WEBVTT
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Hey fakers, Ariel here, and I'm so excited to share with you our new theme song.
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Thank you, Mike Gets, for creating it for us.
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We are so excited to have something not written by AI.
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So we hope you enjoy our intro, outro, and all that in between.
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Stay real, fakers.
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She blew every fuse.
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Welcome to the female orgasm.
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I'm gonna break your fucking machine.
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And he's like, you should feel shame.
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She's like, I don't.
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Sorry, not sorry.
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Hi, I'm Arielle Lee Cohen.
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Hey, I'm Morgan Smith.
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And we're the hosts of Faking It with Ariel and Morgan.
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We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV.
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I feel like I just recovered from the flu that was going around in January, kind of knocked me out.
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And then I feel like a week later I immediately got sick again and I was like, why?
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And then I had two overnights.
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You didn't.
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I'm still sleepy.
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It's ridiculous.
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One overnight, and I'm out for the count for like a month.
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Actually, for our audience, both of us, we're offered a super last minute gig that would be two hours from now, or maybe even an hour from 20 minutes from now.
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Yeah, sorry, 20 minutes from now.
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Not only can we not do it because we're recording right now, but also you can't get any prep done in that time.
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The rate is terrible.
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And if you can't financially support your intimacy scenes, then you might want to cut them, particularly because it seemed like this one was new.
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They just added it on the day.
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It's not the way to go.
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It's not safe.
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I didn't get details of what the intimacy was, but my feeling is that it wasn't like they just added some kissing.
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I got the vibe that all of a sudden they're simulated sex or nudity or some significant intimacy that you definitely should know about ahead of time and can't just spring on the actor's production.
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At that point, are you just being a stamp to say that like they did it?
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They tried.
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If you're not like, I just I just turned down a job different from this one because there were so many red flags.
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I was like, I don't actually think I'm being set up to do my job effectively.
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And I tried to voice like, hey, here are these concerns, here are these things we need to address.
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And it felt like the production either was not equipped to or was unwilling to make those accommodations.
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If you're not going to ensure the safety of a scene or to make sure a scene is done properly, then you shouldn't have that scene.
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I've produced my own stuff, so I understand what it is to work with a certain budget.
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If you don't have the budget to do certain content in your scene, then don't do that content.
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Either find a way to get more money or just don't do that thing because you're gonna end up doing harm and no project is worth doing harm.
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Part of our job is to make sure that there is nothing surprising on the day.
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And that's not to mean that there can't be malleability to the scene or that there's no room for play.
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There of course is, and we build that into it, but you can't add on a simulated sex scene the day of.
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And if you are last minute trying to do it, you need to be able to financially support that decision.
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And if you can't, don't just keep going.
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Decide if it's worth it, decide if it really tells the story the way you need it to, in which case, maybe, just maybe, a plan to shoot it another day when there's time to actually prep for it to be done safely.
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These are things that are purposely being rushed because that's part of how they keep costs really low.
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Audience, don't forget, they have also lines they've had to learn, which are inevitably have now been changed, and now they have to learn new lines, along with new choreography, along with not being sure, or maybe they are sure, if these new requests are within boundaries.
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They have so much more to deal with now, and it's so stressful.
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They're just not gonna do their best work.
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Anyways, that actually is a perfect segue into our film for today.
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Uh-oh.
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Which today we're going to be doing a classic, the 1968 sci-fi sex comedy Barbarella.
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Woo! Have you seen Barbarella before?
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No, no, I haven't.
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What do you know about it, if anything?
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It was Jane Fonda's breakout role.
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It was highly sexualized, and she regrets doing it.
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That's all I know.
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Yeah, well, we'll get into the regret of it all a little bit later on.
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I saw this movie like 10 years ago, and I was like, this is the most insane thing I have ever seen.
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Everyone was just on every drug.
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I can't possibly imagine another way in which this was made.
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I really wanted to mention there was an article in The Guardian that tried to make a log line for the film, like their own log line, and this is the this is perfect.
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It goes, Barbarella is Mr.
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Rogers as Jesus Christ as Marilyn Monroe, the sex bomb who will bring about world peace.
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Marilyn Monroe and Mr.
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Rogers as Christ figures.
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Yes, exactly.
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So just a little bit of context for what this is.
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Actors and characters that you'll see throughout these scenes are Jane Fonda as Barbarella and Milo O'Shea as Duran Durand.
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This was written by Jean-Claude Forrest, who also wrote the best-selling comic strip, Barbarella, that it's based on.
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Screenplay is by Terry Southern and Roger Vadim, and it's produced by Dino De Laurentiis and directed by Roger Vadim.
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Intimacy coordinated by absolutely no one because it's 1968.
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That would be shocking to me, although there's some timey wime stuff going on in this in this movie.
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So, like, who's to say?
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I'm excited.
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I'm intrigued.
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This is the intro to this to the film.
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Okay.
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So I'm actually gonna give you no context.
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That makes sense.
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Great.
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Here we go.
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All right.
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Paramount logo.
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Beautiful.
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Our media daddy.
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Our media daddy.
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Well, especially right now, I mean with all this.
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So we're seeing a spaceship.
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We're coming in from the outside.
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We see a space person surrounded by classic art floating.
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I don't know what the space suit is.
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It looks like it was designed by like Gucci or something.
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Okay, we're taking the gloves off, the space suit.
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We see Jane Fonda's hand.
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The music.
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Ooh, it's getting jazzy.
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Oh! Oh!
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Oh!
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This is not your typical space movie.
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Alright, she's floating around.
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The backpack of her space suit has come off.
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Now the legs are coming off.
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Is this how spacesuits worked?
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No.
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Back okay, sure.
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This is a very sensual way of removing a spacesuit while also zero gravity because she's floating around upside down.
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Also, they hadn't even gone to the moon yet at the point that this film came out.
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Okay, now both her legs are out.
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It looks like she might have practically like been on a glass pane and just rolling around with the camera upside down.
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The helmet.
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Are we gonna take it off?
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Or are we gonna be coy?
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Oh no! The shield is coming down to slowly reveal Jane Fonda.
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Looking great.
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She's real pretty.
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They're taking their time.
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It's the slowest reveal of her face.
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And she's just like looking out.
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And now her hair's out.
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Oh, and she's shaking out the letters of Jane Fonda.
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I love that.
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Yes, I love 1960s credits.
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Another name came out of her suit and is dancing around the screen.
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She's really happy about it.
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Oh, she's naked under the spacesuit.
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And she's looking at all the letters that are shaking and dancing around her and covering her naked bits.
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David Hemming's name is covering the essentials.
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Oh, but we see Ariola.
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She's bent over and totally naked.
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And we see her chest and a little bit of rear in her back.
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And her arms are covering her naked chest as she rolls over.
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Now we see her back.
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And now she's reaching in a shag rug and turned gravity back on.
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I mean, taking off a spacesuit is so complicated.
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And apparently, you really have to take your time and do it so that everyone slowly sees your naked body.
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It's fascinating to use the letters as mild masking, like masking her body parts, but it doesn't really do the best job because ultimately we do see quite a lot.
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It's very fitting for the time, like it's really cheeky and playful, down to like how the letters for the credits are like dancing around, the masking that they're doing.
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It's all about the T's.
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I mean, for 1968, showing a fully naked Jane Fonda is pretty scandalous.
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So the buildup to this makes total sense for the time.
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This is like a two-minute long scene of just pieces coming off, and it's not really explaining anything about the film.
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There is no exposition as much as this is our star naked.
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Look, look what we did.
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We did it.
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How cool is that?
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I mean, it does establish that we're in space and the movie's about Barbarella and she's gorgeous.
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Maybe there's art involved in the movie because she had some art pieces behind her.
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Nope.
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Okay.
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Well, the art was there, and it was pretty.
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I had wondered how they shot this scene, and you said she's on a glass plate.
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I'm like, that's exactly what it is.
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You figured it out so fast.
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Mystified.
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I'm like, she's not wearing a harness.
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What is she on, man?
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But also she's shouldn't.
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I think they're shooting an aerial and she's on top of a very clean glass plane because her body stays at the same level the whole time.
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She's not moving like back and forth in the depth of fields.
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And it's probably like the least high-tech way to get that shot.
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You gotta love practical effects.
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I love I love practical effects.
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Nine out of ten times better than CGI, in my opinion.
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It looks so good in this film.
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She looks great and everything, but just the actual composition of the shot looks very cool, and it looks like she is in um low gravitational field.
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So that's that's quite cool.
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Alright, so context for this scene: the villain, Duran Duran, places Barbarella in a device designed to induce lethal pleasure.
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She survives merely by outlasting it, causing it to malfunction.
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This is uh iconic, by the way.
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He's holding some kind of music sheet or computer code that he's putting into the machine.
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It's the excessive machine.
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The excessive machine.
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And she's like clamped into this machine, so she's feeling things.
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It's almost as if someone's like playing a piano on her body, like the piano keys are just on her.
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It's spitting out all her clothing.
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That's handy.
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She seems so confused by the whole thing, which I would be too to be fair.
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This is a brand new thing.
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Oh, and now she's sinking into the machine, and more clothing is being spat out.
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Okay, he's trying to kill her with pleasure.
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He also seems like he's into this sexually.
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Like, this is how he gets off.
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Yeah, by murder.
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Her head is getting thrown back.
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It seems like she's getting into orgasm.
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Now she's exhausted from all this pleasure.
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Her hair is sweaty, but not too sweaty.
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She's supposed to be gorgeous.
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She looks like she might pass out.
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He keeps trying to play the keys harder.
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She's enjoying how she's feeling.
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She's getting sweatier.
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Her eyes are getting bigger.
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Oh.
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And there's more orgasm, I think.
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He keeps playing the keys.
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He's like, this is it.
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I'm gonna kill her.
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Why won't she die?
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And she's like, This feels great.
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I'm in bliss.
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We see tubes that are starting to steam because the pleasure's getting too much for the machine.
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There's smoke all around her.
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She's still feeling it.
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He's so confused.
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Why isn't this machine killing her?
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There's fire.
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There's fire on the machine.
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She's still in there.
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There's fire.
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Okay, but like get her out of the machine.
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He's upset.
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His machine is broken.
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She blew every fuse.
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Welcome to the female orgasm.
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All these big cords coming from the ceiling are on fire.
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She's still in there.
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Why should she have shame?
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You did this to her.
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It's like typical dude.
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You wish you had died of pleasure before this day is done.
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That's that scene.
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Well, honestly, this is the best way to go out if there was a way to go out.
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I love that she beat it, but also if she didn't beat the machine, I'd love that for her too.
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It's very creative.
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Everyone is so creative.
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Everybody's so creative.
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Exactly.
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It is interesting the way they shot it because his hands are out of frame, so it kind of looks like he's doing a lot arm-wise, that it could be implied that he's doing more with her.
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But it's interesting to me this versus that first scene because they are willing to show everything in that scene, but in this scene, they're actually very modest.
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And her orgasm's not over the top, screaming crazy, eyes like clenched, teeth clenched together.
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She's actually kind of just like blissed out and vibing for a lot of people.
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I mean, I think it's important to remember the time period.
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In a 1968 mainstream movie, we're not gonna get a big crazy orgasm from a woman.
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We're not gonna get full-on nudity multiple times in the same movie.
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So we kind of have to take off her 2026 lens for the time period.
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This is extremely risque.
00:14:56.480 --> 00:15:01.840
The fact that they even showed her having a moan to indicate an orgasm is huge.
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Like this is probably back when you couldn't even say abortion on television.
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So the idea of showing a woman's pleasure and showing it to this extent was a huge deal for this time.
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And showing it for as long as they did is like really groundbreaking in a lot of ways.
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And I wouldn't be surprised to find out that this is one of the first big movies to have done this.
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I'm sure there was some like smaller art house stuff or Andy Warhol stuff that did something, but this is pretty scandalous for the time.
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This film in particular, you know, was one of the biggest commercial successes for like sci-fi sex comedy vibe.
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It's really fascinating because she does have a large orgasm moment.
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She does have an ah, like there is a big moan vocal sound, and then the entire machine is set on fire.
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It's so explosive.
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It comes down to that question of do we need to see nudity in order to tell the story most effectively?
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And this scene kind of proves you don't.
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Yeah, I mean, it gets into the conversation of what's the best way to tell this story, and sometimes that is showing more of the body, sometimes that isn't.
00:16:15.200 --> 00:16:22.240
For the time period, this is showing a lot of her pleasure, and that's so highly unusual for this time.
00:16:22.320 --> 00:16:24.080
Like I can't really emphasize that enough.
00:16:24.320 --> 00:16:37.039
It's still considered explicit in movies to show a woman orgasming, like with our current rating system, you're likely to get into NC17 territory if you just focus on a woman's face while she orgasms.
00:16:37.279 --> 00:16:41.039
So the fact that this movie is doing this in 1968 is a big deal.
00:16:41.200 --> 00:16:43.600
Because we had that rating system at that time, right?
00:16:43.759 --> 00:16:46.080
The MPAA kicked in.
00:16:46.320 --> 00:16:46.960
Yeah, dude.
00:16:47.120 --> 00:16:47.440
Okay.
00:16:47.679 --> 00:16:54.320
So for reference, Barbarella was released in the US on October 10th, 1968.
00:16:54.639 --> 00:17:02.000
And the MPAA, uh the Motion Picture Association rating system, officially started November 1st, 1968.
00:17:02.399 --> 00:17:12.960
So they had started to form it before that time, but I can't say with certainty that it didn't have anything to do with Barbarella in the way that that was proposed.
00:17:13.359 --> 00:17:22.480
Censoring content for propriety and for appropriateness for certain audiences has something that had been in conversation for a long time.
00:17:22.720 --> 00:17:30.559
It sounds like Barbarella didn't have a rating since it snuck in before, so it kind of makes sense that it was able to get away with this much at this time period.
00:17:30.880 --> 00:17:37.119
It was originally featuring a suggested for mature audience tag, because I had those.
00:17:37.359 --> 00:17:44.559
And then there was a re-release in 77 that got a PG rating, which I I don't know how that happened, but all right.
00:17:45.039 --> 00:17:45.359
Okay.
00:17:47.839 --> 00:17:48.079
Sure.
00:17:48.240 --> 00:17:54.640
Yeah, we'll have to do a bonus episode all about the rating system in Hollywood because like that whole journey is an amazing idea.
00:17:54.960 --> 00:18:04.000
I know the movie is silly and I know it's in a lot of ways, not very feminist, but I'm like, the fact that they're showing like her full orgasm and it's breaking the machine.
00:18:04.079 --> 00:18:07.440
I'm like, that feels pretty revolutionary for that time.
00:18:07.519 --> 00:18:09.440
And to fully show it that way.
00:18:09.680 --> 00:18:15.599
And he's saying, like, shame, shame, like you should should feel shame, but we're on her side, so we don't.
00:18:15.759 --> 00:18:16.559
That's pretty cool.
00:18:16.880 --> 00:18:25.599
And I mean, the behind the scenes, I have a Vanity Fair article where it said Fonda recalled having to get drunk before shooting the nude scene for Barbarella.
00:18:26.000 --> 00:18:28.720
It was directed by her then husband, Vadim.
00:18:29.279 --> 00:18:34.960
And she was struggling with body dysmorphia at the time, and like psychologically, it was very difficult for her to do it.
00:18:35.200 --> 00:18:43.200
But then on the other side, there is sort of a funny thing where the scene had to be reshot because a bat kept flying between Fonda and the camera.
00:18:43.519 --> 00:18:44.720
For the opening scene?
00:18:44.960 --> 00:18:46.240
Yeah, the opening scene.
00:18:46.559 --> 00:18:49.279
Where were they filming that there was a bat present?
00:18:49.599 --> 00:18:54.640
I truly don't know, but I imagine a lot of this was shot on sound stages.
00:18:54.880 --> 00:18:57.039
So maybe they just had a bat in the sound stage.
00:18:57.200 --> 00:18:59.279
In the sound stage, that's so funny.
00:18:59.519 --> 00:18:59.920
I know.
00:19:00.000 --> 00:19:04.480
For those who are not aware, like a lot of sound stages are basically banned in Costco.
00:19:04.559 --> 00:19:10.480
Like they're just huge, huge buildings full of nothing that you can fill with whatever, and they have a light grid on the top.
00:19:10.799 --> 00:19:11.680
I digress.
00:19:11.920 --> 00:19:14.319
This was directed by her husband at the time.
00:19:14.640 --> 00:19:27.920
We haven't discussed uh husband, wife, or partner-partner teams as far as simulated sex or nudity on screen, where one is at a higher hierarchical level than the other person.
00:19:28.160 --> 00:19:35.920
There's a lot of interesting power dynamics at play when you have Jane Fonda being directed by her husband, but she's still Henry Fonda's daughter.
00:19:36.079 --> 00:19:42.000
I don't know how big her husband was of a director at the time, but she's still a Hollywood legends child.
00:19:42.160 --> 00:19:56.000
So even though the director is higher up in the hierarchy on a film set, generally speaking, than the lead actor, because film is the director's medium and theater's the actor's one, and TV is the writer's one.
00:19:56.079 --> 00:19:57.519
There's still a lot going on.
00:19:57.599 --> 00:20:02.079
And then I also don't know what their particular dynamics within their relationship were.
00:20:02.240 --> 00:20:12.160
I got the feeling I saw the Jane Fonda documentary forever ago, but I got the feeling a lot of her marriages were like not super helpful and she didn't have a lot of power within those relationships.
00:20:12.240 --> 00:20:14.240
So I don't know if that was going on here.
00:20:14.480 --> 00:20:30.799
But I can imagine having to shoot a scene like that when you already are having issues with body dysmorphia and now you're on display, not just in front of your husband, but also in front of a whole crew of people, and it's the 60s, so people have different ideas of like what are appropriate things to say on a set like that.
00:20:30.960 --> 00:20:32.720
It must have been really challenging for her.
00:20:33.039 --> 00:20:40.880
In that same article I was reading before, she has a quote where she says, Looking back now, I kind of enjoy it, but it was a terrible experience to make.
00:20:41.519 --> 00:20:42.960
Which, you know, I get it.
00:20:43.200 --> 00:20:46.079
But I think on that note, maybe let's get into the spice scale.
00:20:46.720 --> 00:20:48.319
Yeah, let's do the spice scale.
00:20:48.559 --> 00:20:58.240
Welcome to the spice scale, our not so scientific way of writing intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, and heat factor.
00:20:58.640 --> 00:21:01.920
Each category gets a score from one to five, with five being the highest.
00:21:02.000 --> 00:21:05.279
Then we add it all up to give the scene a final letter grade.
00:21:05.440 --> 00:21:12.720
So we already started getting into consent and power dynamics, how the scene depicts consent and power in the story, and if known behind the scenes.
00:21:12.960 --> 00:21:20.960
I feel like there's more of a conversation around the story of consent and power dynamics in the second scene, since the first scene, she's alone.
00:21:21.200 --> 00:21:23.440
If we're talking about just in the world of the film.
00:21:23.680 --> 00:21:31.599
And they're actually really great in the second scene because this guy is literally trying to kill her with her pleasure.
00:21:31.759 --> 00:21:38.720
And it just makes me think a lot about like how overt Christian puritanical thinking was at this time.
00:21:38.799 --> 00:21:43.200
We were rebelling against these ideas that we should feel shame about sex.
00:21:43.359 --> 00:21:45.599
The sexual revolution is in full swing.
00:21:45.759 --> 00:21:52.640
So here is this older guy trying to tell this young woman, like, you're gonna die because of all the pleasure you're trying to feel.
00:21:52.799 --> 00:21:54.480
And she was like, No, I'm not.
00:21:54.559 --> 00:21:56.559
I'm gonna break your fucking machine.
00:21:56.720 --> 00:21:58.079
And he's like, You should feel shame.
00:21:58.160 --> 00:21:58.960
She's like, I don't.
00:21:59.039 --> 00:21:59.759
Sorry, not sorry.
00:22:00.400 --> 00:22:03.200
Like, I actually just feel great, and your machine is garbage.
00:22:03.359 --> 00:22:04.079
And I love that.
00:22:04.240 --> 00:22:05.200
I love that message.
00:22:05.519 --> 00:22:07.119
Kind of inspiring, actually.
00:22:07.359 --> 00:22:07.599
Yeah.
00:22:08.559 --> 00:22:09.680
I want to break a machine.
00:22:10.000 --> 00:22:10.160
Yeah.
00:22:10.319 --> 00:22:14.799
I'd love to set fire to a machine with just how much amazing feelings I'm feeling.
00:22:15.039 --> 00:22:34.400
He thinks he is in control of the situation and that he has the power, but ultimately she has so much sexual power in her body that she is able to overcome what he's trying to do ultimately, which is, you know, it is interesting with consent and power in that first scene, though.
00:22:34.799 --> 00:22:39.839
In the beginning, the pieces of the astronaut suit are kind of popping off of her.
00:22:39.920 --> 00:22:42.720
They're being pulled from the ship itself, presumably.
00:22:43.440 --> 00:22:50.000
And then by the leg, she's pulling off her own things, and she is sort of in charge of the narrative of what's happening at that point.
00:22:50.480 --> 00:22:55.680
And then there is sort of a pullback where you see this liquid draining from her helmet.
00:22:56.319 --> 00:22:57.759
It's unclear whether that's her doing.
00:22:58.160 --> 00:22:58.960
Oh, is that liquid?
00:22:59.039 --> 00:23:00.319
I thought it was like a shield.
00:23:01.440 --> 00:23:02.480
I'm not sure.
00:23:02.640 --> 00:23:04.240
It looks like liquid to me.
00:23:04.400 --> 00:23:06.880
Something is showcasing her face at some point.
00:23:07.119 --> 00:23:11.680
And she is the one with the impetus to pull off piece by piece by piece.
00:23:11.920 --> 00:23:22.400
And she is sort of covering herself, but it's less an active motion as much as it's like she's just trying to kind of find her footing in this new gravitational space.
00:23:22.720 --> 00:23:27.119
But going back to that second scene, she is not consenting.
00:23:27.359 --> 00:23:29.759
She seems more confused.
00:23:30.640 --> 00:23:36.079
I mean, she's not consenting because he's put her in that machine and is doing stuff to her against her will.
00:23:36.480 --> 00:23:40.559
And then she starts to feel pleasure, but I don't think that indicates that she's consenting.
00:23:40.720 --> 00:23:44.400
But I mean, I think they're both effective in telling the story they want to tell.
00:23:44.480 --> 00:23:51.680
Like, I guess I would give it a five because I I didn't see like any discrepancy in what they were trying to say in the scene and what how it was executed.
00:23:51.920 --> 00:23:54.240
Yeah, and I mean it's so comically over the top.
00:23:54.400 --> 00:23:56.319
They have excessively clear.
00:23:56.480 --> 00:23:58.319
I mean, it's called the excessive machine.
00:23:58.400 --> 00:23:59.200
I'm down with five.
00:23:59.279 --> 00:24:00.000
I'm down with five.
00:24:00.640 --> 00:24:02.799
Technical craft and coordination excellence.
00:24:03.359 --> 00:24:07.519
The staging film coverage, modesty protection, choreography, and overall execution of the scene.
00:24:08.000 --> 00:24:15.279
Especially with the first scene, they do a really good job of hiding her pelvis.
00:24:15.759 --> 00:24:18.799
There's a couple times I think we see Areola.
00:24:19.279 --> 00:24:26.480
We don't see her rear, especially her butt crack, which I think at that time, like that was a big deal of like seeing the butt crack.
00:24:26.559 --> 00:24:36.880
I know with like Mary Tyler Moore and the Dick Van Dyke show, it was a big deal when she wore pants and you could see like where her butt cups because the pants were tight enough, and that was a huge scandal.
00:24:37.119 --> 00:24:43.920
The fact that we were playing with these like very specific rules about what is and isn't decent, and they were pulling that off effectively.
00:24:44.000 --> 00:24:45.519
I'm like, they did a pretty good job there.
00:24:45.599 --> 00:24:49.359
And like the letter placement, it's like it was cute, it's cute but effective.
00:24:50.960 --> 00:24:54.880
I really enjoyed the letters, how they like pop out of her suit and everything.
00:24:55.039 --> 00:24:56.480
I thought that was a lot of fun.
00:24:56.720 --> 00:24:58.160
I thought it was kind of well done.
00:24:58.319 --> 00:25:02.559
The choreography, it felt very dance-like in that first scene.
00:25:02.799 --> 00:25:03.680
Oh, for sure.
00:25:03.839 --> 00:25:04.319
Yeah.
00:25:04.720 --> 00:25:10.079
As far as like the coverage and modesty protection, I mean, I'm not sure what she was wearing, if anything.
00:25:10.240 --> 00:25:20.400
I don't think anything in that first scene, but it doesn't seem to me that Ariola or Nipples were off the table as far as boundaries, but that maybe gluteal cleft was.
00:25:20.559 --> 00:25:27.039
And even we do see like part of her groin, but we don't really see much of it, and we only see it for like a split second.
00:25:27.279 --> 00:25:31.119
And the other scene, like, she's covered completely by this weird piano machine.
00:25:31.200 --> 00:25:32.720
So yeah, yeah, yeah.
00:25:32.799 --> 00:25:36.160
We don't even see the top of her breast tissue, it's just like the collarbone.
00:25:36.319 --> 00:25:37.680
Wait, can we go back for a sec?
00:25:38.000 --> 00:25:38.960
Am I wrong?
00:25:39.200 --> 00:25:40.720
Maybe I'm wrong.
00:25:41.279 --> 00:25:44.640
I could have sworn we saw it for like a split second.
00:25:45.279 --> 00:25:46.960
This is fun to watch again.
00:25:47.200 --> 00:25:48.079
Yeah, it is.
00:25:49.519 --> 00:25:52.640
Okay, I think this is the part where she just takes this off.
00:25:52.960 --> 00:25:59.920
Cause she probably is wearing some type of modesty garment, even if it's not an official one like we have now.
00:26:00.400 --> 00:26:04.799
Here, you can't see a lot, but like a split second of it.
00:26:05.599 --> 00:26:08.480
Yeah, the letters like come in pretty quickly.
00:26:08.960 --> 00:26:10.079
This is very important.
00:26:10.720 --> 00:26:12.400
No or so important.
00:26:13.200 --> 00:26:13.359
Okay.
00:26:13.599 --> 00:26:17.039
That's I think this has some kind of modesty garment on.
00:26:17.200 --> 00:26:23.039
Because I see some kind of fabric that's covering her pubis, and there's a little bit of pubic hair sticking out.
00:26:23.200 --> 00:26:27.519
So they either did something in post or she was wearing something.
00:26:28.079 --> 00:26:29.680
That's very possible that she was wearing.
00:26:29.839 --> 00:26:30.880
Do you see what I'm talking about?
00:26:30.960 --> 00:26:32.720
There's like a distinct line.
00:26:33.039 --> 00:26:33.839
Yes, yeah.
00:26:34.000 --> 00:26:39.119
I see what you're saying, particularly here around David Hemings.
00:26:40.240 --> 00:26:42.319
Around the N in David Hemings.
00:26:42.799 --> 00:26:52.640
Yeah, there's there's definitely something we're seeing, but then it is covered by letters so quickly that we kind of like lose track of it and then it's gone.
00:26:52.960 --> 00:27:08.480
Yeah, so there's a chance she was doing that naked on the day, but she was doing a lot to like keep her legs together, keeping them crossed, like moving in such a way to try to block that area, which you would do if you had a modesty garment on anyway, but you'd probably be even more cognizant of if you had nothing there.
00:27:08.799 --> 00:27:13.759
I do want to clarify, Jane Fonda doesn't regret doing this film.
00:27:13.920 --> 00:27:17.359
From my research, I have an a Yahoo News article here.
00:27:17.599 --> 00:27:21.920
She kind of blames studios for trying to make work like this in the first place.
00:27:22.400 --> 00:27:26.559
And she said, We have to shame the studios for being so gender biased.
00:27:26.720 --> 00:27:29.279
We have to show that movies made by women make money.
00:27:29.519 --> 00:27:38.880
She said she took the easy road for a while and that ended with Barbarella, but she liked playing somebody that caused a certain generation of men to have their first direction.
00:27:40.079 --> 00:27:45.920
But then when she became an activist, she didn't want to put into that sort of sex object slot anymore.
00:27:46.960 --> 00:27:49.440
So this is something she wanted to do.
00:27:49.599 --> 00:27:51.359
She had a hard time doing it.
00:27:51.440 --> 00:27:56.960
Like some films are difficult to do, but this wasn't a problematic experience for her.
00:27:57.279 --> 00:27:57.759
That's good.
00:27:58.000 --> 00:28:00.160
At least as far as I'm able to tell from research.
00:28:00.480 --> 00:28:03.119
Aside from having to get drunk to do the first scene.
00:28:03.519 --> 00:28:14.799
Jane Fonda has gone on record saying that she wished intimacy coordinators existed at the time, and I think that she would have really benefited from one, frankly, uh, in this situation, so she wouldn't have felt the need to get drunk beforehand.
00:28:15.039 --> 00:28:16.880
Anyway, back to what we were saying though.
00:28:17.039 --> 00:28:20.400
So technical crop coordination explains, what do you think?
00:28:20.720 --> 00:28:32.400
I don't think they wanted us to see her pelvis, so I'm gonna ding that just on a four because it's so brief and we had to look back at it, but I'm like, I don't think that was intentional.
00:28:32.720 --> 00:28:39.839
It's so hard because they were not going for authenticity for sure on any of this, particularly that second scene.
00:28:40.000 --> 00:28:49.359
I wasn't a hundred percent sold on her orgasm expressions on her face, but I also think that it worked for what it was doing.
00:28:49.440 --> 00:28:50.720
I'm cool with a four.
00:28:50.960 --> 00:28:52.160
Heat factor.
00:28:54.160 --> 00:28:58.400
I think they're both isn't as hot as they intend them to be.
00:28:58.480 --> 00:29:01.519
Like the first scene is obviously a striptease.
00:29:01.920 --> 00:29:03.759
Yeah, it's just eroticism.
00:29:04.000 --> 00:29:05.759
Yeah, yeah, that's all it is.
00:29:05.920 --> 00:29:13.680
And then the second scene as well is just like, oh, we're slowly watching her reach orgasm and break this machine down.
00:29:13.839 --> 00:29:18.319
We're also seeing this guy kind of getting off on trying to destroy her.
00:29:18.640 --> 00:29:20.240
For me, it was a five.
00:29:20.880 --> 00:29:22.079
For sure, heard.
00:29:22.319 --> 00:29:31.920
I think it's really interesting because the first scene is supposed to come across as very sexy and very fluid and almost like a burlesque-ish level, but without the comedic elements.
00:29:32.319 --> 00:29:37.119
And the second scene is supposed to come across like comedy, it's supposed to be funny.
00:29:37.359 --> 00:29:40.000
This machine is so ridiculous, and and he's ridiculous.
00:29:40.079 --> 00:29:45.920
He's like sweating as he's like pressing the piano thing, and he's like, once we get to the chorus, like you'll die.
00:29:46.960 --> 00:29:54.000
So that one's not particularly trying to be sexy, but there is a sexiness to the fact that she breaks the machine and it gets set on fire.
00:29:54.079 --> 00:29:57.279
But then I'm very worried for her being in a box with fire surrounding.
00:29:57.519 --> 00:30:01.680
Yeah, he leaves her with a box of fire, and I'm like, okay, great, she broke your machine.
00:30:01.759 --> 00:30:02.400
It feels so bad.
00:30:02.480 --> 00:30:03.359
Can we get her out though?
00:30:03.599 --> 00:30:05.279
Because I don't think you're trying to burn her alive.
00:30:06.319 --> 00:30:06.960
Oh no.
00:30:07.200 --> 00:30:13.359
And literally, but the funny thing is, it's like this is the like a side note of a side note.
00:30:13.519 --> 00:30:21.119
But if you if his goal is to kill her, like leaving her in a box that's on fire is probably like a pretty decent way to do that.
00:30:21.440 --> 00:30:27.200
Yeah, I have a feeling there was something specifically about defeating her via pleasure that he needed.
00:30:27.359 --> 00:30:29.599
I haven't seen the movie, so you can correct me on this.
00:30:29.680 --> 00:30:35.119
But he seemed like the type of villain that was like, I need to defeat you in this specific way in order for it to be satisfying.
00:30:35.200 --> 00:30:38.160
It's not eliminate you in any way, shape, or form.
00:30:38.240 --> 00:30:40.880
It's like it has to feel like personal.
00:30:42.160 --> 00:30:43.759
Okay, fair enough.
00:30:44.079 --> 00:30:44.720
I like that.
00:30:44.880 --> 00:30:45.359
I like that.
00:30:45.519 --> 00:30:48.799
All right, so then are we going, we going with a five or we're going for a five?
00:30:49.039 --> 00:30:56.160
We're gonna go for a sexy little five, which beats us too for our millionth time in A! A.
00:31:02.640 --> 00:31:04.480
All right, so Ariel.
00:31:04.960 --> 00:31:05.279
Yes.
00:31:05.519 --> 00:31:09.599
We have a new segment now that we do when we have an A scene.
00:31:10.319 --> 00:31:15.440
Ruin it! Ruin it! So, how would we ruin these scenes?
00:31:15.519 --> 00:31:19.599
And I'm gonna add the parameters of like given the time period too.
00:31:20.000 --> 00:31:26.400
Well, it's interesting because usually when we ruin it, it's because it got an A because it's coming from the female gaze.
00:31:26.480 --> 00:31:29.759
We kind of push it to the male gaze, and that kind of tends to ruin it in some way.
00:31:29.920 --> 00:31:32.400
But this is from the male gaze already.
00:31:32.720 --> 00:31:40.559
So, okay, you could go comedic with that first scene, and you could have her like having a lot of trouble getting the outfit, getting it off.
00:31:40.799 --> 00:31:45.839
Breasts aren't jiggling in the space as she's like pulling off pieces of the outfit.
00:31:46.160 --> 00:31:49.279
That would make it much less fluid and sexy looking.
00:31:49.599 --> 00:32:01.440
Yeah, she's hairier, like her legs aren't silky smooth, and she has helmet hair when she takes it off and like sweaty, smudged up makeup because she was like in a spacesuit.
00:32:01.519 --> 00:32:02.240
That's practical.
00:32:02.480 --> 00:32:03.839
You made it realistic.
00:32:04.079 --> 00:32:04.559
Yes.
00:32:04.799 --> 00:32:06.400
Oh, you know what would ruin it?
00:32:06.640 --> 00:32:07.440
Regular gravity.
00:32:07.599 --> 00:32:11.680
Like she's just standing there and like pulling off one piece, the other piece.
00:32:13.440 --> 00:32:14.880
Like that would suck.
00:32:15.039 --> 00:32:16.960
How would we ruin the second scene?
00:32:17.039 --> 00:32:18.400
It's so insane.
00:32:18.720 --> 00:32:22.319
I keep thinking of ways that it would make it better, but not ways that I would ruin it.
00:32:22.400 --> 00:32:28.000
I'm like, if she like made eye contact with him while she was like defeating the machine, just staring at me.
00:32:30.240 --> 00:32:32.240
Like, that would make it better for me, not worse.
00:32:32.480 --> 00:32:39.519
It's very general, it's just her being touched, and I assume there's other stuff happening in the machine because it's obviously like taking her clothes off.
00:32:39.599 --> 00:32:43.359
I don't know if she's being penetrated by the machine underneath or something.
00:32:43.599 --> 00:32:46.079
But I think it's actually funnier that it's not specific.
00:32:46.400 --> 00:32:48.880
Yeah, I think it would ruin it if it were more specific.
00:32:49.039 --> 00:32:59.920
I think if we knew exactly the parameters of what it is that is making her feel good, maybe it's a tiny piano on top of her vulva and tiny pianos on top of her breasts.
00:33:00.079 --> 00:33:01.279
That would make it horrible.
00:33:01.519 --> 00:33:05.519
It'd be so weird looking and just like the comedy would be destroyed.
00:33:05.680 --> 00:33:08.799
It would just be about her body instead of the situation.
00:33:09.599 --> 00:33:10.079
Yeah.
00:33:10.240 --> 00:33:10.559
Yeah.
00:33:10.720 --> 00:33:11.680
I just realized too.
00:33:11.759 --> 00:33:15.519
It's like a piano, or it's like, you know, when a cat is making biscuits.
00:33:15.759 --> 00:33:16.960
Making biscuits.
00:33:17.279 --> 00:33:19.759
That's kind of what the machine is doing on her.
00:33:19.920 --> 00:33:20.319
Oh my god.
00:33:20.559 --> 00:33:21.599
Here's another way to think about it.
00:33:21.680 --> 00:33:31.599
If they rebooted this movie and we're like, we're gonna do like a 2026 version, yeah, and we're gonna we're gonna cast Margot Robbie and she's gonna be fucking the machine.
00:33:32.319 --> 00:33:32.880
I mean, I'm not sure.
00:33:33.039 --> 00:33:35.119
I love Margot Robbie, but that's what they would do.
00:33:35.279 --> 00:33:37.119
I Oh, for sure.
00:33:37.359 --> 00:33:41.440
Here is the dildo attached to the high smith machine.
00:33:41.599 --> 00:33:44.240
Like, and there it is, the excessive machine.
00:33:44.400 --> 00:33:47.519
Yeah, it becomes so excessive that it would become excessive.
00:33:47.680 --> 00:33:49.519
There's nothing campy about it.
00:33:51.039 --> 00:33:52.640
It's not campy, it's not fun.
00:33:52.799 --> 00:33:58.400
They go for something that's too real, they miscast the machine as an animal or I don't know.
00:33:59.359 --> 00:33:59.839
Cool.
00:34:00.000 --> 00:34:02.640
I I think we've sufficiently roomed it.
00:34:03.119 --> 00:34:04.240
These scenes were interesting.
00:34:04.319 --> 00:34:14.480
I think Barbarella is really interesting because it shows how you know early cinema treated sexuality as this visual spectacle first and human experience second.
00:34:14.800 --> 00:34:28.079
And the nudity and simulated pleasure scenes are really designed around fantasy, performance, the male gaze instead of you know character-driven consent, communication, any level of emotional realism, you know.
00:34:28.320 --> 00:34:37.199
This is something we've talked about because we try to have variety in the types of projects we discuss, and we're like, man, like how come we can't get stuff before the 80s?
00:34:37.360 --> 00:34:47.840
And it's actually really hard because a lot of it, a lot of movies before that time and television shows really didn't show very much intimacy because they couldn't for a lot of different reasons.
00:34:48.000 --> 00:34:56.880
And took a long time before we really started to see stuff, and this is still like such an early version of like, oh, we're really seeing stuff on screen.
00:34:57.039 --> 00:34:59.119
We're we're seeing her orgasm.
00:34:59.280 --> 00:35:05.599
And like, I don't think you could say pregnant on TV at this point, but you could see her orgasm, like it's crazy.
00:35:05.920 --> 00:35:06.719
Absolutely.
00:35:06.960 --> 00:35:08.639
Do you have anything to plug?
00:35:08.880 --> 00:35:12.960
I'm gonna guest on scary movie and a sandwich with my buddy Artem.
00:35:13.280 --> 00:35:23.199
We're talking about this scary movie called Titane that I started to watch last night, French horror movie where this woman ends up fucking a car, and I was like fascinating.
00:35:23.280 --> 00:35:23.760
I'm in.
00:35:24.400 --> 00:35:25.199
Started watching it.
00:35:25.280 --> 00:35:33.679
And the part that Artem forgot to mention is that she's a serial killer and does a lot of like really graphic violence to people in between the car fucking.
00:35:33.840 --> 00:35:41.119
And so I'm slowly making my way through because I just emotionally can't handle really intense horror.
00:35:41.440 --> 00:35:42.719
Yeah, no, neither can I.
00:35:42.960 --> 00:35:44.159
The podcast is great.
00:35:44.239 --> 00:35:50.159
We're gonna eat a very specific sandwich inspired by the movie and talk about the movie and how it relates to intimacy.
00:35:50.400 --> 00:35:55.840
And you're gonna see me post-watching this movie, shell-shocked, probably.
00:35:56.079 --> 00:35:57.440
So it should be a good time.
00:35:57.599 --> 00:35:58.159
Do you?
00:35:58.639 --> 00:36:03.280
There is a vertical on the app candy jar that's called French Kiss.
00:36:03.679 --> 00:36:07.920
Christmas, France, romance, it's very cute.
00:36:08.079 --> 00:36:10.960
There's kissing under the Holly, there's burlesque.
00:36:11.119 --> 00:36:14.559
It's it's a lot of fun, and I really, really enjoyed being on that one.
00:36:14.880 --> 00:36:18.400
Oh yay! Thanks so much for listening to Faking It.
00:36:18.480 --> 00:36:21.599
This episode's research and context was done by me, Ariel.
00:36:21.920 --> 00:36:25.679
You can find us on Apple Podcasts, Spotify, or anywhere you get your podcast.
00:36:25.840 --> 00:36:29.119
New episodes drop every other hump day, Wednesday.
00:36:29.440 --> 00:36:36.000
If this was good for you, the best way to support our show is to follow the podcast and leave a quick rating or review.
00:36:36.159 --> 00:36:38.000
It takes less than 30 seconds.
00:36:38.159 --> 00:36:42.079
Here's one we got recently from Eva Los Angeles.
00:36:42.239 --> 00:36:44.880
The title is funny, charming, and informative.
00:36:45.360 --> 00:36:49.599
It says, Love getting the perspectives of intimacy coordinators.
00:36:49.760 --> 00:36:53.920
This is such a unique take, and they add such great stories to each episode.
00:36:54.159 --> 00:36:56.880
So funny and easy to listen to on my way to work.
00:36:56.960 --> 00:36:57.599
I love it.
00:36:57.840 --> 00:37:00.320
We love it, Eva Los Angeles.
00:37:00.559 --> 00:37:02.639
Thank you, Eva Los Angeles.
00:37:02.960 --> 00:37:05.519
Okay, that's so nice.
00:37:07.280 --> 00:37:10.320
Tell one friend who loves spicy movie secrets about us.
00:37:10.480 --> 00:37:13.119
Find us on social media at faking it the pod.
00:37:13.599 --> 00:37:14.719
Want to get involved?
00:37:14.880 --> 00:37:17.599
Head to patreon.com slash faking it the pod.
00:37:17.840 --> 00:37:21.039
For just one dollar, you can request scenes for us to break down.
00:37:21.199 --> 00:37:24.960
For ten dollars, you get bonus content and never before seen footage.
00:37:25.119 --> 00:37:28.079
And for five dollars, you get a shout-out like these listeners.
00:37:28.159 --> 00:37:29.920
Thank you, Lee, and Kiki Brown.
00:37:30.239 --> 00:37:32.480
This episode was produced by Ariel Lee Cohen.
00:37:32.800 --> 00:37:34.880
Social media and branding by Borgett Smith.
00:37:35.039 --> 00:37:37.360
Our theme song is faking it by Mike Getz.
00:37:37.599 --> 00:37:41.039
Credits for the film or show we reacted to are in the episode caption.
00:37:41.280 --> 00:37:42.960
Stay real fakers.
00:37:45.280 --> 00:37:45.760
Ow!
00:37:46.239 --> 00:37:47.519
Why is it like a howl?
00:37:47.679 --> 00:37:51.360
Ooh! Ooh! That's the faker call.
00:37:51.599 --> 00:37:53.599
The faker call! Fakers arise!
00:00:00.239 --> 00:00:05.919
Hey fakers, Ariel here, and I'm so excited to share with you our new theme song.
00:00:06.160 --> 00:00:08.640
Thank you, Mike Gets, for creating it for us.
00:00:08.800 --> 00:00:12.240
We are so excited to have something not written by AI.
00:00:12.400 --> 00:00:15.919
So we hope you enjoy our intro, outro, and all that in between.
00:00:16.160 --> 00:00:17.519
Stay real, fakers.
00:00:18.079 --> 00:00:19.839
She blew every fuse.
00:00:20.079 --> 00:00:22.160
Welcome to the female orgasm.
00:00:24.000 --> 00:00:26.239
I'm gonna break your fucking machine.
00:00:26.320 --> 00:00:27.679
And he's like, you should feel shame.
00:00:27.839 --> 00:00:28.640
She's like, I don't.
00:00:28.800 --> 00:00:30.000
Sorry, not sorry.
00:00:43.280 --> 00:00:45.280
Hi, I'm Arielle Lee Cohen.
00:00:45.600 --> 00:00:46.960
Hey, I'm Morgan Smith.
00:00:47.200 --> 00:00:50.399
And we're the hosts of Faking It with Ariel and Morgan.
00:00:50.640 --> 00:00:55.600
We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV.
00:01:01.359 --> 00:01:06.719
I feel like I just recovered from the flu that was going around in January, kind of knocked me out.
00:01:06.799 --> 00:01:10.400
And then I feel like a week later I immediately got sick again and I was like, why?
00:01:10.560 --> 00:01:12.079
And then I had two overnights.
00:01:12.319 --> 00:01:12.719
You didn't.
00:01:12.879 --> 00:01:13.680
I'm still sleepy.
00:01:14.319 --> 00:01:15.280
It's ridiculous.
00:01:15.599 --> 00:01:18.640
One overnight, and I'm out for the count for like a month.
00:01:18.959 --> 00:01:29.359
Actually, for our audience, both of us, we're offered a super last minute gig that would be two hours from now, or maybe even an hour from 20 minutes from now.
00:01:29.599 --> 00:01:31.439
Yeah, sorry, 20 minutes from now.
00:01:31.920 --> 00:01:38.879
Not only can we not do it because we're recording right now, but also you can't get any prep done in that time.
00:01:39.040 --> 00:01:40.719
The rate is terrible.
00:01:40.959 --> 00:01:48.159
And if you can't financially support your intimacy scenes, then you might want to cut them, particularly because it seemed like this one was new.
00:01:48.400 --> 00:01:50.079
They just added it on the day.
00:01:50.400 --> 00:01:51.599
It's not the way to go.
00:01:51.680 --> 00:01:52.480
It's not safe.
00:01:53.120 --> 00:01:58.079
I didn't get details of what the intimacy was, but my feeling is that it wasn't like they just added some kissing.
00:01:58.319 --> 00:02:12.080
I got the vibe that all of a sudden they're simulated sex or nudity or some significant intimacy that you definitely should know about ahead of time and can't just spring on the actor's production.
00:02:12.400 --> 00:02:16.960
At that point, are you just being a stamp to say that like they did it?
00:02:17.120 --> 00:02:18.000
They tried.
00:02:18.240 --> 00:02:26.800
If you're not like, I just I just turned down a job different from this one because there were so many red flags.
00:02:26.879 --> 00:02:31.599
I was like, I don't actually think I'm being set up to do my job effectively.
00:02:31.759 --> 00:02:35.599
And I tried to voice like, hey, here are these concerns, here are these things we need to address.
00:02:35.680 --> 00:02:42.400
And it felt like the production either was not equipped to or was unwilling to make those accommodations.
00:02:42.639 --> 00:02:50.560
If you're not going to ensure the safety of a scene or to make sure a scene is done properly, then you shouldn't have that scene.
00:02:50.879 --> 00:02:55.280
I've produced my own stuff, so I understand what it is to work with a certain budget.
00:02:55.520 --> 00:03:00.319
If you don't have the budget to do certain content in your scene, then don't do that content.
00:03:00.479 --> 00:03:10.240
Either find a way to get more money or just don't do that thing because you're gonna end up doing harm and no project is worth doing harm.
00:03:10.639 --> 00:03:14.960
Part of our job is to make sure that there is nothing surprising on the day.
00:03:15.120 --> 00:03:20.560
And that's not to mean that there can't be malleability to the scene or that there's no room for play.
00:03:20.719 --> 00:03:26.639
There of course is, and we build that into it, but you can't add on a simulated sex scene the day of.
00:03:26.800 --> 00:03:32.960
And if you are last minute trying to do it, you need to be able to financially support that decision.
00:03:33.120 --> 00:03:36.080
And if you can't, don't just keep going.
00:03:36.400 --> 00:03:50.639
Decide if it's worth it, decide if it really tells the story the way you need it to, in which case, maybe, just maybe, a plan to shoot it another day when there's time to actually prep for it to be done safely.
00:03:51.599 --> 00:03:56.960
These are things that are purposely being rushed because that's part of how they keep costs really low.
00:03:57.360 --> 00:04:13.759
Audience, don't forget, they have also lines they've had to learn, which are inevitably have now been changed, and now they have to learn new lines, along with new choreography, along with not being sure, or maybe they are sure, if these new requests are within boundaries.
00:04:14.000 --> 00:04:18.000
They have so much more to deal with now, and it's so stressful.
00:04:18.240 --> 00:04:20.399
They're just not gonna do their best work.
00:04:20.639 --> 00:04:26.000
Anyways, that actually is a perfect segue into our film for today.
00:04:26.240 --> 00:04:26.480
Uh-oh.
00:04:27.759 --> 00:04:37.680
Which today we're going to be doing a classic, the 1968 sci-fi sex comedy Barbarella.
00:04:38.399 --> 00:04:42.560
Woo! Have you seen Barbarella before?
00:04:42.879 --> 00:04:44.800
No, no, I haven't.
00:04:45.120 --> 00:04:47.360
What do you know about it, if anything?
00:04:47.680 --> 00:04:50.639
It was Jane Fonda's breakout role.
00:04:50.879 --> 00:04:56.319
It was highly sexualized, and she regrets doing it.
00:04:56.480 --> 00:04:57.759
That's all I know.
00:04:58.480 --> 00:05:03.120
Yeah, well, we'll get into the regret of it all a little bit later on.
00:05:03.360 --> 00:05:12.000
I saw this movie like 10 years ago, and I was like, this is the most insane thing I have ever seen.
00:05:12.240 --> 00:05:14.399
Everyone was just on every drug.
00:05:14.560 --> 00:05:19.279
I can't possibly imagine another way in which this was made.
00:05:19.600 --> 00:05:31.120
I really wanted to mention there was an article in The Guardian that tried to make a log line for the film, like their own log line, and this is the this is perfect.
00:05:31.360 --> 00:05:34.079
It goes, Barbarella is Mr.
00:05:34.160 --> 00:05:39.680
Rogers as Jesus Christ as Marilyn Monroe, the sex bomb who will bring about world peace.
00:05:40.079 --> 00:05:41.519
Marilyn Monroe and Mr.
00:05:41.600 --> 00:05:43.199
Rogers as Christ figures.
00:05:43.680 --> 00:05:45.199
Yes, exactly.
00:05:45.519 --> 00:05:48.480
So just a little bit of context for what this is.
00:05:48.720 --> 00:05:57.519
Actors and characters that you'll see throughout these scenes are Jane Fonda as Barbarella and Milo O'Shea as Duran Durand.
00:05:57.759 --> 00:06:04.079
This was written by Jean-Claude Forrest, who also wrote the best-selling comic strip, Barbarella, that it's based on.
00:06:04.319 --> 00:06:11.759
Screenplay is by Terry Southern and Roger Vadim, and it's produced by Dino De Laurentiis and directed by Roger Vadim.
00:06:11.920 --> 00:06:16.160
Intimacy coordinated by absolutely no one because it's 1968.
00:06:16.480 --> 00:06:21.920
That would be shocking to me, although there's some timey wime stuff going on in this in this movie.
00:06:22.000 --> 00:06:23.519
So, like, who's to say?
00:06:23.759 --> 00:06:24.480
I'm excited.
00:06:24.560 --> 00:06:25.839
I'm intrigued.
00:06:26.160 --> 00:06:28.639
This is the intro to this to the film.
00:06:29.040 --> 00:06:29.279
Okay.
00:06:29.759 --> 00:06:32.079
So I'm actually gonna give you no context.
00:06:32.480 --> 00:06:33.360
That makes sense.
00:06:33.680 --> 00:06:34.000
Great.
00:06:34.160 --> 00:06:34.800
Here we go.
00:06:34.959 --> 00:06:35.360
All right.
00:06:35.600 --> 00:06:36.480
Paramount logo.
00:06:37.199 --> 00:06:37.439
Beautiful.
00:06:38.000 --> 00:06:39.120
Our media daddy.
00:06:39.519 --> 00:06:40.480
Our media daddy.
00:06:40.560 --> 00:06:42.000
Well, especially right now, I mean with all this.
00:06:43.759 --> 00:06:45.920
So we're seeing a spaceship.
00:06:46.240 --> 00:06:48.639
We're coming in from the outside.
00:06:48.879 --> 00:06:53.920
We see a space person surrounded by classic art floating.
00:06:54.160 --> 00:06:56.079
I don't know what the space suit is.
00:06:56.319 --> 00:06:59.439
It looks like it was designed by like Gucci or something.
00:06:59.680 --> 00:07:03.199
Okay, we're taking the gloves off, the space suit.
00:07:03.439 --> 00:07:05.839
We see Jane Fonda's hand.
00:07:06.319 --> 00:07:07.040
The music.
00:07:07.199 --> 00:07:08.720
Ooh, it's getting jazzy.
00:07:09.199 --> 00:07:10.399
Oh! Oh!
00:07:10.720 --> 00:07:10.879
Oh!
00:07:11.360 --> 00:07:14.079
This is not your typical space movie.
00:07:15.680 --> 00:07:17.839
Alright, she's floating around.
00:07:18.160 --> 00:07:21.519
The backpack of her space suit has come off.
00:07:22.399 --> 00:07:24.319
Now the legs are coming off.
00:07:24.399 --> 00:07:26.319
Is this how spacesuits worked?
00:07:26.639 --> 00:07:26.959
No.
00:07:27.279 --> 00:07:28.879
Back okay, sure.
00:07:29.279 --> 00:07:38.800
This is a very sensual way of removing a spacesuit while also zero gravity because she's floating around upside down.
00:07:39.120 --> 00:07:43.040
Also, they hadn't even gone to the moon yet at the point that this film came out.
00:07:43.199 --> 00:07:44.800
Okay, now both her legs are out.
00:07:44.879 --> 00:07:51.839
It looks like she might have practically like been on a glass pane and just rolling around with the camera upside down.
00:07:52.079 --> 00:07:52.959
The helmet.
00:07:53.279 --> 00:07:54.240
Are we gonna take it off?
00:07:54.319 --> 00:07:55.439
Or are we gonna be coy?
00:07:55.519 --> 00:08:01.360
Oh no! The shield is coming down to slowly reveal Jane Fonda.
00:08:01.680 --> 00:08:02.720
Looking great.
00:08:02.959 --> 00:08:04.480
She's real pretty.
00:08:05.279 --> 00:08:06.720
They're taking their time.
00:08:07.040 --> 00:08:10.959
It's the slowest reveal of her face.
00:08:11.120 --> 00:08:12.800
And she's just like looking out.
00:08:12.879 --> 00:08:14.160
And now her hair's out.
00:08:14.240 --> 00:08:17.920
Oh, and she's shaking out the letters of Jane Fonda.
00:08:18.079 --> 00:08:19.040
I love that.
00:08:19.279 --> 00:08:21.759
Yes, I love 1960s credits.
00:08:22.480 --> 00:08:27.120
Another name came out of her suit and is dancing around the screen.
00:08:27.600 --> 00:08:29.920
She's really happy about it.
00:08:30.319 --> 00:08:32.559
Oh, she's naked under the spacesuit.
00:08:32.639 --> 00:08:39.519
And she's looking at all the letters that are shaking and dancing around her and covering her naked bits.
00:08:39.679 --> 00:08:42.879
David Hemming's name is covering the essentials.
00:08:43.919 --> 00:08:46.080
Oh, but we see Ariola.
00:08:46.559 --> 00:08:48.720
She's bent over and totally naked.
00:08:48.879 --> 00:08:52.559
And we see her chest and a little bit of rear in her back.
00:08:52.720 --> 00:08:57.279
And her arms are covering her naked chest as she rolls over.
00:08:57.440 --> 00:08:58.879
Now we see her back.
00:08:59.039 --> 00:09:03.919
And now she's reaching in a shag rug and turned gravity back on.
00:09:04.159 --> 00:09:06.960
I mean, taking off a spacesuit is so complicated.
00:09:07.279 --> 00:09:13.840
And apparently, you really have to take your time and do it so that everyone slowly sees your naked body.
00:09:14.240 --> 00:09:24.480
It's fascinating to use the letters as mild masking, like masking her body parts, but it doesn't really do the best job because ultimately we do see quite a lot.
00:09:24.799 --> 00:09:34.399
It's very fitting for the time, like it's really cheeky and playful, down to like how the letters for the credits are like dancing around, the masking that they're doing.
00:09:34.559 --> 00:09:36.159
It's all about the T's.
00:09:36.320 --> 00:09:41.360
I mean, for 1968, showing a fully naked Jane Fonda is pretty scandalous.
00:09:41.519 --> 00:09:45.600
So the buildup to this makes total sense for the time.
00:09:45.919 --> 00:09:53.279
This is like a two-minute long scene of just pieces coming off, and it's not really explaining anything about the film.
00:09:53.360 --> 00:09:57.360
There is no exposition as much as this is our star naked.
00:09:57.519 --> 00:09:58.559
Look, look what we did.
00:09:58.720 --> 00:09:59.120
We did it.
00:09:59.200 --> 00:10:00.080
How cool is that?
00:10:00.320 --> 00:10:05.919
I mean, it does establish that we're in space and the movie's about Barbarella and she's gorgeous.
00:10:06.159 --> 00:10:11.519
Maybe there's art involved in the movie because she had some art pieces behind her.
00:10:11.840 --> 00:10:12.320
Nope.
00:10:12.559 --> 00:10:12.799
Okay.
00:10:12.960 --> 00:10:15.519
Well, the art was there, and it was pretty.
00:10:16.799 --> 00:10:21.600
I had wondered how they shot this scene, and you said she's on a glass plate.
00:10:21.759 --> 00:10:23.840
I'm like, that's exactly what it is.
00:10:24.000 --> 00:10:25.600
You figured it out so fast.
00:10:26.879 --> 00:10:27.600
Mystified.
00:10:27.679 --> 00:10:29.600
I'm like, she's not wearing a harness.
00:10:30.000 --> 00:10:31.519
What is she on, man?
00:10:31.759 --> 00:10:33.039
But also she's shouldn't.
00:10:33.200 --> 00:10:41.279
I think they're shooting an aerial and she's on top of a very clean glass plane because her body stays at the same level the whole time.
00:10:41.519 --> 00:10:44.799
She's not moving like back and forth in the depth of fields.
00:10:44.879 --> 00:10:48.159
And it's probably like the least high-tech way to get that shot.
00:10:48.480 --> 00:10:49.919
You gotta love practical effects.
00:10:50.480 --> 00:10:52.159
I love I love practical effects.
00:10:52.320 --> 00:10:55.120
Nine out of ten times better than CGI, in my opinion.
00:10:55.360 --> 00:10:57.360
It looks so good in this film.
00:10:57.600 --> 00:11:07.120
She looks great and everything, but just the actual composition of the shot looks very cool, and it looks like she is in um low gravitational field.
00:11:07.200 --> 00:11:08.559
So that's that's quite cool.
00:11:08.879 --> 00:11:18.960
Alright, so context for this scene: the villain, Duran Duran, places Barbarella in a device designed to induce lethal pleasure.
00:11:19.200 --> 00:11:24.000
She survives merely by outlasting it, causing it to malfunction.
00:11:24.320 --> 00:11:26.960
This is uh iconic, by the way.
00:11:27.200 --> 00:11:34.559
He's holding some kind of music sheet or computer code that he's putting into the machine.
00:11:37.120 --> 00:11:39.279
It's the excessive machine.
00:11:39.600 --> 00:11:41.039
The excessive machine.
00:11:41.279 --> 00:11:45.679
And she's like clamped into this machine, so she's feeling things.
00:11:48.399 --> 00:11:54.320
It's almost as if someone's like playing a piano on her body, like the piano keys are just on her.
00:11:54.399 --> 00:11:56.080
It's spitting out all her clothing.
00:11:57.759 --> 00:11:58.639
That's handy.
00:11:58.960 --> 00:12:02.639
She seems so confused by the whole thing, which I would be too to be fair.
00:12:02.879 --> 00:12:04.720
This is a brand new thing.
00:12:05.200 --> 00:12:10.159
Oh, and now she's sinking into the machine, and more clothing is being spat out.
00:12:10.399 --> 00:12:13.039
Okay, he's trying to kill her with pleasure.
00:12:13.919 --> 00:12:17.039
He also seems like he's into this sexually.
00:12:17.200 --> 00:12:18.960
Like, this is how he gets off.
00:12:19.279 --> 00:12:20.639
Yeah, by murder.
00:12:21.120 --> 00:12:23.039
Her head is getting thrown back.
00:12:23.200 --> 00:12:25.919
It seems like she's getting into orgasm.
00:12:26.879 --> 00:12:30.159
Now she's exhausted from all this pleasure.
00:12:30.320 --> 00:12:32.559
Her hair is sweaty, but not too sweaty.
00:12:32.639 --> 00:12:34.480
She's supposed to be gorgeous.
00:12:34.799 --> 00:12:37.279
She looks like she might pass out.
00:12:37.759 --> 00:12:39.919
He keeps trying to play the keys harder.
00:12:40.159 --> 00:12:42.799
She's enjoying how she's feeling.
00:12:43.039 --> 00:12:44.559
She's getting sweatier.
00:12:44.639 --> 00:12:46.639
Her eyes are getting bigger.
00:12:46.879 --> 00:12:47.200
Oh.
00:12:47.519 --> 00:12:49.279
And there's more orgasm, I think.
00:12:49.519 --> 00:12:50.639
He keeps playing the keys.
00:12:50.720 --> 00:12:51.440
He's like, this is it.
00:12:51.519 --> 00:12:52.159
I'm gonna kill her.
00:12:52.240 --> 00:12:53.440
Why won't she die?
00:12:54.080 --> 00:12:56.159
And she's like, This feels great.
00:12:56.320 --> 00:12:57.759
I'm in bliss.
00:12:58.080 --> 00:13:04.399
We see tubes that are starting to steam because the pleasure's getting too much for the machine.
00:13:05.200 --> 00:13:07.120
There's smoke all around her.
00:13:07.279 --> 00:13:08.720
She's still feeling it.
00:13:08.960 --> 00:13:10.240
He's so confused.
00:13:10.399 --> 00:13:12.000
Why isn't this machine killing her?
00:13:12.159 --> 00:13:13.039
There's fire.
00:13:13.279 --> 00:13:15.200
There's fire on the machine.
00:13:17.039 --> 00:13:17.840
She's still in there.
00:13:18.000 --> 00:13:18.720
There's fire.
00:13:19.360 --> 00:13:21.440
Okay, but like get her out of the machine.
00:13:22.639 --> 00:13:23.519
He's upset.
00:13:23.600 --> 00:13:24.720
His machine is broken.
00:13:25.600 --> 00:13:27.279
She blew every fuse.
00:13:27.519 --> 00:13:29.679
Welcome to the female orgasm.
00:13:31.519 --> 00:13:34.639
All these big cords coming from the ceiling are on fire.
00:13:34.799 --> 00:13:35.679
She's still in there.
00:13:35.840 --> 00:13:37.440
Why should she have shame?
00:13:37.759 --> 00:13:38.960
You did this to her.
00:13:39.440 --> 00:13:40.639
It's like typical dude.
00:13:40.960 --> 00:13:43.360
You wish you had died of pleasure before this day is done.
00:13:43.679 --> 00:13:44.960
That's that scene.
00:13:45.200 --> 00:13:50.159
Well, honestly, this is the best way to go out if there was a way to go out.
00:13:50.320 --> 00:13:55.519
I love that she beat it, but also if she didn't beat the machine, I'd love that for her too.
00:13:55.759 --> 00:13:57.360
It's very creative.
00:13:57.600 --> 00:13:59.440
Everyone is so creative.
00:14:00.240 --> 00:14:01.840
Everybody's so creative.
00:14:02.159 --> 00:14:03.120
Exactly.
00:14:03.759 --> 00:14:14.240
It is interesting the way they shot it because his hands are out of frame, so it kind of looks like he's doing a lot arm-wise, that it could be implied that he's doing more with her.
00:14:14.799 --> 00:14:24.879
But it's interesting to me this versus that first scene because they are willing to show everything in that scene, but in this scene, they're actually very modest.
00:14:25.360 --> 00:14:33.120
And her orgasm's not over the top, screaming crazy, eyes like clenched, teeth clenched together.
00:14:33.279 --> 00:14:36.720
She's actually kind of just like blissed out and vibing for a lot of people.
00:14:36.879 --> 00:14:39.200
I mean, I think it's important to remember the time period.
00:14:39.440 --> 00:14:44.879
In a 1968 mainstream movie, we're not gonna get a big crazy orgasm from a woman.
00:14:45.039 --> 00:14:49.039
We're not gonna get full-on nudity multiple times in the same movie.
00:14:49.200 --> 00:14:54.639
So we kind of have to take off her 2026 lens for the time period.
00:14:54.720 --> 00:14:56.080
This is extremely risque.
00:14:56.480 --> 00:15:01.840
The fact that they even showed her having a moan to indicate an orgasm is huge.
00:15:02.000 --> 00:15:06.720
Like this is probably back when you couldn't even say abortion on television.
00:15:07.039 --> 00:15:15.200
So the idea of showing a woman's pleasure and showing it to this extent was a huge deal for this time.
00:15:15.279 --> 00:15:20.879
And showing it for as long as they did is like really groundbreaking in a lot of ways.
00:15:21.039 --> 00:15:26.399
And I wouldn't be surprised to find out that this is one of the first big movies to have done this.
00:15:26.559 --> 00:15:34.080
I'm sure there was some like smaller art house stuff or Andy Warhol stuff that did something, but this is pretty scandalous for the time.
00:15:34.399 --> 00:15:41.519
This film in particular, you know, was one of the biggest commercial successes for like sci-fi sex comedy vibe.
00:15:42.080 --> 00:15:46.960
It's really fascinating because she does have a large orgasm moment.
00:15:47.200 --> 00:15:54.559
She does have an ah, like there is a big moan vocal sound, and then the entire machine is set on fire.
00:15:54.799 --> 00:15:56.480
It's so explosive.
00:15:56.720 --> 00:16:04.320
It comes down to that question of do we need to see nudity in order to tell the story most effectively?
00:16:04.480 --> 00:16:06.879
And this scene kind of proves you don't.
00:16:07.360 --> 00:16:15.120
Yeah, I mean, it gets into the conversation of what's the best way to tell this story, and sometimes that is showing more of the body, sometimes that isn't.
00:16:15.200 --> 00:16:22.240
For the time period, this is showing a lot of her pleasure, and that's so highly unusual for this time.
00:16:22.320 --> 00:16:24.080
Like I can't really emphasize that enough.
00:16:24.320 --> 00:16:37.039
It's still considered explicit in movies to show a woman orgasming, like with our current rating system, you're likely to get into NC17 territory if you just focus on a woman's face while she orgasms.
00:16:37.279 --> 00:16:41.039
So the fact that this movie is doing this in 1968 is a big deal.
00:16:41.200 --> 00:16:43.600
Because we had that rating system at that time, right?
00:16:43.759 --> 00:16:46.080
The MPAA kicked in.
00:16:46.320 --> 00:16:46.960
Yeah, dude.
00:16:47.120 --> 00:16:47.440
Okay.
00:16:47.679 --> 00:16:54.320
So for reference, Barbarella was released in the US on October 10th, 1968.
00:16:54.639 --> 00:17:02.000
And the MPAA, uh the Motion Picture Association rating system, officially started November 1st, 1968.
00:17:02.399 --> 00:17:12.960
So they had started to form it before that time, but I can't say with certainty that it didn't have anything to do with Barbarella in the way that that was proposed.
00:17:13.359 --> 00:17:22.480
Censoring content for propriety and for appropriateness for certain audiences has something that had been in conversation for a long time.
00:17:22.720 --> 00:17:30.559
It sounds like Barbarella didn't have a rating since it snuck in before, so it kind of makes sense that it was able to get away with this much at this time period.
00:17:30.880 --> 00:17:37.119
It was originally featuring a suggested for mature audience tag, because I had those.
00:17:37.359 --> 00:17:44.559
And then there was a re-release in 77 that got a PG rating, which I I don't know how that happened, but all right.
00:17:45.039 --> 00:17:45.359
Okay.
00:17:47.839 --> 00:17:48.079
Sure.
00:17:48.240 --> 00:17:54.640
Yeah, we'll have to do a bonus episode all about the rating system in Hollywood because like that whole journey is an amazing idea.
00:17:54.960 --> 00:18:04.000
I know the movie is silly and I know it's in a lot of ways, not very feminist, but I'm like, the fact that they're showing like her full orgasm and it's breaking the machine.
00:18:04.079 --> 00:18:07.440
I'm like, that feels pretty revolutionary for that time.
00:18:07.519 --> 00:18:09.440
And to fully show it that way.
00:18:09.680 --> 00:18:15.599
And he's saying, like, shame, shame, like you should should feel shame, but we're on her side, so we don't.
00:18:15.759 --> 00:18:16.559
That's pretty cool.
00:18:16.880 --> 00:18:25.599
And I mean, the behind the scenes, I have a Vanity Fair article where it said Fonda recalled having to get drunk before shooting the nude scene for Barbarella.
00:18:26.000 --> 00:18:28.720
It was directed by her then husband, Vadim.
00:18:29.279 --> 00:18:34.960
And she was struggling with body dysmorphia at the time, and like psychologically, it was very difficult for her to do it.
00:18:35.200 --> 00:18:43.200
But then on the other side, there is sort of a funny thing where the scene had to be reshot because a bat kept flying between Fonda and the camera.
00:18:43.519 --> 00:18:44.720
For the opening scene?
00:18:44.960 --> 00:18:46.240
Yeah, the opening scene.
00:18:46.559 --> 00:18:49.279
Where were they filming that there was a bat present?
00:18:49.599 --> 00:18:54.640
I truly don't know, but I imagine a lot of this was shot on sound stages.
00:18:54.880 --> 00:18:57.039
So maybe they just had a bat in the sound stage.
00:18:57.200 --> 00:18:59.279
In the sound stage, that's so funny.
00:18:59.519 --> 00:18:59.920
I know.
00:19:00.000 --> 00:19:04.480
For those who are not aware, like a lot of sound stages are basically banned in Costco.
00:19:04.559 --> 00:19:10.480
Like they're just huge, huge buildings full of nothing that you can fill with whatever, and they have a light grid on the top.
00:19:10.799 --> 00:19:11.680
I digress.
00:19:11.920 --> 00:19:14.319
This was directed by her husband at the time.
00:19:14.640 --> 00:19:27.920
We haven't discussed uh husband, wife, or partner-partner teams as far as simulated sex or nudity on screen, where one is at a higher hierarchical level than the other person.
00:19:28.160 --> 00:19:35.920
There's a lot of interesting power dynamics at play when you have Jane Fonda being directed by her husband, but she's still Henry Fonda's daughter.
00:19:36.079 --> 00:19:42.000
I don't know how big her husband was of a director at the time, but she's still a Hollywood legends child.
00:19:42.160 --> 00:19:56.000
So even though the director is higher up in the hierarchy on a film set, generally speaking, than the lead actor, because film is the director's medium and theater's the actor's one, and TV is the writer's one.
00:19:56.079 --> 00:19:57.519
There's still a lot going on.
00:19:57.599 --> 00:20:02.079
And then I also don't know what their particular dynamics within their relationship were.
00:20:02.240 --> 00:20:12.160
I got the feeling I saw the Jane Fonda documentary forever ago, but I got the feeling a lot of her marriages were like not super helpful and she didn't have a lot of power within those relationships.
00:20:12.240 --> 00:20:14.240
So I don't know if that was going on here.
00:20:14.480 --> 00:20:30.799
But I can imagine having to shoot a scene like that when you already are having issues with body dysmorphia and now you're on display, not just in front of your husband, but also in front of a whole crew of people, and it's the 60s, so people have different ideas of like what are appropriate things to say on a set like that.
00:20:30.960 --> 00:20:32.720
It must have been really challenging for her.
00:20:33.039 --> 00:20:40.880
In that same article I was reading before, she has a quote where she says, Looking back now, I kind of enjoy it, but it was a terrible experience to make.
00:20:41.519 --> 00:20:42.960
Which, you know, I get it.
00:20:43.200 --> 00:20:46.079
But I think on that note, maybe let's get into the spice scale.
00:20:46.720 --> 00:20:48.319
Yeah, let's do the spice scale.
00:20:48.559 --> 00:20:58.240
Welcome to the spice scale, our not so scientific way of writing intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, and heat factor.
00:20:58.640 --> 00:21:01.920
Each category gets a score from one to five, with five being the highest.
00:21:02.000 --> 00:21:05.279
Then we add it all up to give the scene a final letter grade.
00:21:05.440 --> 00:21:12.720
So we already started getting into consent and power dynamics, how the scene depicts consent and power in the story, and if known behind the scenes.
00:21:12.960 --> 00:21:20.960
I feel like there's more of a conversation around the story of consent and power dynamics in the second scene, since the first scene, she's alone.
00:21:21.200 --> 00:21:23.440
If we're talking about just in the world of the film.
00:21:23.680 --> 00:21:31.599
And they're actually really great in the second scene because this guy is literally trying to kill her with her pleasure.
00:21:31.759 --> 00:21:38.720
And it just makes me think a lot about like how overt Christian puritanical thinking was at this time.
00:21:38.799 --> 00:21:43.200
We were rebelling against these ideas that we should feel shame about sex.
00:21:43.359 --> 00:21:45.599
The sexual revolution is in full swing.
00:21:45.759 --> 00:21:52.640
So here is this older guy trying to tell this young woman, like, you're gonna die because of all the pleasure you're trying to feel.
00:21:52.799 --> 00:21:54.480
And she was like, No, I'm not.
00:21:54.559 --> 00:21:56.559
I'm gonna break your fucking machine.
00:21:56.720 --> 00:21:58.079
And he's like, You should feel shame.
00:21:58.160 --> 00:21:58.960
She's like, I don't.
00:21:59.039 --> 00:21:59.759
Sorry, not sorry.
00:22:00.400 --> 00:22:03.200
Like, I actually just feel great, and your machine is garbage.
00:22:03.359 --> 00:22:04.079
And I love that.
00:22:04.240 --> 00:22:05.200
I love that message.
00:22:05.519 --> 00:22:07.119
Kind of inspiring, actually.
00:22:07.359 --> 00:22:07.599
Yeah.
00:22:08.559 --> 00:22:09.680
I want to break a machine.
00:22:10.000 --> 00:22:10.160
Yeah.
00:22:10.319 --> 00:22:14.799
I'd love to set fire to a machine with just how much amazing feelings I'm feeling.
00:22:15.039 --> 00:22:34.400
He thinks he is in control of the situation and that he has the power, but ultimately she has so much sexual power in her body that she is able to overcome what he's trying to do ultimately, which is, you know, it is interesting with consent and power in that first scene, though.
00:22:34.799 --> 00:22:39.839
In the beginning, the pieces of the astronaut suit are kind of popping off of her.
00:22:39.920 --> 00:22:42.720
They're being pulled from the ship itself, presumably.
00:22:43.440 --> 00:22:50.000
And then by the leg, she's pulling off her own things, and she is sort of in charge of the narrative of what's happening at that point.
00:22:50.480 --> 00:22:55.680
And then there is sort of a pullback where you see this liquid draining from her helmet.
00:22:56.319 --> 00:22:57.759
It's unclear whether that's her doing.
00:22:58.160 --> 00:22:58.960
Oh, is that liquid?
00:22:59.039 --> 00:23:00.319
I thought it was like a shield.
00:23:01.440 --> 00:23:02.480
I'm not sure.
00:23:02.640 --> 00:23:04.240
It looks like liquid to me.
00:23:04.400 --> 00:23:06.880
Something is showcasing her face at some point.
00:23:07.119 --> 00:23:11.680
And she is the one with the impetus to pull off piece by piece by piece.
00:23:11.920 --> 00:23:22.400
And she is sort of covering herself, but it's less an active motion as much as it's like she's just trying to kind of find her footing in this new gravitational space.
00:23:22.720 --> 00:23:27.119
But going back to that second scene, she is not consenting.
00:23:27.359 --> 00:23:29.759
She seems more confused.
00:23:30.640 --> 00:23:36.079
I mean, she's not consenting because he's put her in that machine and is doing stuff to her against her will.
00:23:36.480 --> 00:23:40.559
And then she starts to feel pleasure, but I don't think that indicates that she's consenting.
00:23:40.720 --> 00:23:44.400
But I mean, I think they're both effective in telling the story they want to tell.
00:23:44.480 --> 00:23:51.680
Like, I guess I would give it a five because I I didn't see like any discrepancy in what they were trying to say in the scene and what how it was executed.
00:23:51.920 --> 00:23:54.240
Yeah, and I mean it's so comically over the top.
00:23:54.400 --> 00:23:56.319
They have excessively clear.
00:23:56.480 --> 00:23:58.319
I mean, it's called the excessive machine.
00:23:58.400 --> 00:23:59.200
I'm down with five.
00:23:59.279 --> 00:24:00.000
I'm down with five.
00:24:00.640 --> 00:24:02.799
Technical craft and coordination excellence.
00:24:03.359 --> 00:24:07.519
The staging film coverage, modesty protection, choreography, and overall execution of the scene.
00:24:08.000 --> 00:24:15.279
Especially with the first scene, they do a really good job of hiding her pelvis.
00:24:15.759 --> 00:24:18.799
There's a couple times I think we see Areola.
00:24:19.279 --> 00:24:26.480
We don't see her rear, especially her butt crack, which I think at that time, like that was a big deal of like seeing the butt crack.
00:24:26.559 --> 00:24:36.880
I know with like Mary Tyler Moore and the Dick Van Dyke show, it was a big deal when she wore pants and you could see like where her butt cups because the pants were tight enough, and that was a huge scandal.
00:24:37.119 --> 00:24:43.920
The fact that we were playing with these like very specific rules about what is and isn't decent, and they were pulling that off effectively.
00:24:44.000 --> 00:24:45.519
I'm like, they did a pretty good job there.
00:24:45.599 --> 00:24:49.359
And like the letter placement, it's like it was cute, it's cute but effective.
00:24:50.960 --> 00:24:54.880
I really enjoyed the letters, how they like pop out of her suit and everything.
00:24:55.039 --> 00:24:56.480
I thought that was a lot of fun.
00:24:56.720 --> 00:24:58.160
I thought it was kind of well done.
00:24:58.319 --> 00:25:02.559
The choreography, it felt very dance-like in that first scene.
00:25:02.799 --> 00:25:03.680
Oh, for sure.
00:25:03.839 --> 00:25:04.319
Yeah.
00:25:04.720 --> 00:25:10.079
As far as like the coverage and modesty protection, I mean, I'm not sure what she was wearing, if anything.
00:25:10.240 --> 00:25:20.400
I don't think anything in that first scene, but it doesn't seem to me that Ariola or Nipples were off the table as far as boundaries, but that maybe gluteal cleft was.
00:25:20.559 --> 00:25:27.039
And even we do see like part of her groin, but we don't really see much of it, and we only see it for like a split second.
00:25:27.279 --> 00:25:31.119
And the other scene, like, she's covered completely by this weird piano machine.
00:25:31.200 --> 00:25:32.720
So yeah, yeah, yeah.
00:25:32.799 --> 00:25:36.160
We don't even see the top of her breast tissue, it's just like the collarbone.
00:25:36.319 --> 00:25:37.680
Wait, can we go back for a sec?
00:25:38.000 --> 00:25:38.960
Am I wrong?
00:25:39.200 --> 00:25:40.720
Maybe I'm wrong.
00:25:41.279 --> 00:25:44.640
I could have sworn we saw it for like a split second.
00:25:45.279 --> 00:25:46.960
This is fun to watch again.
00:25:47.200 --> 00:25:48.079
Yeah, it is.
00:25:49.519 --> 00:25:52.640
Okay, I think this is the part where she just takes this off.
00:25:52.960 --> 00:25:59.920
Cause she probably is wearing some type of modesty garment, even if it's not an official one like we have now.
00:26:00.400 --> 00:26:04.799
Here, you can't see a lot, but like a split second of it.
00:26:05.599 --> 00:26:08.480
Yeah, the letters like come in pretty quickly.
00:26:08.960 --> 00:26:10.079
This is very important.
00:26:10.720 --> 00:26:12.400
No or so important.
00:26:13.200 --> 00:26:13.359
Okay.
00:26:13.599 --> 00:26:17.039
That's I think this has some kind of modesty garment on.
00:26:17.200 --> 00:26:23.039
Because I see some kind of fabric that's covering her pubis, and there's a little bit of pubic hair sticking out.
00:26:23.200 --> 00:26:27.519
So they either did something in post or she was wearing something.
00:26:28.079 --> 00:26:29.680
That's very possible that she was wearing.
00:26:29.839 --> 00:26:30.880
Do you see what I'm talking about?
00:26:30.960 --> 00:26:32.720
There's like a distinct line.
00:26:33.039 --> 00:26:33.839
Yes, yeah.
00:26:34.000 --> 00:26:39.119
I see what you're saying, particularly here around David Hemings.
00:26:40.240 --> 00:26:42.319
Around the N in David Hemings.
00:26:42.799 --> 00:26:52.640
Yeah, there's there's definitely something we're seeing, but then it is covered by letters so quickly that we kind of like lose track of it and then it's gone.
00:26:52.960 --> 00:27:08.480
Yeah, so there's a chance she was doing that naked on the day, but she was doing a lot to like keep her legs together, keeping them crossed, like moving in such a way to try to block that area, which you would do if you had a modesty garment on anyway, but you'd probably be even more cognizant of if you had nothing there.
00:27:08.799 --> 00:27:13.759
I do want to clarify, Jane Fonda doesn't regret doing this film.
00:27:13.920 --> 00:27:17.359
From my research, I have an a Yahoo News article here.
00:27:17.599 --> 00:27:21.920
She kind of blames studios for trying to make work like this in the first place.
00:27:22.400 --> 00:27:26.559
And she said, We have to shame the studios for being so gender biased.
00:27:26.720 --> 00:27:29.279
We have to show that movies made by women make money.
00:27:29.519 --> 00:27:38.880
She said she took the easy road for a while and that ended with Barbarella, but she liked playing somebody that caused a certain generation of men to have their first direction.
00:27:40.079 --> 00:27:45.920
But then when she became an activist, she didn't want to put into that sort of sex object slot anymore.
00:27:46.960 --> 00:27:49.440
So this is something she wanted to do.
00:27:49.599 --> 00:27:51.359
She had a hard time doing it.
00:27:51.440 --> 00:27:56.960
Like some films are difficult to do, but this wasn't a problematic experience for her.
00:27:57.279 --> 00:27:57.759
That's good.
00:27:58.000 --> 00:28:00.160
At least as far as I'm able to tell from research.
00:28:00.480 --> 00:28:03.119
Aside from having to get drunk to do the first scene.
00:28:03.519 --> 00:28:14.799
Jane Fonda has gone on record saying that she wished intimacy coordinators existed at the time, and I think that she would have really benefited from one, frankly, uh, in this situation, so she wouldn't have felt the need to get drunk beforehand.
00:28:15.039 --> 00:28:16.880
Anyway, back to what we were saying though.
00:28:17.039 --> 00:28:20.400
So technical crop coordination explains, what do you think?
00:28:20.720 --> 00:28:32.400
I don't think they wanted us to see her pelvis, so I'm gonna ding that just on a four because it's so brief and we had to look back at it, but I'm like, I don't think that was intentional.
00:28:32.720 --> 00:28:39.839
It's so hard because they were not going for authenticity for sure on any of this, particularly that second scene.
00:28:40.000 --> 00:28:49.359
I wasn't a hundred percent sold on her orgasm expressions on her face, but I also think that it worked for what it was doing.
00:28:49.440 --> 00:28:50.720
I'm cool with a four.
00:28:50.960 --> 00:28:52.160
Heat factor.
00:28:54.160 --> 00:28:58.400
I think they're both isn't as hot as they intend them to be.
00:28:58.480 --> 00:29:01.519
Like the first scene is obviously a striptease.
00:29:01.920 --> 00:29:03.759
Yeah, it's just eroticism.
00:29:04.000 --> 00:29:05.759
Yeah, yeah, that's all it is.
00:29:05.920 --> 00:29:13.680
And then the second scene as well is just like, oh, we're slowly watching her reach orgasm and break this machine down.
00:29:13.839 --> 00:29:18.319
We're also seeing this guy kind of getting off on trying to destroy her.
00:29:18.640 --> 00:29:20.240
For me, it was a five.
00:29:20.880 --> 00:29:22.079
For sure, heard.
00:29:22.319 --> 00:29:31.920
I think it's really interesting because the first scene is supposed to come across as very sexy and very fluid and almost like a burlesque-ish level, but without the comedic elements.
00:29:32.319 --> 00:29:37.119
And the second scene is supposed to come across like comedy, it's supposed to be funny.
00:29:37.359 --> 00:29:40.000
This machine is so ridiculous, and and he's ridiculous.
00:29:40.079 --> 00:29:45.920
He's like sweating as he's like pressing the piano thing, and he's like, once we get to the chorus, like you'll die.
00:29:46.960 --> 00:29:54.000
So that one's not particularly trying to be sexy, but there is a sexiness to the fact that she breaks the machine and it gets set on fire.
00:29:54.079 --> 00:29:57.279
But then I'm very worried for her being in a box with fire surrounding.
00:29:57.519 --> 00:30:01.680
Yeah, he leaves her with a box of fire, and I'm like, okay, great, she broke your machine.
00:30:01.759 --> 00:30:02.400
It feels so bad.
00:30:02.480 --> 00:30:03.359
Can we get her out though?
00:30:03.599 --> 00:30:05.279
Because I don't think you're trying to burn her alive.
00:30:06.319 --> 00:30:06.960
Oh no.
00:30:07.200 --> 00:30:13.359
And literally, but the funny thing is, it's like this is the like a side note of a side note.
00:30:13.519 --> 00:30:21.119
But if you if his goal is to kill her, like leaving her in a box that's on fire is probably like a pretty decent way to do that.
00:30:21.440 --> 00:30:27.200
Yeah, I have a feeling there was something specifically about defeating her via pleasure that he needed.
00:30:27.359 --> 00:30:29.599
I haven't seen the movie, so you can correct me on this.
00:30:29.680 --> 00:30:35.119
But he seemed like the type of villain that was like, I need to defeat you in this specific way in order for it to be satisfying.
00:30:35.200 --> 00:30:38.160
It's not eliminate you in any way, shape, or form.
00:30:38.240 --> 00:30:40.880
It's like it has to feel like personal.
00:30:42.160 --> 00:30:43.759
Okay, fair enough.
00:30:44.079 --> 00:30:44.720
I like that.
00:30:44.880 --> 00:30:45.359
I like that.
00:30:45.519 --> 00:30:48.799
All right, so then are we going, we going with a five or we're going for a five?
00:30:49.039 --> 00:30:56.160
We're gonna go for a sexy little five, which beats us too for our millionth time in A! A.
00:31:02.640 --> 00:31:04.480
All right, so Ariel.
00:31:04.960 --> 00:31:05.279
Yes.
00:31:05.519 --> 00:31:09.599
We have a new segment now that we do when we have an A scene.
00:31:10.319 --> 00:31:15.440
Ruin it! Ruin it! So, how would we ruin these scenes?
00:31:15.519 --> 00:31:19.599
And I'm gonna add the parameters of like given the time period too.
00:31:20.000 --> 00:31:26.400
Well, it's interesting because usually when we ruin it, it's because it got an A because it's coming from the female gaze.
00:31:26.480 --> 00:31:29.759
We kind of push it to the male gaze, and that kind of tends to ruin it in some way.
00:31:29.920 --> 00:31:32.400
But this is from the male gaze already.
00:31:32.720 --> 00:31:40.559
So, okay, you could go comedic with that first scene, and you could have her like having a lot of trouble getting the outfit, getting it off.
00:31:40.799 --> 00:31:45.839
Breasts aren't jiggling in the space as she's like pulling off pieces of the outfit.
00:31:46.160 --> 00:31:49.279
That would make it much less fluid and sexy looking.
00:31:49.599 --> 00:32:01.440
Yeah, she's hairier, like her legs aren't silky smooth, and she has helmet hair when she takes it off and like sweaty, smudged up makeup because she was like in a spacesuit.
00:32:01.519 --> 00:32:02.240
That's practical.
00:32:02.480 --> 00:32:03.839
You made it realistic.
00:32:04.079 --> 00:32:04.559
Yes.
00:32:04.799 --> 00:32:06.400
Oh, you know what would ruin it?
00:32:06.640 --> 00:32:07.440
Regular gravity.
00:32:07.599 --> 00:32:11.680
Like she's just standing there and like pulling off one piece, the other piece.
00:32:13.440 --> 00:32:14.880
Like that would suck.
00:32:15.039 --> 00:32:16.960
How would we ruin the second scene?
00:32:17.039 --> 00:32:18.400
It's so insane.
00:32:18.720 --> 00:32:22.319
I keep thinking of ways that it would make it better, but not ways that I would ruin it.
00:32:22.400 --> 00:32:28.000
I'm like, if she like made eye contact with him while she was like defeating the machine, just staring at me.
00:32:30.240 --> 00:32:32.240
Like, that would make it better for me, not worse.
00:32:32.480 --> 00:32:39.519
It's very general, it's just her being touched, and I assume there's other stuff happening in the machine because it's obviously like taking her clothes off.
00:32:39.599 --> 00:32:43.359
I don't know if she's being penetrated by the machine underneath or something.
00:32:43.599 --> 00:32:46.079
But I think it's actually funnier that it's not specific.
00:32:46.400 --> 00:32:48.880
Yeah, I think it would ruin it if it were more specific.
00:32:49.039 --> 00:32:59.920
I think if we knew exactly the parameters of what it is that is making her feel good, maybe it's a tiny piano on top of her vulva and tiny pianos on top of her breasts.
00:33:00.079 --> 00:33:01.279
That would make it horrible.
00:33:01.519 --> 00:33:05.519
It'd be so weird looking and just like the comedy would be destroyed.
00:33:05.680 --> 00:33:08.799
It would just be about her body instead of the situation.
00:33:09.599 --> 00:33:10.079
Yeah.
00:33:10.240 --> 00:33:10.559
Yeah.
00:33:10.720 --> 00:33:11.680
I just realized too.
00:33:11.759 --> 00:33:15.519
It's like a piano, or it's like, you know, when a cat is making biscuits.
00:33:15.759 --> 00:33:16.960
Making biscuits.
00:33:17.279 --> 00:33:19.759
That's kind of what the machine is doing on her.
00:33:19.920 --> 00:33:20.319
Oh my god.
00:33:20.559 --> 00:33:21.599
Here's another way to think about it.
00:33:21.680 --> 00:33:31.599
If they rebooted this movie and we're like, we're gonna do like a 2026 version, yeah, and we're gonna we're gonna cast Margot Robbie and she's gonna be fucking the machine.
00:33:32.319 --> 00:33:32.880
I mean, I'm not sure.
00:33:33.039 --> 00:33:35.119
I love Margot Robbie, but that's what they would do.
00:33:35.279 --> 00:33:37.119
I Oh, for sure.
00:33:37.359 --> 00:33:41.440
Here is the dildo attached to the high smith machine.
00:33:41.599 --> 00:33:44.240
Like, and there it is, the excessive machine.
00:33:44.400 --> 00:33:47.519
Yeah, it becomes so excessive that it would become excessive.
00:33:47.680 --> 00:33:49.519
There's nothing campy about it.
00:33:51.039 --> 00:33:52.640
It's not campy, it's not fun.
00:33:52.799 --> 00:33:58.400
They go for something that's too real, they miscast the machine as an animal or I don't know.
00:33:59.359 --> 00:33:59.839
Cool.
00:34:00.000 --> 00:34:02.640
I I think we've sufficiently roomed it.
00:34:03.119 --> 00:34:04.240
These scenes were interesting.
00:34:04.319 --> 00:34:14.480
I think Barbarella is really interesting because it shows how you know early cinema treated sexuality as this visual spectacle first and human experience second.
00:34:14.800 --> 00:34:28.079
And the nudity and simulated pleasure scenes are really designed around fantasy, performance, the male gaze instead of you know character-driven consent, communication, any level of emotional realism, you know.
00:34:28.320 --> 00:34:37.199
This is something we've talked about because we try to have variety in the types of projects we discuss, and we're like, man, like how come we can't get stuff before the 80s?
00:34:37.360 --> 00:34:47.840
And it's actually really hard because a lot of it, a lot of movies before that time and television shows really didn't show very much intimacy because they couldn't for a lot of different reasons.
00:34:48.000 --> 00:34:56.880
And took a long time before we really started to see stuff, and this is still like such an early version of like, oh, we're really seeing stuff on screen.
00:34:57.039 --> 00:34:59.119
We're we're seeing her orgasm.
00:34:59.280 --> 00:35:05.599
And like, I don't think you could say pregnant on TV at this point, but you could see her orgasm, like it's crazy.
00:35:05.920 --> 00:35:06.719
Absolutely.
00:35:06.960 --> 00:35:08.639
Do you have anything to plug?
00:35:08.880 --> 00:35:12.960
I'm gonna guest on scary movie and a sandwich with my buddy Artem.
00:35:13.280 --> 00:35:23.199
We're talking about this scary movie called Titane that I started to watch last night, French horror movie where this woman ends up fucking a car, and I was like fascinating.
00:35:23.280 --> 00:35:23.760
I'm in.
00:35:24.400 --> 00:35:25.199
Started watching it.
00:35:25.280 --> 00:35:33.679
And the part that Artem forgot to mention is that she's a serial killer and does a lot of like really graphic violence to people in between the car fucking.
00:35:33.840 --> 00:35:41.119
And so I'm slowly making my way through because I just emotionally can't handle really intense horror.
00:35:41.440 --> 00:35:42.719
Yeah, no, neither can I.
00:35:42.960 --> 00:35:44.159
The podcast is great.
00:35:44.239 --> 00:35:50.159
We're gonna eat a very specific sandwich inspired by the movie and talk about the movie and how it relates to intimacy.
00:35:50.400 --> 00:35:55.840
And you're gonna see me post-watching this movie, shell-shocked, probably.
00:35:56.079 --> 00:35:57.440
So it should be a good time.
00:35:57.599 --> 00:35:58.159
Do you?
00:35:58.639 --> 00:36:03.280
There is a vertical on the app candy jar that's called French Kiss.
00:36:03.679 --> 00:36:07.920
Christmas, France, romance, it's very cute.
00:36:08.079 --> 00:36:10.960
There's kissing under the Holly, there's burlesque.
00:36:11.119 --> 00:36:14.559
It's it's a lot of fun, and I really, really enjoyed being on that one.
00:36:14.880 --> 00:36:18.400
Oh yay! Thanks so much for listening to Faking It.
00:36:18.480 --> 00:36:21.599
This episode's research and context was done by me, Ariel.
00:36:21.920 --> 00:36:25.679
You can find us on Apple Podcasts, Spotify, or anywhere you get your podcast.
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00:36:42.239 --> 00:36:44.880
The title is funny, charming, and informative.
00:36:45.360 --> 00:36:49.599
It says, Love getting the perspectives of intimacy coordinators.
00:36:49.760 --> 00:36:53.920
This is such a unique take, and they add such great stories to each episode.
00:36:54.159 --> 00:36:56.880
So funny and easy to listen to on my way to work.
00:36:56.960 --> 00:36:57.599
I love it.
00:36:57.840 --> 00:37:00.320
We love it, Eva Los Angeles.
00:37:00.559 --> 00:37:02.639
Thank you, Eva Los Angeles.
00:37:02.960 --> 00:37:05.519
Okay, that's so nice.
00:37:07.280 --> 00:37:10.320
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00:37:28.159 --> 00:37:29.920
Thank you, Lee, and Kiki Brown.
00:37:30.239 --> 00:37:32.480
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00:37:32.800 --> 00:37:34.880
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00:37:35.039 --> 00:37:37.360
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00:37:37.599 --> 00:37:41.039
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00:37:45.280 --> 00:37:45.760
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00:37:47.679 --> 00:37:51.360
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00:37:51.599 --> 00:37:53.599
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