoint than mine. I don't 111 00:08:00,800 --> 00:08:03,400 Speaker 1: always like the art that shares my exact politics either. 112 00:08:04,320 --> 00:08:09,280 Speaker 1: I know that's so reasonable of me. I personally, very 113 00:08:09,400 --> 00:08:14,200 Speaker 1: generously don't think Animal House necessarily endorses the behavior of 114 00:08:14,200 --> 00:08:18,320 Speaker 1: the deltas. Animal House is very clearly a satire of 115 00:08:18,360 --> 00:08:22,080 Speaker 1: the all American white male experience that has been misinterpreted 116 00:08:22,080 --> 00:08:25,400 Speaker 1: ever since then as a textbook on how to do it, 117 00:08:25,560 --> 00:08:29,000 Speaker 1: kind of like how pornography is now often misinterpreted as 118 00:08:29,000 --> 00:08:32,520 Speaker 1: a textbook on how to have sex. It's funny in 119 00:08:32,559 --> 00:08:35,400 Speaker 1: movies when dudes are very drunk and horny and act 120 00:08:35,480 --> 00:08:39,080 Speaker 1: dumb and destructive because it's not scary like it is 121 00:08:39,120 --> 00:08:44,199 Speaker 1: in real life. Increasingly, it feels like nobody can differentiate 122 00:08:44,360 --> 00:08:51,000 Speaker 1: entertainment from reality. Infinite jest ass World. In nineteen eighty one, 123 00:08:51,200 --> 00:08:53,760 Speaker 1: you get Fast Times at Richmond High, which is a 124 00:08:53,840 --> 00:08:56,559 Speaker 1: sensitive teen abortion drama wrapped in the shell of a 125 00:08:56,640 --> 00:08:58,960 Speaker 1: dumb sex comedy where you get to see Phoebe Kate's 126 00:08:59,000 --> 00:09:03,480 Speaker 1: half naked, And also in nineteen eighty one, you get 127 00:09:03,520 --> 00:09:09,160 Speaker 1: Porky's Every Studio in town turned down Porky's, which strips 128 00:09:09,240 --> 00:09:12,160 Speaker 1: Animal House of all its pretensions down to the core 129 00:09:12,280 --> 00:09:17,760 Speaker 1: stuff boobs and laughs. In Porky's, it's the nineteen fifties 130 00:09:17,840 --> 00:09:20,120 Speaker 1: and a group of high school guys in Florida are 131 00:09:20,120 --> 00:09:23,960 Speaker 1: trying to get laid the divine Miss. Kim Cattrall plays 132 00:09:23,960 --> 00:09:27,959 Speaker 1: a character named Miss Honeywell, who's nicknamed Lassie for reasons 133 00:09:27,960 --> 00:09:31,600 Speaker 1: we learn by the end of Porky's. Kim Cattrall says 134 00:09:31,640 --> 00:09:33,960 Speaker 1: she took the role because she really needed the money. 135 00:09:34,760 --> 00:09:38,240 Speaker 1: Playing sexualized characters became a roadblock for her to getting 136 00:09:38,240 --> 00:09:41,240 Speaker 1: more serious roles, but at the same time, she carved 137 00:09:41,280 --> 00:09:44,320 Speaker 1: herself the distinct niche playing funny women who get their 138 00:09:44,360 --> 00:09:45,520 Speaker 1: tits out. 139 00:09:46,960 --> 00:09:50,440 Speaker 2: In some ways, it was way before its time. People 140 00:09:50,480 --> 00:09:55,440 Speaker 2: thought it was the end of my career. Kim Cattrall, actress. 141 00:09:57,720 --> 00:10:02,760 Speaker 1: Porky's was hated by critics, including Siskel and Ebert, but 142 00:10:02,960 --> 00:10:07,600 Speaker 1: instantly popular with audiences. Made for four million dollars in 143 00:10:07,679 --> 00:10:11,640 Speaker 1: Canada as a tax shelter, Porky's eventually grossed one hundred 144 00:10:11,640 --> 00:10:15,320 Speaker 1: and sixty million dollars. Animal House was made for three 145 00:10:15,360 --> 00:10:18,520 Speaker 1: million dollars and grossed one hundred and forty million dollars 146 00:10:18,559 --> 00:10:22,560 Speaker 1: at the box office. A formula is established that has 147 00:10:22,600 --> 00:10:26,960 Speaker 1: proven profitable twice, and that means it's time for studios 148 00:10:27,000 --> 00:10:29,559 Speaker 1: to run it into the ground until audience is tire 149 00:10:29,600 --> 00:10:31,679 Speaker 1: of it and there's not a cent left to milk 150 00:10:31,720 --> 00:10:34,280 Speaker 1: out of the proverbial cow udder that someone gives an 151 00:10:34,320 --> 00:10:38,160 Speaker 1: accidental hand job to in a comedic set piece. In 152 00:10:38,240 --> 00:10:41,760 Speaker 1: nineteen eighty two, there's Barry Levinson's Diner, which is like 153 00:10:41,800 --> 00:10:45,440 Speaker 1: an art house version of Porky's. From then on, sex 154 00:10:45,480 --> 00:10:50,440 Speaker 1: comedies all have the same plotline. Young heterosexual, white guy 155 00:10:50,559 --> 00:10:54,200 Speaker 1: group of friends want to get laid. There's other stuff 156 00:10:54,200 --> 00:10:57,600 Speaker 1: in some of them, usually slobs versus snobs. There are 157 00:10:57,600 --> 00:11:02,040 Speaker 1: twists like the Last American Virgin, Downer Ending, or Risky 158 00:11:02,040 --> 00:11:05,959 Speaker 1: Business's Melancholy Edge, or Revenge of the Nerds. They are 159 00:11:06,040 --> 00:11:09,839 Speaker 1: nerds who are also rapists. In the eighties there were 160 00:11:09,840 --> 00:11:13,439 Speaker 1: a billion Porky's knockoffs, and Baby, I've seen them all. 161 00:11:14,360 --> 00:11:18,240 Speaker 1: They deteriorate in quality with each round of copies, like 162 00:11:18,360 --> 00:11:22,559 Speaker 1: deep fried memes. The reason all these movies share one 163 00:11:22,640 --> 00:11:24,960 Speaker 1: viewpoint of a horny white male nerd who can't get 164 00:11:25,040 --> 00:11:28,120 Speaker 1: laid in high school is because in the eighties, Hollywood 165 00:11:28,240 --> 00:11:30,520 Speaker 1: is run by horny white male nerds who couldn't get 166 00:11:30,559 --> 00:11:33,640 Speaker 1: laid in high school. That is why they come here 167 00:11:34,080 --> 00:11:37,280 Speaker 1: to try and reinvent themselves as cool guys who fuck. 168 00:11:38,960 --> 00:11:42,240 Speaker 1: By the nineties, sex comedies have gone out of style, 169 00:11:42,800 --> 00:11:45,920 Speaker 1: mainly because the tip and shades Porky's kind is so 170 00:11:46,120 --> 00:11:50,520 Speaker 1: deeply associated with the eighties. But in the late nineties, 171 00:11:50,559 --> 00:11:54,040 Speaker 1: a new trend hits for censorship testing gross out comedy 172 00:11:54,040 --> 00:11:57,920 Speaker 1: films in the spirit of Animal House. The late nineties 173 00:11:57,960 --> 00:12:00,840 Speaker 1: gross out comedy boom is led by the Fairly Brothers 174 00:12:00,920 --> 00:12:05,640 Speaker 1: nineteen ninety eight surprise hit There's Something About Mary. There's 175 00:12:05,679 --> 00:12:08,920 Speaker 1: Something About Mary is the first non pornographic movie I 176 00:12:08,960 --> 00:12:12,520 Speaker 1: can think of to show semen which I pretended socially 177 00:12:12,559 --> 00:12:15,840 Speaker 1: to understand using context clues provided to me by this movie, 178 00:12:16,200 --> 00:12:19,439 Speaker 1: honoring the Dutch scientists who first used a microscope to 179 00:12:19,480 --> 00:12:24,199 Speaker 1: look at his own come before its release, the MPAA 180 00:12:24,360 --> 00:12:28,400 Speaker 1: keeps assigning American Pie a rating of NC seventeen, which 181 00:12:28,440 --> 00:12:31,000 Speaker 1: replaced the X rating as the connotation that a movie 182 00:12:31,040 --> 00:12:35,880 Speaker 1: has pornographic sexual content and cannot be viewed by anyone underage. 183 00:12:36,160 --> 00:12:41,480 Speaker 1: NC seventeen was considered a death now for a mainstream movie. 184 00:12:41,559 --> 00:12:45,640 Speaker 1: The MPAA kept giving American Pie an NC seventeen for 185 00:12:45,760 --> 00:12:49,080 Speaker 1: the titular scene where the main nerd Jim, fucks a 186 00:12:49,160 --> 00:12:52,160 Speaker 1: warm apple pie because he's been told it approximates the 187 00:12:52,160 --> 00:12:57,120 Speaker 1: feeling of penetrative sex. The MPAA asked for cuts to 188 00:12:57,240 --> 00:12:59,880 Speaker 1: the number of thrusts that he is shown making into 189 00:12:59,880 --> 00:13:03,840 Speaker 1: the pie, landing on four thrusts as an acceptable number. 190 00:13:04,840 --> 00:13:07,080 Speaker 1: They do not show his dick or balls at all. 191 00:13:08,400 --> 00:13:10,800 Speaker 1: While they never showed a penis even once in eighty 192 00:13:10,880 --> 00:13:14,520 Speaker 1: sex comedies, believe me I was keeping track In ninety 193 00:13:14,640 --> 00:13:17,679 Speaker 1: sex comedies, they sometimes do show them, but only as 194 00:13:17,679 --> 00:13:22,400 Speaker 1: a punchline and never heard. Some of the other appeasement 195 00:13:22,440 --> 00:13:24,760 Speaker 1: cuts made to American Pie to get an R rating 196 00:13:24,880 --> 00:13:29,640 Speaker 1: were to its dialogue. The MPAA has arcane subjective rules 197 00:13:29,720 --> 00:13:33,120 Speaker 1: about saying the word fuck in a movie when it's sexual, 198 00:13:33,240 --> 00:13:36,960 Speaker 1: as in let's fuck rather than descriptive as an adjective 199 00:13:37,040 --> 00:13:40,480 Speaker 1: or a noun like The Departed's you Fucking fucks type fox. 200 00:13:41,280 --> 00:13:45,679 Speaker 1: It's a dumb rating system, and one that americanly allows 201 00:13:45,720 --> 00:13:48,839 Speaker 1: for a lot of violence but won't allow for sex 202 00:13:49,000 --> 00:13:54,360 Speaker 1: or explicit dialogue. Even in a fucking sex comedy. Much 203 00:13:54,360 --> 00:13:58,959 Speaker 1: of American Pie aged poorly watching scrambled porn on TV 204 00:13:59,120 --> 00:14:02,160 Speaker 1: makes no sense now wow. The part where Jim secretly 205 00:14:02,200 --> 00:14:05,400 Speaker 1: watches a hot exchange student strip on a webcam is gross, 206 00:14:06,080 --> 00:14:09,480 Speaker 1: But American Pie is released with four pie thrusts and 207 00:14:09,520 --> 00:14:13,160 Speaker 1: an R rating and fully reboots the young men trying 208 00:14:13,200 --> 00:14:14,280 Speaker 1: to get laid genre. 209 00:14:17,520 --> 00:14:22,560 Speaker 2: I got some Scotch aged eighteen years the way I 210 00:14:22,720 --> 00:14:33,040 Speaker 2: like it. Jennifer Coolidge, actress Stifler's Mom an American Pie. 211 00:14:32,920 --> 00:14:35,720 Speaker 1: But there's one thing from American Pie that aged like 212 00:14:35,760 --> 00:14:40,480 Speaker 1: a fine wine. Jennifer Coolidge, who was thirty eight years 213 00:14:40,520 --> 00:14:43,960 Speaker 1: young when she played Stiffler's mom, the fictional hot mom 214 00:14:44,080 --> 00:14:48,160 Speaker 1: for whom the term MILFs is coined in the movie. 215 00:14:48,280 --> 00:14:50,960 Speaker 1: In a movie about sex that can't talk about sex 216 00:14:51,000 --> 00:14:55,400 Speaker 1: two graphically, American Pie wisely uses up its one sexual 217 00:14:55,560 --> 00:14:59,040 Speaker 1: use of the F word to coin the term milf mom. 218 00:14:59,200 --> 00:15:04,120 Speaker 1: I'd like to find what sums up American sexual repression 219 00:15:04,200 --> 00:15:07,840 Speaker 1: and oedipal issues better than the milf. A fantasy mommy 220 00:15:07,880 --> 00:15:10,760 Speaker 1: who comforts you in her heaving giant bosom and then 221 00:15:10,840 --> 00:15:14,640 Speaker 1: fucks you. The milf is a response to a shift 222 00:15:14,640 --> 00:15:17,400 Speaker 1: in sexual power dynamics that had been occurring since women 223 00:15:17,560 --> 00:15:22,760 Speaker 1: entered the workforce. I'm just kidding or am I Join 224 00:15:22,840 --> 00:15:28,440 Speaker 1: me on milf Island? The milf is both trad she's 225 00:15:28,520 --> 00:15:30,840 Speaker 1: usually depicted as a stay at home mom and wife, 226 00:15:31,280 --> 00:15:34,760 Speaker 1: and transgressive. She's a woman older than thirty who wants 227 00:15:34,760 --> 00:15:38,640 Speaker 1: to have sex real bad. Often she's deprived of sex 228 00:15:38,680 --> 00:15:43,040 Speaker 1: because her rich husband is out having sex with younger women. Therefore, 229 00:15:43,160 --> 00:15:46,040 Speaker 1: she needs to call upon a younger man to satisfy 230 00:15:46,080 --> 00:15:50,560 Speaker 1: her needs. The milf archetype gets codified forever off of 231 00:15:50,640 --> 00:15:55,360 Speaker 1: Jennifer Coolidge's portrayal of Stiffler's mom. A milf has big tits, 232 00:15:55,520 --> 00:16:00,200 Speaker 1: a big ass, and a big sexual appetite. Soon eveon, 233 00:16:00,280 --> 00:16:03,760 Speaker 1: as the milf is invented, she becomes a super popular 234 00:16:03,840 --> 00:16:08,560 Speaker 1: new genre in pornography. Like Missus Robinson before her, the 235 00:16:08,600 --> 00:16:11,320 Speaker 1: milf tends to be the sexual aggressor in her scenes. 236 00:16:12,000 --> 00:16:15,600 Speaker 1: She taps into the deep cultural taboos around women's sexuality. 237 00:16:15,600 --> 00:16:19,840 Speaker 1: In motherhood, nobody wants to think about their parents being horny, 238 00:16:20,280 --> 00:16:24,400 Speaker 1: but your whole existence is predicated on it. Milt scenes 239 00:16:24,440 --> 00:16:28,640 Speaker 1: demonstrate something else, even more taboo. A lot of men 240 00:16:28,800 --> 00:16:33,760 Speaker 1: don't only fantasize about being dominating towards younger women. Other 241 00:16:33,920 --> 00:16:39,480 Speaker 1: sexual power dynamics are possible too. MILFs do something even 242 00:16:39,520 --> 00:16:45,040 Speaker 1: more remarkable. They resuscitate narrative porn. By the late nineties, 243 00:16:45,120 --> 00:16:49,080 Speaker 1: gonzo porn has exhausted every iteration of the reality exploitation 244 00:16:49,240 --> 00:16:53,840 Speaker 1: format that started with On the Prowl. Audiences hunger for ancient, 245 00:16:53,960 --> 00:16:58,080 Speaker 1: youngian setups like Hot for Teacher. Although there had always 246 00:16:58,120 --> 00:17:00,880 Speaker 1: been female performers like Nina Hartley who stayed in the 247 00:17:00,880 --> 00:17:03,920 Speaker 1: industry into middle age and beyond like male performers do, 248 00:17:04,720 --> 00:17:09,159 Speaker 1: the sudden popularity of milk porn allows female performers to 249 00:17:09,240 --> 00:17:12,560 Speaker 1: extend the length of their careers beyond what had once 250 00:17:12,640 --> 00:17:18,240 Speaker 1: been considered a misogynist hard expiration date at thirty. Despite 251 00:17:18,359 --> 00:17:21,720 Speaker 1: what guys often claim online that women hit the wall 252 00:17:21,760 --> 00:17:25,480 Speaker 1: at a certain age, there's a huge consumer appetite for 253 00:17:25,600 --> 00:17:29,439 Speaker 1: women of a certain age and porn, and while the 254 00:17:29,480 --> 00:17:34,119 Speaker 1: sex comedy has been lying dormant, there's always the possibility 255 00:17:34,320 --> 00:17:38,040 Speaker 1: for someone to make a raunchy, funny, low budget sex 256 00:17:38,080 --> 00:17:41,479 Speaker 1: comedy that makes so much money it brings the genre 257 00:17:41,600 --> 00:17:58,640 Speaker 1: back to life. Next time on Jena World, episode ten, 258 00:17:59,200 --> 00:18:05,240 Speaker 1: Beyond Jen the story of Heather Hunter, Shawn Michaels, Madori, 259 00:18:05,800 --> 00:18:09,840 Speaker 1: and other performers of color who attempted to change the 260 00:18:10,000 --> 00:18:15,359 Speaker 1: racist porn industry from the inside. Jenna World is an 261 00:18:15,440 --> 00:18:21,840 Speaker 1: iHeartRadio production executive produced by Anna Hosnier and Becca Ramos supervising, 262 00:18:21,880 --> 00:18:26,399 Speaker 1: produced by Bei Wang, produced by Victor Wright, script editing 263 00:18:26,480 --> 00:18:31,120 Speaker 1: by Jonathan Mills, engineered by Graham Gibson, and edited by 264 00:18:31,240 --> 00:18:37,560 Speaker 1: Rory Gagan. Today's episode of Jenna World featured Tess Lynch 265 00:18:37,760 --> 00:18:42,280 Speaker 1: as Kim Cattrall and Jennifer Coolidge.