Speaker 1: You're listening to Comedy Central. How Hollywood works. This is Hollywood,
Speaker 1: home of the major motion picture studios who produce all
Speaker 1: your favorite movies. The filmmaking process begins with the writer's
Speaker 1: idea for a new story. The writer toils day and
Speaker 1: night to turn that idea into a script. The studio
Speaker 1: then throws away the script and green lights a reboot
Speaker 1: of an older idea. After the scripts selected, the movie's
Speaker 1: cast with children of celebrities and actors the producers want
Speaker 1: to have sex with. Now that the movie's cast, it's
Speaker 1: time to go into production in Atlanta, where tax advantages
Speaker 1: and lower wages attract all of Hollywood's left wing executives.
Speaker 1: Once the movie has been shot, a rough cut set
Speaker 1: to Beijing, where sensors make sure the film doesn't offend
Speaker 1: party leadership. After a few edits, the film enjoys a
Speaker 1: red copper premiere with stars dressed in eveningwear, and then
Speaker 1: a wide release with the general public justin sweatpants. And finally,
Speaker 1: it's very deep in the menu of a streaming service
Speaker 1: where a few people will ever find it. But that's
Speaker 1: all right, because chances are the movie was terrible anyway.
Speaker 1: And that is how Hollywood works movies. They're like books,
Speaker 1: but louder. Ever since I can remember, I loved going
Speaker 1: to the movie theater intentionally burning myself with hot butter
Speaker 1: and trying to sue the theater. But as much as
Speaker 1: I like the movies, there's nothing better than seeing one
Speaker 1: crash and burn. The new Hollywood release Dear Evan Hanson
Speaker 1: is inviting internet mockery and an unwelcome reception from critics,
Speaker 1: not the least over its decision to cast twenty seven
Speaker 1: year old Ben Platt in the role of a high
Speaker 1: school student. One reviewer called the age defying portrayal disturbing,
Speaker 1: while a writer for The Guardian wrote the attempts to
Speaker 1: make Platt seem younger somehow renders him both older and
Speaker 1: inhuman an active near sabotage so distracting it basically renders
Speaker 1: the movie unrecoverable. You're telling me that you are supposed
Speaker 1: to be seventeen. I'm pretty sure I saw this guy
Speaker 1: at a strip club in the eighties, and nothing against
Speaker 1: this actor. He's talented. I'm sure he'd be a fantastic
Speaker 1: lead in a movie about a guy going back to
Speaker 1: school for his second master's degree. But I find it
Speaker 1: very hard to believe this kid recently grew his first cube.
Speaker 1: It doesn't matter how good an actor is. If I
Speaker 1: see anybody that old and a high school parking lot,
Speaker 1: I'm calling the cops. And yes, I'm also in the
Speaker 1: parking lot, but not because I'm a creep. I'm just
Speaker 1: there to sell them beer. But let's be fair to
Speaker 1: dear Evan Hanson. Hollywood is a long history of trying
Speaker 1: to make it stars appear younger, and an equally long
Speaker 1: history of failing at it. When you see the next
Speaker 1: Will Smith and Robert and Nero movies, you may be
Speaker 1: shocked to see the actors look decades younger. The Irishman
Speaker 1: drew attention for its extensive use of digital technology to
Speaker 1: d age the actors, allowing to Nero and others to
Speaker 1: appear to be decades younger. At age seventy six. He's
Speaker 1: joked that the technology will allow him to prolong his
Speaker 1: career indefinitely. Yes, digital technology afore so powerful it almost
Speaker 1: gave Lebron James the ability to act. And while the
Speaker 1: Irishman was able to make the Nero's face thirty years younger,
Speaker 1: there was one small issue. His body was still older. Ship.
Speaker 1: Look at him trying to beat up that guy. The
Speaker 1: ten man is watching that scene going and I thought
Speaker 1: my joints were up. If you ask me, the most
Speaker 1: impressive thing about this scene isn't the c g I.
Speaker 1: It's the actor who's pretending to be injured by de
Speaker 1: Nero's orthopedic shoes. And this is the problem with trying
Speaker 1: to d age actors. At a certain point, it just
Speaker 1: doesn't work. I mean, yes, Rob don Narrow is one
Speaker 1: of the greatest living actors, but the man is seventy.
Speaker 1: Of course he's gonna move like C three p O
Speaker 1: with shingles. But hey, as badly as dear Evan Hansen
Speaker 1: and the Irishman failed, at least they put in an effort.
Speaker 1: Because the truth is, sometimes Hollywood is too lazy to
Speaker 1: use weird makeup or c g I affects the d
Speaker 1: age their actors. Sometimes they just throw an old person
Speaker 1: in there and hope nobody notices. Hannah Montana's brother was
Speaker 1: a twenty nine year old. Sixteen year old Sonny and
Speaker 1: Rizzo were twice as old as a high school teenager,
Speaker 1: and those girls from Penn fifteen must be like whatt five.
Speaker 1: My point is Hollywood has done this for pretty much
Speaker 1: every actor in the entertainment business. It's desperate, it's embarrassing.
Speaker 1: God damn it. I want in. That's why I've made
Speaker 1: a real showcasing just how young I can pull off.
Speaker 1: Roll it, dude. I just saw Kyle's I get He
Speaker 1: Tucked miss and Green feels totally busted it for saving
Speaker 1: during our algebra That is so razing. I don't want
Speaker 1: to go to soccer practice. I just want to stay home.
Speaker 1: But watch pap Patrolledy. That's lolly Bam progamner. Well, someone
Speaker 1: please give this poor baby at That ain't Hollywood. I'll
Speaker 1: be waiting. When you think of black horror, you think
Speaker 1: of hits like Get Out, Well, this year's remake of
Speaker 1: candy Man, which reminds me, speaking speaking of that, candy Man,
Speaker 1: candy Man, candy Man, candy Man, Candy Man. I knew
Speaker 1: we wouldn't show up cheap bastard on me fifty dollars,
Speaker 1: but we wouldn't have Jordan's peel if it weren't for
Speaker 1: the pioneering black horror films that today are mostly forgotten,
Speaker 1: movies like Son of Anaga, which in ninety became the
Speaker 1: first horror film to feature an all black cast, and
Speaker 1: unlike a Medea Halloween, they were all played by different people.
Speaker 1: Son of Angagy book stereotypes by showing a black middle
Speaker 1: class family battling a monster in their home, paving the
Speaker 1: way for the Windsdal family to do the same thing
Speaker 1: against Steve Herkel suspenders. And on top of that, the
Speaker 1: scientists in this movie is an old black Woban. It
Speaker 1: was like a scary Hidden Figures. Although I have to
Speaker 1: be honest, I found Hidden Figures to be pretty scary too.
Speaker 1: Oh that damn math. Another major film in black horror
Speaker 1: was Night of the Living Dead, starring Dwayne Jones, the
Speaker 1: first black actor to play the lead role in the
Speaker 1: mainstream horror hit. He's a hero for most of the
Speaker 1: movie and then his character ends up getting shot by
Speaker 1: white folks who to stake him for a zombie. It
Speaker 1: was a profound lesson on racism. It is the living
Speaker 1: who are racist, and we should all strive to be
Speaker 1: more like the zombies who will eat the brains of
Speaker 1: any race. Wait is that the lesson? Once the nineteen
Speaker 1: seventies hit and black exploitation films got big, horror movies
Speaker 1: got a little bit wild. We had movies like Blackula, Blackenstein,
Speaker 1: dr Black Mr. Hyde and of course at It. It
Speaker 1: was originally titled The Black so System, but they got
Speaker 1: in trouble for copying that movie. But a Little White
Speaker 1: Girl Tinkles on the living room carpet. Then there was
Speaker 1: Pete Wheat Straw in nineteen seventy seven, Dollar Mighte star
Speaker 1: Rudy Ray Moore plays a comedian who was killed by
Speaker 1: his rivals for being too successful. Today, they would have
Speaker 1: just found his old tweets. That's how you get written. Anyway,
Speaker 1: The comedian makes a deal with the devil to come
Speaker 1: back to life and get revenge on his killers by
Speaker 1: using the devil's magic pimp cane. Now, the first question
Speaker 1: is why would the devil have a pimp cane? I
Speaker 1: do not know. I will be honest, which I don't
Speaker 1: even know. Why pimps have pimp canes? Does pimp and
Speaker 1: call sprained ankles? Is that why pimping ain't easy? I
Speaker 1: don't know. This movie raised many questions for me. And finally,
Speaker 1: one black horror character that doesn't get the credit she
Speaker 1: deserves was Rachel True's performance as Rochelle and the movie
Speaker 1: The Craft. Now, although The Craft is not technically a
Speaker 1: black horror movie. The soundtrack does include a song by Jewel,
Speaker 1: and there's few things more terrifying the black people than
Speaker 1: that who Jewel. But Rochelle Rochelle was a groundbreak character
Speaker 1: for black women in horror. She takes revenge on a
Speaker 1: racist bully at school after becoming a powerful witch, which
Speaker 1: is literally black girl magic. And this character was especially
Speaker 1: important because it was the nineteen nineties. Teen horror was
Speaker 1: in the midst of a renaissance, but black girls didn't
Speaker 1: really get to see themselves in anything scary. All they
Speaker 1: had was scary spice. She wasn't even that scary. Posh
Speaker 1: was the scary one. Always looked like she just got
Speaker 1: back from poison. And James Bond, Well, that's all the
Speaker 1: time we have for today. I'm Roy Would, Julian, this
Speaker 1: has been CP time and remember before the culture try
Speaker 1: this again, Candy Man, Oh there you are, where's my money? Daniel.
Speaker 1: It's no secret that women's on screen portrayals have evolved
Speaker 1: throughout history. We've gone from playing secret Harry's being saved
Speaker 1: by James Bond all the way to nuclear scientists being
Speaker 1: saved by James Bond. But I want to focus on
Speaker 1: one specific aspect of female depictions, the orgasm. It's when
Speaker 1: a woman is stimulated to the point of climax, causing
Speaker 1: a physical and neurological response that scientists referred to as fantastic,
Speaker 1: and over the years, depicting female pleasure on screen is
Speaker 1: something that's changed more than the batteries in your vibrator.
Speaker 1: The first known female orgasm on the silver screen was
Speaker 1: in the nineteen thirty three German film Ecstasy, when Hetty
Speaker 1: Lamar took the broad Worst Express all the way to
Speaker 1: pleasure Burgh. Turns out the world wasn't ready for this.
Speaker 1: Everyone denounced it, from Hitler to the Pope, And if
Speaker 1: you ask me, the Pope has no place weighing in
Speaker 1: on sex scenes. He's celibate. I mean, when we need
Speaker 1: your opinion on the best stayin removers for white fabrics,
Speaker 1: then we'll call you. Unfortunately, being the first actress to
Speaker 1: climax on screen followed Hetty Lamar for the rest of
Speaker 1: her career. She was typecast as the ductress, even though
Speaker 1: she was literally the smartest person in Hollywood. Yeah. As
Speaker 1: her side hustle, she was a brilliant scientist who invented
Speaker 1: the basis for all modern wireless technology. Without her, no
Speaker 1: one would be orgasmy because we wouldn't be able to
Speaker 1: watch porn on our cell phones in the bathroom. And
Speaker 1: that was the last big on screen female orgasm for
Speaker 1: a while, because around the same time the Hayze Code
Speaker 1: was enforced in Hollywood. This was a set of censorship
Speaker 1: guidelines that banned movies from explicitly showing or discussing sex.
Speaker 1: Even married couples had to be shown in separate beds,
Speaker 1: or as it's now called, the reverse chocolate factory before
Speaker 1: you bedridden. For the past twenty years, it takes a
Speaker 1: lot of work to keep this family going. No one
Speaker 1: was getting off. The Hayese Code finally ended in the
Speaker 1: late sixties, which, as timing goes, is like having your
Speaker 1: dry January and at an open bar in Cabo. America
Speaker 1: was embarking on a sexual revolution, so female pleasure came
Speaker 1: back on screen. Unfortunately, it was often treated as a
Speaker 1: novelty that existed for men's amusement, So you've got scenes
Speaker 1: like the one in nineteen Barbara Ella where evil doctor
Speaker 1: Eyebrows over here traps Jane Fonda and a machine that's
Speaker 1: supposed to give her orgasms until she dies, except that
Speaker 1: she climax is so hard she breaks the machine. Goodness.
Speaker 1: At the time, it was considered a camp be sexy thing,
Speaker 1: but looking at it now, it's a violation. Remember everyone,
Speaker 1: if you're going to put a woman in a machine
Speaker 1: that orgasms her to death, uniquely sent first. Another major
Speaker 1: moment came a few years later with the movie Deep Throat.
Speaker 1: It tells the story of a woman who keeps giving
Speaker 1: men oral sex because her pleasure zone is in her throat.
Speaker 1: That is not how it works, but Deep Throat became
Speaker 1: the first porno film to go mainstream and inspired both
Speaker 1: my uncles to become Dennis The female orgasms and Barbararella
Speaker 1: and Deep Throat were basically male fantasies about how women
Speaker 1: experience pleasure, so it was appropriate that the next onscreen
Speaker 1: orgasm to make a splash totally debunked those fantasies. Nine,
Speaker 1: When Harry he Met Sally famously includes an extended scene
Speaker 1: of Meg Ryan faking an orgasm in a Delhi to
Speaker 1: prove to Billy Crystal that maybe he wasn't the cunnelingest
Speaker 1: king that he thought he was. Oh yes, yes, yes, Oh.
Speaker 1: This scene was groundbreaking for a few reasons. It told
Speaker 1: all the women watching who had faked orgasms that they
Speaker 1: weren't alone. It taught men to try to be attentive
Speaker 1: to their partner's needs, and it catapulted pastronomy to become
Speaker 1: the top aphrodisiac of nine nine. It also started a
Speaker 1: conversation about the performative nature of the female orgasm. Women
Speaker 1: face far too much pressure to satisfy their partner's ego
Speaker 1: instead of themselves. I mean, no one ever has to
Speaker 1: fake it for their vibrator. If they don't get the
Speaker 1: job done, they just go back into the drawer and
Speaker 1: they think about what they did. In the years that followed,
Speaker 1: female pleasure became more and more common on screen, but
Speaker 1: they were still often treated as punchlines, like Jennifer Anniston
Speaker 1: getting unexpected magic Maxis includes Almighty, or Katherine Hygel accidentally
Speaker 1: orgasm me at dinner when a little boy grabbed her
Speaker 1: remote controlled vibrating underwear. Okay, there is so much wrong
Speaker 1: with this. It's non consensual, it's a kid doing it,
Speaker 1: and it perpetuates the dangerous myth that vibrating underwear gives
Speaker 1: you anything but a five alarm electrical bird. And even
Speaker 1: when orgasms weren't meant to be funny, it could be
Speaker 1: hard to take them seriously, like in Forty Days and
Speaker 1: Forty Nights when Josh Hartnett makes his partner orgasm by
Speaker 1: caressing her with flowers, which, believe me, is not that easy.
Speaker 1: Not to be a size queen, but we're gonna have
Speaker 1: to use at least a sunflower. The odds weren't a
Speaker 1: step forward for orgasms, but they weren't a step back either.
Speaker 1: They still needed to step a little to the side,
Speaker 1: now the other side, then back and forth. Yeah, right there. Thankfully,
Speaker 1: in the present day, we're starting to see much more
Speaker 1: realistic and positive depictions of women pop in their Turkey timers.
Speaker 1: These days, you can hardly turn your TV on without
Speaker 1: seeing a woman getting off. And finally, movies and shows
Speaker 1: are doing this through the female gays. And if you
Speaker 1: don't know what that would look like, then you haven't
Speaker 1: seen Bridgerton. It's a show about nineteenth century British society
Speaker 1: taking care of their little women. She's a Beth in
Speaker 1: the streets, but a Joe in the sheets. Thanks to Bridgertain,
Speaker 1: there haven't been this many female orgasms since well since
Speaker 1: everyone started watching Britain. So that's the history on the
Speaker 1: female orgasm on screen, and who knows what the future holds,
Speaker 1: but it is important because the way women are portrayed
Speaker 1: on screen holds a mirror up to how they're treated
Speaker 1: in real life, and as all women know, sometimes holding
Speaker 1: up a mirror to something is the only way to
Speaker 1: get a good look and figure out how it works.
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