Latest / Camp Classics / 54 (1998)

Transcript

54 (1998) · Camp Classics

• 0:19
  used to love doggy chow. I used to love doggy chow too.
• 0:23
  Do you know how many leather jackets with poppers and a cock
• 0:26
  ring in the left pocket we've got back here?
• 0:29
  I'm Crystal. No more Neve Campbell, I'm baby
• 0:37
  lame. And welcome to Camp Classics.
• 0:40
  A thoughtful podcast about stupid movies.
• 0:43
  Or, you know, just a podcast where we find out how many
• 0:46
  movies about a small town girl with big city dreams we can
• 0:49
  watch. I had high hopes for this one
• 0:53
  crystal. I think this was your idea.
• 0:54
  It was my idea, Yeah. And I well, we'll get.
• 0:58
  We'll get into it, won't we? I mean, I'm surprised I'm alive
• 1:01
  right now because your club night killed me.
• 1:04
  I. Look pretty good for a dead
• 1:07
  bitch. I had the worst outbreak of
• 1:11
  facial herpes that I've ever had in my life.
• 1:13
  Cold sores is what we like to call it, but let's be real, I
• 1:16
  had herpes all over my fucking lips.
• 1:20
  That's how you. Crusty, sore mouth, ulcers,
• 1:23
  tongue grows down to you. Disgusting.
• 1:30
  Gosh, you're you're just like Ryan Philippine this movie 54.
• 1:34
  Oh no, I'm someone else in this movie and we'll get to it.
• 1:37
  I felt very triggered watching this movie with my facial herpes
• 1:42
  and I felt I felt, I felt like the people that couldn't get
• 1:45
  into the club Crystal and. I.
• 1:48
  Felt triggered I was in my fields.
• 1:50
  This has been an emotional roller coaster for me.
• 1:53
  I'm just having a flashback to a night we went out in Athens.
• 1:55
  Didn't you get chased by a pack of wild dogs?
• 2:00
  What does trauma really look? Like, not chased, I was left
• 2:03
  outside of a night an outdoor rave by you and was circulated
• 2:10
  by some wild dogs as I woke. Up.
• 2:12
  So which would you rather have, pack of wild dogs or facial
• 2:15
  herpes? This is what trauma looks like.
• 2:19
  But yes, that's what I've been. That's where I've been at.
• 2:21
  How have you been? Yeah, really good.
• 2:23
  Really good, Yeah. Just really great.
• 2:24
  Actually, I had AI had such a fun time at Get a grip and you
• 2:28
  know, no, not a Herpe insight. That probably means I didn't
• 2:32
  have as much fun as you to be honest.
• 2:34
  Oh, I wish. I wish that's what I was doing.
• 2:37
  No, no. I think I was just like talking
• 2:41
  to a corner of a wall or something.
• 2:51
  We've also we've done our BFI live screening since we last
• 2:56
  recorded. Together.
• 2:56
  Apparently it's talk of the town.
• 2:58
  I was at the BFI that they're still talking about the event
• 3:01
  and some people can't believe that Kindergarten Cop is deemed
• 3:05
  now a camp classic. I also saw Peaches Christ and
• 3:09
  she was like that's not a fucking camp classic.
• 3:12
  Really well. According to our listeners,
• 3:15
  Peaches. What was her argument against?
• 3:17
  I just think she just, it's just not one of the root 1 ones, is
• 3:20
  it? But we're not here to just.
• 3:21
  No, we know. We know.
• 3:24
  Yes, we know. Yes, we can't.
• 3:26
  All not every movie can have mink store.
• 3:28
  I'll tell you what you just performed.
• 3:29
  With I did just with Mink style. Thank you for dropping that one.
• 3:33
  But yeah, that panel that we had on that episode was brilliant.
• 3:37
  Yeah, one more time for Juno, Travis and Charlie.
• 3:41
  That's how you do it, yeah. Just three very different trans
• 3:44
  people. Very different and meanwhile
• 3:48
  we're the 2 drunk aunties with them.
• 3:51
  I was so drunk. You were.
• 3:53
  Pissed BF fly is what I kept on calling.
• 3:55
  You were BF fly. You were BF flying.
• 3:59
  Yeah, I was so drunk. That's what happens when you're
• 4:01
  nervous and you make me do these things that I don't want to do.
• 4:04
  So weird to see you nervous, I said to you.
• 4:06
  I've never seen you nervous before a gig before.
• 4:09
  I was nervous and then I was the flip, wasn't I?
• 4:12
  Yeah. And then you turned into like a
• 4:13
  kind of Wendy Williams style. How you doing?
• 4:20
  I really did. I'm so.
• 4:22
  Sorry, you did great. I was like, you're.
• 4:24
  Right in the inner went to William came out.
• 4:26
  It was great though. You're like you suddenly just
• 4:30
  relaxed into it and then it's like, Oh no, someone's produced
• 4:33
  chat shows for TVA lot and you were just like, so in your
• 4:38
  element. It was great.
• 4:39
  I. Was happy with both of us.
• 4:40
  I think we did a really good job considering it was our first one
• 4:43
  and it was a huge black, yeah. But you can listen to that
• 4:46
  episode now it's out and the audio does suck, but the content
• 4:51
  is excellent. It's.
• 4:53
  Like it's like, please, let's not get get rid of this one.
• 4:56
  Let's just make it work. Deal with it.
• 4:59
  We did an event at the BFI and we're gonna tell people about
• 5:02
  it. You.
• 5:02
  Will listen. I mean, that's just like the
• 5:05
  rules of feminism. Just this is nothing related to
• 5:08
  nothing but I was while I was researching 54 today, I saw this
• 5:11
  click bait headline. Liz Hurley defends lesbian sex
• 5:14
  scene a new movie that was directed by her son.
• 5:20
  Sounds like we've got some watching to do coming out.
• 5:22
  I mean. Damian Hurley is giving.
• 5:25
  She is the diva. Yeah.
• 5:28
  Wow, that face it's giving. Yeah.
• 5:31
  What is? It's kind of she's got like an
• 5:34
  Aphrodite, Helen of Troy sort of thing going on.
• 5:37
  I love it. She's so pretty.
• 5:38
  I'm here for it. I'm here for it so much and
• 5:40
  like, I mean just imagine being like a glam mum actress and just
• 5:45
  being like I'm not getting naked.
• 5:47
  I'm not scissoring that actress until my son tells me the exact
• 5:51
  angle that he wants. Darling, make sure the
• 5:53
  lighting's OK. I bet, but The thing is, he
• 5:56
  knows her angle so well. You know he's holding the camera
• 5:59
  whenever she's in a bikini. It's.
• 6:01
  Like it's a match made in heaven.
• 6:02
  Yeah, it's perfect. And like, you know, it's like
• 6:04
  sometimes you, you, when you find these people that know how
• 6:07
  to get you just right or you've got to stick with.
• 6:09
  Them, and if that person was worth by you, all the better.
• 6:15
  Speaking of match made in heaven, I just bought us tickets
• 6:18
  to a combo I never thought I would see on stage together.
• 6:22
  Gina Gershon and Cate Blanchett in conversation.
• 6:26
  Oh, you mean the gays, not the gays.
• 6:30
  And it's Kate interviewing Gina, isn't it?
• 6:34
  Yeah, but when you told me I was like, what the fuck?
• 6:37
  What the fuck? You have been scammed.
• 6:40
  There's no such event. Apparently they've been friends
• 6:42
  for years. I can't fucking wait.
• 6:45
  Honestly, what are they going to talk about?
• 6:48
  I don't care. I don't care either.
• 6:50
  I. Literally don't care.
• 6:51
  I don't care either. I God, should we go like, should
• 6:56
  we go dressed as like crystal and and what's your face from
• 7:01
  Lord of the Rings? Yeah, Yeah, we did.
• 7:17
  Anyway, that's great. It's really, it's really tickled
• 7:20
  me today. That's very funny.
• 7:24
  Down to business, though, we, yeah, like to welcome our new
• 7:28
  Gatreon members, Heather Dune, Joe Brown, Eve Frankenstein and
• 7:34
  and Nick. Frankenstein.
• 7:35
  That's her name and Nikki Craig. Nikki Craig these.
• 7:39
  These sound like made-up maybe? They're real.
• 7:43
  People are. You starting to pay for the
• 7:44
  Gatreon? Yourself and.
• 7:47
  Then just making massaging. The numbers, yeah.
• 7:49
  And then I put the money into a garbage bag and stick it into a
• 7:52
  roof tile. Yeah, but welcome.
• 7:55
  Welcome. We have a Gatreon.
• 7:56
  It's £4 a month. You get a bonus episode every
• 7:58
  month. And our last episode was I can't
• 8:03
  remember. I can't remember either.
• 8:04
  Party Girl. Party girl, brilliant, but also
• 8:06
  as well, I feel party girl with all of the kind of Wheeling and
• 8:09
  dealing you you're doing God knows what's going to be on the
• 8:12
  next episode because it is going free full at the moment.
• 8:15
  It's like, sure, let's do something live at the be a
• 8:18
  fight. Let's get Lorraine.
• 8:19
  Oh, you, you're a director of a film.
• 8:21
  I'll talk to you also. Interviewing.
• 8:25
  The other thing I feel like really, really battered my
• 8:29
  confidence was you interviewing Jordan.
• 8:33
  Yeah, children person, because the camp classics like views on
• 8:37
  reels, like, Oh my God, went stratospheric compared to what
• 8:40
  we normally get. And then you've got my one with
• 8:43
  you, like the one before, and it's like on 380 views.
• 8:46
  And then it's like, OK, I get it.
• 8:49
  I'm old, I'm ugly, and I'm not popular.
• 8:52
  Trauma, trauma, trauma, trauma, trauma.
• 8:55
  You just don't have the reach of Attitude magazine, but that's
• 8:59
  OK. Yeah, she's doing junkets now.
• 9:02
  Yeah, well, we'll see if I get another one.
• 9:04
  It was fun though, you know, gay stuff with gay people.
• 9:07
  Media. Media, yes, I love.
• 9:10
  I saw a comment on it and it was like, they all seem high and I'm
• 9:13
  here for it and I was like, that's brilliant.
• 9:17
  And I wasn't high, I was just stressed, yeah.
• 9:20
  You were very stressed. What's because you weren't in
• 9:21
  control of it? Were you Just wheeled in?
• 9:24
  Correct. It was like going to like job
• 9:26
  interview, but like, I guess it's like an audition where
• 9:31
  you'd have to perform, but also everyone's really bored and
• 9:34
  tired and grumpy. Yeah, I guess that's like an
• 9:36
  audition. I've never auditioned for
• 9:38
  things. I can't use you if you can't
• 9:40
  smile. I can't use you if you can't
• 9:42
  show. I can't use you if you can't
• 9:44
  sell. We're now on YouTube.
• 9:46
  We've we were already on YouTube, but now there's video
• 9:49
  on YouTube and also I think on Spotify.
• 9:55
  The camera is over there. The camera loves you, baby.
• 9:58
  Now do more things to the camera just because we're on.
• 10:01
  Or would you prefer us to just be like speaking normally, or
• 10:03
  would you like us to point out Louise, sing out.
• 10:05
  Louise, sing out. I think just occasionally a
• 10:10
  little nip, OK nip slip just for the people who are watching at.
• 10:14
  Home OK, it might just be a full move at the moment.
• 10:17
  But but yeah, you can watch us live.
• 10:20
  I'd be interested to know if you are watching because it's a
• 10:23
  whole other editing process and I don't know if it's worth it.
• 10:26
  So let us know if you watch if you watch the video.
• 10:30
  Oh, and then we've had some comments.
• 10:31
  Eve says I just joined the Gay Tron to suggest either 1980s
• 10:35
  Flash Gordon or 1984's Voyage of the Rock aliens.
• 10:40
  I'm not familiar with the second one, but Flash Gordon is.
• 10:42
  I think it's on our list already.
• 10:43
  If it's not, it should. Be.
• 10:45
  Yeah. I mean, it's a miracle some of
• 10:47
  these other films have been getting on True.
• 10:48
  It feels like a good one. Amanda Paul says on Baby Limbs
• 10:52
  comment about adding to the Gayatrion.
• 10:54
  You could add a new level that includes live rewatches of your
• 10:57
  camp faves. Yeah, I'm here for that just so
• 11:00
  you you can work out. A whole new technology, live
• 11:05
  streaming. That'd be fun though.
• 11:09
  Just like Gogglebox, we'll look into it.
• 11:12
  Katie says this is a nice message.
• 11:14
  Hi Crystal and Babylame, and thank you for an irresistible
• 11:16
  podcast. It has become my treat and an
• 11:18
  escape after a hard day's work on my dissertation, which is
• 11:21
  also about movies, but a lot less fun.
• 11:23
  Really enjoy the combo of sightful and insightful
• 11:26
  analysis, bitchy jokes and warmth.
• 11:28
  I would love to hear more conversations about sexy plant
• 11:30
  monsters like the ones in 1986's Little Shop of Horrors or Men in
• 11:34
  Black 2. Little Shop of Horrors will be
• 11:37
  fun. That's.
• 11:37
  A kink there, yeah. Sexy plant you get to.
• 11:40
  Pay for that while you are on the Patreon.
• 11:42
  So you are but like. Yeah, the sexy is an interesting
• 11:45
  addition there. It's.
• 11:46
  What kind of plants do you want us to talk about?
• 11:48
  Is it kind of like tentacle porn?
• 11:49
  You know what I mean? I feel like plant porn, tentacle
• 11:52
  porn is kind of related. Or is it like those AI videos of
• 11:54
  like the tomato cheating on the cobbled corn?
• 11:58
  Oh, I haven't seen. That the gassy tomato.
• 12:01
  I haven't seen that it gets kicked out of her house for
• 12:04
  being too gassy. OK, wow.
• 12:08
  OK. You're going to need a few more
• 12:10
  junkets to occupy your time, I think.
• 12:13
  Another comment from Suzanne, this is about Troop Beverly
• 12:17
  Hills. Knowing this film was in the
• 12:18
  queue, I bought it from the library recently.
• 12:20
  Hello library party girl. Hello.
• 12:25
  And I was very curious to what you 2 would have to say.
• 12:27
  Of course, my main take away from the episode is you have to
• 12:30
  lay it low and spread it wide. Good.
• 12:32
  Yes, you're paying attention, Suzanne, for the suggestion
• 12:36
  sack. Why not skip past the 80s and go
• 12:38
  all the way back to the 50s? Is some like it hot camp?
• 12:42
  Yeah. We haven't done anything that
• 12:43
  old. I just feel like there isn't
• 12:45
  necessarily an audience for that stuff, but I would like to like
• 12:48
  we need to do. Something cold.
• 12:50
  Yeah. I know what you're going to say.
• 12:51
  All about you. Yeah.
• 12:54
  I was thinking we should do The Wicked Stepmother, which was her
• 12:56
  last film where she had a stroke and she walked out and she
• 13:00
  didn't. So then they had to like, change
• 13:02
  the story. Like she's only got like 20
• 13:03
  minutes of footage. Oh shit, yeah, it's.
• 13:06
  Terrible, though it's quite funny, I didn't see it for a
• 13:09
  while. Oh, lastly, we had a lot of
• 13:13
  people send us the remake possibility of Troop Beverly
• 13:17
  Hills starring Cameron Diaz. Did you see this story?
• 13:20
  Oh, is she doing it? Cameron Diaz is attached to a
• 13:23
  Troop Beverly Hills remake I don't think we need.
• 13:26
  It I thought she retired. No, she came back.
• 13:28
  I know, but I thought she but her whole thing was that she
• 13:31
  retired from Hollywood. No, but she came back.
• 13:33
  She's had her. She's had her like.
• 13:34
  Don't need her now. No, we could use a Charlie's
• 13:37
  Angels three. Really.
• 13:39
  Yeah, I'd take it. We've had.
• 13:41
  We've had it with the reboot. Yeah, no, to skip past that,
• 13:45
  give me Lucy. Drew Barrymore.
• 13:47
  I just, yes, I'll take it you're, you're excited about
• 13:51
  Madonna's confessions too. It's the same shit.
• 13:56
  I don't wouldn't say I'm excited.
• 13:57
  I thought it seems all right. Yeah, I mean.
• 13:59
  I've not seen her in concert. I'm not like a Madonna fan.
• 14:02
  You've never seen Madonna in concert?
• 14:03
  Oh wow, I think I've seen her four times.
• 14:06
  Now he's the sad old fad. Well, I'm not sharing it to my
• 14:11
  stories like every other fag I know today.
• 14:17
  It feels reductive. I am excited though.
• 14:24
  Anyway, there's our business taken care of, baby.
• 14:27
  Before we go any further, what makes a Camp classic?
• 14:31
  Well, thanks for asking, Crystal.
• 14:33
  A camp classic is something that will unlock queer joy.
• 14:36
  In the words of our Lord Saviour Megan Fox.
• 14:40
  I want to get a weddy. It needs to be stupid.
• 14:43
  It needs to have an ongoing legacy that informs queer pop
• 14:47
  culture and ultimately it needs to be anti mainstream underdog
• 14:51
  flop vibes that can be reclaimed by the F slurs.
• 14:54
  Why? Why are you laughing?
• 14:56
  Because I'm just like, why don't you just use the same reading
• 14:59
  out every time? Because I just say it the same
• 15:03
  intonation. I'm just like just just do us
• 15:05
  all a favour and just like have it as a built in sound.
• 15:10
  Maybe I should do that. Yeah, reductive and.
• 15:16
  I'm killing this episode, by the way.
• 15:18
  Literally. Yeah, sorry.
• 15:22
  It's really the bar is already very low.
• 15:25
  Just trying to make it so you don't need to edit around the
• 15:27
  coughs, but it's hard. Thank you.
• 15:30
  Today we are covering. Boring.
• 15:34
  Oh Jesus, 5454 the movie 54 though this was your idea, you
• 15:41
  pitched it to me. Blame for this actually Attitude
• 15:44
  magazine, and I know you've got like lots of big ties with them,
• 15:48
  but it was on some list that they wrote maybe like five years
• 15:54
  ago about camp films. And they're like, it's like the
• 15:57
  male showgirls. And I was like, oh, this sounds
• 16:00
  good. And then I've showed you, didn't
• 16:01
  I? Yeah, that is how you pitched it
• 16:04
  to me. You called it the male
• 16:05
  Showgirls. And then at an afters after my
• 16:08
  club night, I was talking to my friend Erica from Berlin, who's
• 16:11
  very cool, and she said 54 is her favorite movie.
• 16:15
  And I was like, OK, now that's 254 mentions in a couple of.
• 16:19
  Weeks. Now I'm interested.
• 16:21
  So we watched it on Saturday very, you know, post party
• 16:25
  vibes. It was actually kind of.
• 16:27
  Perfect. I know of all time.
• 16:32
  OK, I she's cool, but like, it's gone way down in my rating now
• 16:37
  because I'd literally don't know why anyone would ever say that
• 16:40
  about this film. I think I can see how it's got
• 16:43
  an appeal along the alongside, like a burlesque, for example.
• 16:48
  Some light fare, you know. But now I this is where I need
• 16:53
  to ask you. You'd never had.
• 16:54
  You never seen it before? I had seen it before when I was
• 16:58
  like a teenager and I remember being a bit like meh about it,
• 17:02
  but that's before knowing anything about Studio 54.
• 17:05
  Yeah, right. I had never seen it.
• 17:07
  I remember like the cover really well.
• 17:10
  Like I remember the marketing around it.
• 17:11
  I can picture Neve Campbell on that and Mike Myers on that
• 17:15
  movie. It's like Weinstein top power,
• 17:17
  isn't it? But which version did you watch
• 17:21
  for this? Wow I watched the extended
• 17:24
  version which I bought was the director's cut but no it's just
• 17:28
  slightly longer. So I think the version I watched
• 17:32
  was like they still didn't want to make it homo but they just
• 17:35
  made it a bit longer but they didn't really add any.
• 17:38
  Interesting. So yeah, this movie has two
• 17:41
  versions. There's the theatrical version.
• 17:43
  Well, I guess 3, actually, yeah, because there is the extended
• 17:45
  cut, the theatrical version, but then there's the director's cut,
• 17:48
  which got released in 2015. And now I've watched both, so I
• 17:55
  can tell you all about the differences and they're so
• 17:58
  different, really. Yeah, I saw like a deleted clip.
• 18:01
  We'll get to it on YouTube, but. So this movie was written and
• 18:06
  directed by Mark Christopher, who is a gay man, and he spent
• 18:10
  five years researching the club and working on a screenplay.
• 18:13
  It was bought by Miramax, Harvey Weinstein, all of that shit.
• 18:16
  It stars Ryan. Philippi, it turns out, is the
• 18:21
  pronunciation. He stars as Shane.
• 18:24
  We've got Salma Hayek as Anita, Mike Myers as Studio 54's owner
• 18:28
  Steve Rebel, Breckin Meyer as Greg, and Nevada Campbell as
• 18:33
  soap star Julie Black. Boo.
• 18:37
  Yeah, I mean, you suggested enough.
• 18:39
  You can't escape her. She's on.
• 18:41
  She's following you around. Soon we'll be out of Nevada
• 18:43
  Campbell movies, and then you'll be free.
• 18:45
  I don't think there's many left, to be honest with you.
• 18:48
  I think we've covered nearly every Nevada.
• 18:51
  Film or Dolly Parton, but we've done 4-5 Nevada Campbell films.
• 18:59
  So the movie had a budget of roughly $13 million, and they
• 19:03
  screened it in early 98 on Long Island for teenagers.
• 19:07
  Audiences at the screening reacted negatively to the lead
• 19:10
  characters bisexuality, particularly to a scene where
• 19:13
  Shane and Greg kiss, and so that led Miramax to demand a recut,
• 19:19
  which removed all of the bisexuality stuff.
• 19:22
  There was a lot of fallout between the director and Harvey
• 19:26
  Weinstein and eventually the director agreed to reshoot, but
• 19:32
  he got no control over the final cut and he wasn't even allowed
• 19:35
  to see the editing process. Overall, 40 minutes was cut from
• 19:39
  the theatrical version and 30 minutes was re added of
• 19:43
  reshoots. So it's basically over 1/3 of a
• 19:47
  different movie, which is crazy. It's like, yeah, yeah.
• 19:51
  So a lot of this is because obviously Harvey Weinstein is a
• 19:54
  fucking disgusting prick, but it's actually probably mostly
• 19:58
  because the movie had Neve Campbell and Ryan Felipe in it
• 20:03
  and he had just done. I know what you did last summer
• 20:06
  and was suddenly a kind of an IT name, right?
• 20:10
  And so that had come out while they were shooting this and I
• 20:13
  realized. She's still in her kind of
• 20:14
  Golden Girl era. She would scream to it just been
• 20:18
  a hit and they were like, oh, she's bankable now.
• 20:20
  Oh yeah, because and that's basically what they do with her
• 20:24
  in this film. Isn't like she's she's whacked
• 20:26
  in as just like. Yeah, yeah.
• 20:29
  So she goes from basically a glorified cameo in the
• 20:32
  director's version to, like, a proper sort of love interest in
• 20:36
  the theatrical version. They've amped her up.
• 20:39
  They've removed any of Ryan Felipe's character's bisexuality
• 20:44
  in order to appeal more to a teen audience.
• 20:47
  And, well, it didn't work because the critics hated it.
• 20:52
  It has 15% on Rotten Tomatoes, and it only made $17 million at
• 20:57
  the box office. It was a flop, flop, flop, flop,
• 21:00
  flop. Ryan Felipe was nominated for
• 21:03
  Razzie. And yeah, it was basically kind
• 21:07
  of forgotten until a director's cut began circulating.
• 21:11
  And this was in kind of the mid 2000s.
• 21:14
  It it like a unauthorized version screened at, I think,
• 21:17
  Tribeca Film Festival or something.
• 21:19
  And and then that started this buzz and demand until Mark
• 21:25
  Christopher was actually given permission from Miramax to
• 21:28
  release his version. They found all the old footage,
• 21:31
  recut it together and it showed at Berlin Film Festival in 2015.
• 21:37
  But it's interesting watching the director's version because
• 21:39
  some of the footage they've had to just RIP from VHS copies.
• 21:43
  And so it's really grainy and weird and the dimensions are off
• 21:47
  and like you can, you can really see like chop between and like
• 21:50
  some of it they were able to salvage and it's looks the same
• 21:54
  or just the grating's a bit different, but some of it's like
• 21:57
  proper like rough looking. That's really interesting, isn't
• 22:01
  it? Yeah, I would say I have.
• 22:04
  Questions for when we get to comparing them.
• 22:09
  But I would say listen. Out though, because they're
• 22:11
  coming, but we're going to just tease that moment now.
• 22:15
  Should we get into the plot? Yeah.
• 22:18
  So I will try and like differentiate the.
• 22:22
  The thing between the two versions is that like so many of
• 22:25
  the scenes are even just completely out of order that it
• 22:28
  gets very very difficult to like compare.
• 22:34
  Right, but. I'm going to do my best.
• 22:36
  There's like a few key things that are like the key
• 22:38
  differences that that kind of matter.
• 22:40
  What I will say is at the start of the movie I saw, I was
• 22:44
  excited because it's like the premise of the film about Studio
• 22:47
  54 is just, you know, we've anybody who is remotely
• 22:52
  interested in pop culture is aware of like the incredible
• 22:57
  reference points that like legend, like the iconography
• 23:00
  from this place and like the music alone.
• 23:03
  Like it was kind of like I was, I was thinking, even if it's
• 23:07
  terrible, this is going to be like.
• 23:10
  Yeah, thinking of all of the the stuff that happened there that's
• 23:13
  going to be referenced. And I just was like, even if
• 23:15
  it's bad, it's just going to be fun.
• 23:17
  Totally. I actually prepared a very short
• 23:19
  game for you. Oh, it's called Studio 54 or
• 23:23
  Studio 50. No.
• 23:24
  Or OK. Did these things happen in
• 23:28
  studio? Did these things happen in
• 23:30
  Studio 54? OK, starting with an obvious
• 23:33
  one. Bianca Jagger riding a White
• 23:35
  Horse. It happened.
• 23:37
  How dare you even ask me that? It's just.
• 23:39
  Just warming you up. Play at home though.
• 23:43
  Dead body in an air vent from someone trying to sneak into the
• 23:46
  club. Yes.
• 23:48
  Studio 54 Dolly Parton after party with live farm animals.
• 23:54
  Yes, yes. When it was raided eventually
• 23:58
  they found $600,000 in garbage bags and 300 Quaalude pills.
• 24:03
  Yes, yes, a Republican US Senator was photographed here
• 24:07
  with gay prostitutes and had to resign in shame, but it probably
• 24:12
  happened. Yeah, I mean, this is it, isn't
• 24:15
  it? Like, yeah, this is the place of
• 24:18
  dreams come true. This is like nightlife born
• 24:21
  berserk. This is.
• 24:23
  Yeah, yeah, I also saw that they one night wheeled in 4 tons of
• 24:27
  glitter so that the entire dance floor was like sand but made of
• 24:30
  glitter. I do wonder though, do you think
• 24:36
  if we had Studio 54 as it was then, like we would enjoy it, or
• 24:41
  do we think it would be like the box and just be this thing where
• 24:44
  like super rich people are like sort of just praying on queer
• 24:48
  and subcultures as their little freak show farm?
• 24:51
  Good question. I don't know, maybe.
• 24:54
  Somewhere between. Yeah, because I feel like, I
• 24:56
  don't know how true it is, but I feel like part of the the way
• 25:00
  the atmosphere was, they would let in people that had no money
• 25:02
  as well to kind of have a good time, wouldn't they?
• 25:04
  Yeah. And maybe there's also an
• 25:06
  element of, like, these cultures were emerging here a bit.
• 25:11
  So like, disco was coming up, drugs, drug use, like, like
• 25:19
  ecstasy was coming up. Like maybe that was all just
• 25:23
  kind of fresh and exciting for people.
• 25:25
  And gay rights, Gay rights because it does feel like with
• 25:28
  the box, a bit like there is a sense of people trying to create
• 25:32
  a hedonistic atmosphere. And everything you hear about
• 25:35
  Studio Fit 4 is like, it just actually was that.
• 25:37
  That's what I hope. And also the balcony, the orgy
• 25:40
  balcony and stuff. Yeah, yeah, yeah.
• 25:42
  OK, Hopefully, hopefully. So yeah, this movie opens.
• 25:45
  The director's cut opens and it's Ryan Felipe on cold on the
• 25:49
  street wrapping himself in a bin bag.
• 25:51
  And he's provided a new voice over for this version 20 years
• 25:54
  later. So it's 40 year old Ryan Felipe
• 25:56
  explaining and he's giving a voice over about like, you know,
• 25:59
  I bet you're wondering how I got here kind of vibes.
• 26:03
  The version I watched, Wig. Yeah, Wig.
• 26:07
  And I was like, I've, you know, because we've just seen some
• 26:09
  like stock footage of original Studio 54 and then I'm seeing my
• 26:14
  male Naomi Malone in a shit wig. Wig.
• 26:17
  Did you just say wig? Yes.
• 26:19
  Oh, you mean when he's still got his long hair?
• 26:20
  Yeah, yes. And I'm just like, I've sat
• 26:23
  there like. Great.
• 26:26
  You better be a beat by beat male version of Show Girls,
• 26:30
  yeah. Yeah, it's the summer of 79 and
• 26:34
  we meet 19 year old American Shane O'Shea, who lives in
• 26:38
  Jersey City, Jersey. He's with his he lives with his
• 26:44
  widowed conservative father and two younger sisters.
• 26:47
  And yeah, he's got a wig on. This is not the only wig Ryan
• 26:50
  Felipe will wear in this movie, because also in all of the
• 26:53
  reshoots, he's got a wig of his own hair.
• 26:57
  I am ready for my wig to go flying.
• 27:00
  I hope it does go flying out of this room.
• 27:02
  So he's got a wig of his own hair.
• 27:04
  Yeah, so because when? Because when they did the
• 27:07
  reshoots, it was only like a month before the movie opened.
• 27:11
  And so he'd had his hair cut. And so they had to get a wig to
• 27:14
  match his hair from the movie. Yeah.
• 27:17
  And you can. And you can see it.
• 27:18
  You can see it. He also apparently was
• 27:20
  complaining about it because he was like, I was in really good
• 27:23
  shape when we filmed this movie. And then they asked me to come
• 27:25
  back six months later, and I hadn't been working out.
• 27:28
  And, like, now I'm back in those tiny little shorts with a wig of
• 27:32
  my own hair on, trying to, like, sell the same character.
• 27:37
  Bless him. But yeah.
• 27:38
  So he's, he's weary of his working class existence, isn't
• 27:42
  he? And he can see the big city over
• 27:44
  the river. And he just wants to get to
• 27:47
  Manhattan and make it so far, so familiar.
• 27:50
  It's a tale as old as time. So one night, he persuades his
• 27:53
  two friends to accompany him to Studio 54.
• 27:57
  Can I? Also just interrupt because he
• 27:59
  is a bit of a douchebag as well because he's like fucking that
• 28:02
  woman in the car and he basically just comes on her and
• 28:05
  it were like, he's just like a douchebag.
• 28:09
  Yeah, he no wonder she's just like, get off me.
• 28:11
  It's like, fair enough. Does she say did you finish
• 28:13
  already? Yeah, it's actually like.
• 28:17
  That isn't in the director's cut funny enough, but yeah.
• 28:22
  There needs to be like another cut that incorporates all of the
• 28:25
  good. Maybe there's a good film here
• 28:27
  somewhere. Yeah, well, I'll, I'll, I'll
• 28:30
  tease, but I think that there is.
• 28:32
  Yeah, he's a. He's A at best a dum dum and at
• 28:37
  worst a full on douche. But he's fit.
• 28:40
  Yeah, he is hot. So that is how he gets in.
• 28:43
  We go to Studio 54, he's convinced his friends to come.
• 28:47
  And Shane is so hot that Steve Rebel, Mike Myers lets him in.
• 28:52
  But he says not with that shirt. I said not with that shirt.
• 28:57
  And so Ryan takes off his shirt and the whole crowd cheers and
• 29:03
  he gets into the club. I mean, I quite enjoyed that.
• 29:05
  It was great, also the parade of models and like gladiators
• 29:10
  walking into the club, it was fab.
• 29:12
  Yeah, I was here for it. Definitely here for it.
• 29:14
  Yeah, it was a great setup. So he gets in, his friends do
• 29:17
  not. Have you ever been turned away
• 29:19
  from a club? I don't know if I have actually
• 29:21
  have you. I turned away from Berghind the
• 29:24
  first time I went. Oh, did you?
• 29:25
  Yeah. I've not been as many times as
• 29:27
  you, but I've never been turned away.
• 29:28
  But I was shit faced in with two girls and we definitely looked
• 29:31
  like we were just there to be tourists.
• 29:34
  Right. You know, Yeah, yeah, yeah.
• 29:36
  Also one time in such as we tried to get into a club and and
• 29:40
  the bouncer was like only shoes and I was like oh guys, we can't
• 29:46
  get in. Some of us are in flip flops and
• 29:47
  he was like, no, only shoes. And it turned out to just be a
• 29:50
  naked bar. You could not.
• 29:52
  You were only allowed to wear shoes.
• 29:53
  And so we were turned away, but we just didn't feel like getting
• 29:56
  naked. Oh, you're a prude, aren't you?
• 29:58
  So they basically were Ryan Felipe then in sitches.
• 30:02
  Yeah. Not with those shoes, not with
• 30:05
  those clothes, Yeah. Take them off Boring.
• 30:09
  That could have been my moment, and then the crowd would have
• 30:11
  clapped all the bears on those plastic chairs.
• 30:14
  Stitches would have broken into standing.
• 30:16
  Up on those plastic chairs because they'll definitely
• 30:19
  break. We're in the club.
• 30:23
  And. Again, I'm like, right, I'm
• 30:26
  like, we are getting started and you know, it's a good club when
• 30:31
  the balcony is just a big dark room, sex room.
• 30:34
  And I've just like straight away I'm like, I love that it's in
• 30:37
  the theatre and I love that people are just fucking.
• 30:39
  So I'm like, let's go. Yeah, it looks great.
• 30:42
  First major difference in the two versions.
• 30:44
  When in the balcony, Shane is cruised by a man on the balcony
• 30:48
  and is not mad about it. Let's say he's just kind of
• 30:51
  like. Oh, yeah, This man is like, oh,
• 30:53
  gives him a good look over and Shane's like, gives a good look
• 30:56
  back and he's like, wow. And then he watches that that
• 30:58
  couple have sex. Yeah, this party's crazy.
• 31:02
  Oh my God. There's a shot of him in the.
• 31:06
  I think there's a shot of him here and he's lit blue and he
• 31:08
  just looks gorgeous and what? I will say is by this point, I'm
• 31:13
  like, I'm like the budget isn't budgeting because I want to see
• 31:17
  more bodies. I know what you mean because I
• 31:20
  know that that kind of location in the club is going to be busy.
• 31:24
  Yeah, there's going. To be a lot of people out there.
• 31:27
  You see the budget, I think a lot of times in this movie where
• 31:29
  there's just not quite enough extras.
• 31:31
  The club is never quite full enough.
• 31:34
  But again, I'm kind of like when he walks over and the the woman
• 31:37
  who's like riding the man's Dick, love her, and then she
• 31:41
  goes straight to sort of rubbing his Dick.
• 31:43
  I'm like, this happens and I'm like, yeah, let's go to it.
• 31:47
  Yeah, yeah, it's very like, kind of sex positive straight away.
• 31:51
  So Shane loves it. Oh my God.
• 31:53
  Looks, drugs, sex, all of the things a boy could want.
• 31:56
  Yeah. So, against his dad's wishes, he
• 31:59
  goes back. Also, can I just, sorry to just
• 32:01
  jump in here, there was a big problem with how they're just
• 32:04
  trying to like hetro this film up.
• 32:07
  How can you hetro up a film about disco?
• 32:09
  I know it's crazy. It's crazy.
• 32:14
  I. Think it's.
• 32:15
  I think it's actually very camp to make a straight movie about
• 32:20
  Studio 54. It makes me giggle, just like
• 32:24
  the idea that you are trying to make this movie and you are so
• 32:27
  hamstrung by trying to make it marketable to teenage girls.
• 32:30
  It's so funny to me. The, the power of people, the
• 32:34
  threat we possess, the menace. It's so great.
• 32:40
  So, yeah. So it's he goes back to 54 the
• 32:44
  next night against his dad's wishes, and Steve hires him as a
• 32:47
  busboy. And this is another big
• 32:49
  difference between the two versions.
• 32:51
  Just quickly in the Directors Cup we get a clear sense that
• 32:55
  the dad is a racist and a homophobe.
• 32:58
  Oh, because I've got a note. That's so interesting.
• 33:00
  Because I've got a note in my notebook surprisingly saying the
• 33:06
  dad seems quite nice. I know.
• 33:08
  I don't have a problem with that.
• 33:09
  I know that was a big question mark for me because I was like,
• 33:12
  normally there's something repressive.
• 33:14
  There's something like wrong with the dad.
• 33:16
  You know he's an alcoholic or like, you know, he's beating up
• 33:19
  the family or like you said, homophone.
• 33:21
  Yeah, but in the in the theatre was.
• 33:23
  A good, honest dad. Yeah.
• 33:26
  Interesting. So that scene where they're at
• 33:28
  breakfast and he's kind of telling them about the club,
• 33:30
  you're like, it kind of switches gears really fast in the
• 33:32
  theatrical version where you're like, why did the air come out
• 33:35
  of the room? And why are they suddenly being
• 33:36
  so weird? But in the director's cut, it's
• 33:39
  because the dads just use the N word and and it's been like, I
• 33:43
  don't want you going to that place with like all of those
• 33:46
  degenerates. Oh, my God, you are pulling this
• 33:51
  film back for me that literally. And also because as well,
• 33:55
  there's like, lots of moments with like, Ryan Felipe and his
• 33:58
  sisters and like, whether they're driving him to New York
• 34:02
  and there's this kind of like they're just driving and there's
• 34:05
  no conversation. And there's no sense of like,
• 34:07
  you're leaving me behind. Or even when he goes back for
• 34:10
  Christmas and isn't welcome. I'm like, well, why?
• 34:12
  Are they? Why aren't you welcome?
• 34:13
  Yeah, it's just Jersey. It's just across the river.
• 34:15
  It's like living in packing and going to like fucking Dalston
• 34:17
  for like a night out. Yeah, sorry to be London
• 34:20
  centric. Everybody.
• 34:24
  But yeah, it's like being in Brooklyn going upstate.
• 34:27
  To Joy Z but yeah, big big difference.
• 34:30
  So Shane is hired. Oh, he has sex with a model in
• 34:34
  the balcony. Oh, yes, yeah.
• 34:37
  First night, Good boy, good on him.
• 34:38
  And you would. You would.
• 34:40
  And we're jumping over Mike Myers here.
• 34:43
  Oh, you've seen Mike Myers. We.
• 34:44
  Have. Yeah, Shall we?
• 34:45
  He's. Giving.
• 34:51
  That's the line I laughed to. Myself about before.
• 34:55
  It is though, isn't it? Creepy old man like.
• 35:00
  What do you think of Mike? What do you think of his
• 35:02
  performance in this movie? I don't think it's like all it's
• 35:06
  cracked up to be. I mean, he's like just
• 35:09
  underplaying like the role in a sense.
• 35:12
  Yeah, I can't. I'm going to have to just say it
• 35:15
  so many times. But yeah, there's more of him in
• 35:18
  the director's version, and I think it's like quite a nuanced
• 35:20
  character and it's quite interesting.
• 35:21
  Unfortunately, in the theatrical version, he is just kind of like
• 35:24
  a predatory gay villain. I'm not gay either.
• 35:34
  I want to suck your cock. Which is also kind of camp.
• 35:40
  I retract the name I said obviously.
• 35:47
  So Shane and his dad fight some more, and so he leaves Jersey
• 35:52
  City and moves in with fellow busboy Greg Breckenmeier and his
• 35:56
  coatjack girl wife Anita, played by Salma Hayek, who is an
• 36:00
  aspiring singer. And he's living with them in
• 36:02
  Manhattan. He's leaving behind his small
• 36:04
  town life, gone to the big city. Well, sorry to jump back, I've
• 36:08
  just looked over my notes again. Now.
• 36:10
  Now, some other things about him in the club the second night.
• 36:12
  Yeah, he's fucked the model. And no matter how hard they try,
• 36:16
  they cannot get away from how gay he is.
• 36:19
  The fag is there. You know what, Dad?
• 36:22
  You know what? Peter's gay.
• 36:24
  Because he is so distracted by that disco diva on stage, he
• 36:29
  doesn't get a hand job. And he's literally just like,
• 36:34
  it's like a fake Donna Summer, isn't it?
• 36:36
  Is it ultra Nate? Alternate.
• 36:40
  Is it in the end, Yeah, I think it's Thelma Houston.
• 36:43
  Oh. Is it actually?
• 36:44
  Is it meant to be? Oh, OK.
• 36:45
  Yeah, I think it actually is. But yeah, I'm just basically
• 36:49
  saying the clues are there. And like so no matter how they
• 36:53
  tried to edit him, he is still gay.
• 36:55
  Gay. Shane then meets Billy, who I
• 37:01
  love. This is she's played by Cela
• 37:03
  Ward and she's a record exec. The one of the first signs we
• 37:07
  get from her, she's taking some coke and she says Diana helped
• 37:11
  herself to the last of my snow. Great, great line.
• 37:16
  She and Shane kind of start a relationship and she shows him
• 37:20
  how to fuck. Yeah, she does.
• 37:24
  Oh, you're a fast learner. Fast learner and this all.
• 37:27
  Suddenly feels very Sex in the City coded to me.
• 37:29
  Now I'm like it's. So true.
• 37:32
  It's so true. I'm like, are we just watching?
• 37:34
  Because they're like doing narration while they're having
• 37:36
  sex. Yeah, and it's kind of shot in
• 37:38
  the same way because it's the 90s and I'm just like, are we
• 37:40
  just watching AHBOTV show now? Yeah, so he she shows him how to
• 37:45
  fuck, and then, as the film puts it in the director's version, he
• 37:48
  fucks her unconscious. Oh my God, he fucks her
• 37:53
  unconscious. Yeah, so she then they're having
• 37:56
  sex and she passes out and he then watches himself have sex
• 38:00
  with her in the mirror while she's unconscious.
• 38:03
  Oh. That is a bit in the extended as
• 38:05
  well, but not. Yeah, but then later in the
• 38:07
  director's version, she says to her friend, He fucked me
• 38:10
  unconscious. Now that is a showgirl's like
• 38:13
  that is a showgirl's kind of line.
• 38:14
  I'm here for that because I did write on my extended version
• 38:17
  which isn't as graphic as yours. I did put dead question mark
• 38:20
  lol. It's not.
• 38:23
  So it's like. Low yeah, when it first happens
• 38:26
  like this isn't OK he's having he's having sex with an
• 38:28
  unconscious lady but then later she's clearly but she clearly
• 38:31
  she was into it she. Likes it.
• 38:33
  Yeah, so it was fine actually. She gets so fucking high and
• 38:36
  then gets railed to the point where she can't take anymore and
• 38:39
  then she's like, fuck my unconscious body bitch, I've
• 38:42
  been. I want to wake up sore.
• 38:45
  Been Austin? I tapped my hat.
• 38:47
  Off to you, babe. I hope they use me she anyway
• 38:55
  she she so is she's complaining about drugs and sex and she's
• 38:59
  passing around her new toy boy. It's.
• 39:02
  Passing around her unconscious body to anyone who wants to fill
• 39:05
  it up. What am I here for if not to be
• 39:07
  used by good people for good things?
• 39:10
  So then we find out that the club owner Steve is laundering
• 39:14
  loads of cash and Breckin Myers slash Greg helps him bring the
• 39:18
  cash home one night. This is another pretty good
• 39:20
  scene. Mike Myers says there's a new
• 39:23
  bartender job and there's a he says no, me, there's a spot open
• 39:29
  up. You want an audition.
• 39:33
  And he's currently he's lying on a bed covered in cash and he
• 39:37
  says you can have the bartender job if you let me blow you.
• 39:44
  Greg says no. And he's like, maybe?
• 39:47
  Yeah. But then the bouncers there and
• 39:51
  laughing, Yeah, bouncers there laughing, reading a comic book,
• 39:53
  read Sonia, I noticed. And so Greg, like, chickens out.
• 40:00
  He says no. And Mike Myers is like, oh, you
• 40:02
  really are straight. And then he throws up on his
• 40:05
  money. Oh yeah, it's.
• 40:08
  Quite a tableau. Quarter, I'm like, was this me
• 40:11
  at your party potentially? Yeah, I haven't heard anything
• 40:17
  out of character for you yet, but yeah, Mike Myers throwing up
• 40:22
  on the pile of money while trying to get some, trying to
• 40:24
  give someone a blowjob. Quite camp.
• 40:26
  Yeah, right. So then Shane finds out the way
• 40:29
  you get the bartender job. So he goes to Mike Myers office
• 40:32
  and tries to seduce him. And Mike Myers is kind of
• 40:36
  impressed but turns him down but gives him the job.
• 40:39
  But also is like, you want a job?
• 40:42
  Well, shouldn't I be the one taking my pants off to Ryan
• 40:45
  Felipe? Yeah, yeah, suck my Dick.
• 40:47
  Yeah, yeah. Well, and then Shane, Shane,
• 40:50
  Ryan, Felipe's confused. He's like, no, I thought it
• 40:52
  worked the other way around. I know.
• 40:56
  But yeah, so he gets the bartender job over Greg.
• 40:59
  Greg's pissed. And this is where we see Shane
• 41:01
  is kind of willing to step on his friends to get to the top.
• 41:05
  Good. There's always someone younger
• 41:06
  and hungrier. Now we're watching Shane's
• 41:09
  popularity skyrocketing. And in the director's version,
• 41:13
  this is a more extended scene, but it's a montage of him, like
• 41:16
  sleeping around meeting high societies.
• 41:19
  That people that like, get jobs at Studio 4, these are like,
• 41:23
  they are like, they're like a prize jewel for the the venue,
• 41:27
  aren't they? And they're treated like
• 41:29
  celebrities at the club. That's right.
• 41:31
  And there's a montage in the theatrical version of, like, him
• 41:35
  waking up with all of these women in bed next to him in the
• 41:37
  director's cut. Some of those people are men.
• 41:41
  Yeah, great. Yeah, and then you know the hot
• 41:43
  tub scene. Yeah.
• 41:45
  He's like in a hot tub with all of these, like, high flying
• 41:48
  people, and he's clearly about to have sex with a girl in that
• 41:53
  hot tub. In the theatrical version and
• 41:54
  the director's version, he's introduced to that woman by a
• 41:56
  man he's just had sex with. Then the next time we meet that
• 41:59
  woman, she says to Billy, he fucked me unconscious.
• 42:02
  And so it's gotten around full circle and Billy's rolling her
• 42:06
  eyes because now this woman she's just met is telling her
• 42:10
  that he's fucked her unconscious.
• 42:12
  And she's like, oh, baby, I know.
• 42:14
  But yeah, we can. We.
• 42:16
  He's kind of got a relationship going on with a man.
• 42:18
  The man's introducing him to other women.
• 42:20
  It's all very bisexual. Well, love that.
• 42:23
  Yeah, love that. It's fabulous.
• 42:25
  Yeah. And he's also kind of trying to
• 42:27
  keep up with the rich and the famous.
• 42:28
  He's paying for things. He doesn't really have the
• 42:29
  money. He buys a fancy car with a
• 42:33
  vanity plate on it that says Shane, 54, and Shane's.
• 42:36
  He's basically addicted to the attention and he thinks he's on
• 42:39
  the path to becoming something. And they the extended version
• 42:43
  doesn't really do that. He says he's having a good time.
• 42:45
  He's having a good time, yeah. It's very like, it's so
• 42:49
  interesting. You said it was like teen
• 42:51
  audience testing because it is just a very like teen like
• 42:54
  friendly version. Yeah.
• 42:58
  Then he gets chlamydia and he goes to the clinic to get
• 43:03
  antibiotics and he runs into club regular Disco Dottie.
• 43:06
  What do you think of Disco Dottie?
• 43:08
  I mean. She feels gimmicky.
• 43:12
  Yeah, like it's, you know, again, it's like there's nothing
• 43:16
  crazy about, like, an older person frequenting a night and
• 43:19
  taking drugs. But the fact she's got like,
• 43:21
  this double life is like a cute grandma.
• 43:25
  Yeah, I don't know. Again, it feels like a straight
• 43:29
  person has read that that was a character that existed at Studio
• 43:33
  54, even though I know it's a gay director, but it feels like
• 43:36
  a straight person has then created the the character rather
• 43:39
  than. So again, I would say in the
• 43:42
  director's cut, she's got a little bit more time and there's
• 43:44
  a bit more a little just ever so slightly.
• 43:47
  They've got a bit more of a relationship.
• 43:49
  So she doesn't feel quite so much as like we need someone to
• 43:52
  say something outrageous in this scene, like just Wheeler in and
• 43:55
  get her to give her one liner and then like, but there's a
• 43:59
  little bit more to her. But I also quite like her just
• 44:01
  as the zany one liner like she Merry Christmas.
• 44:06
  You can't, Merry. Christmas you can't she's a big
• 44:14
  party girl as well she but like by this point with the STD
• 44:18
  thing, I was starting to get a bit bored right.
• 44:21
  Just all of these things sound, even you saying them now, they
• 44:23
  sound like more exciting than they are.
• 44:25
  But this is kind of like built it kind of basicness about the
• 44:31
  way that all of these characters are presented.
• 44:33
  Yeah, yeah, for sure. Disco Dotty should be getting
• 44:36
  fingered in the fucking balcony. Full mouse energy.
• 44:39
  Yeah, yeah, she probably was. The real character that she was
• 44:45
  based on. Ended up with a 25 year old man
• 44:48
  and she was married to a 25 year old when she died.
• 44:51
  But that's kind of what you want to see.
• 44:52
  Yeah, for sure. But yeah, she buys him his, he's
• 44:56
  got no money, so he she buys him his antibiotics at the pharmacy
• 44:59
  and they've got a cute kind of little.
• 45:02
  We know each other sort of thing now around about this point in
• 45:04
  the film, I put his giving Ryan Murphy.
• 45:07
  Yes. It's starting to feel just like
• 45:10
  a Ryan Murphy TV series. Yeah, it is very pose actually.
• 45:14
  Like and it's just everything's being over explained.
• 45:17
  It's just got this kind of like lost to it.
• 45:20
  Well, again, the theatrical version has all of these voice
• 45:22
  overs, which are not in the director's cut, which are very
• 45:25
  like, and this was Studio 54. It was a cool party and they
• 45:29
  were embezzling money. And you're like, I don't need to
• 45:32
  be told this because I can see that happening.
• 45:35
  Then Greg starts stealing drugs because he doesn't have the
• 45:37
  bartender job, so he's dealing drugs.
• 45:40
  And Shane is really hitting on his wife Anita, and Greg catches
• 45:45
  him trying to kiss her. And there's this whole love
• 45:48
  triangle situation brewing. And it's not a love triangle
• 45:52
  that goes anywhere, is it? Well, it does.
• 45:54
  Well, in your version it does, but in my version it's like.
• 45:57
  Nothing happens. Yeah.
• 45:59
  And the director's cut, it's actually Shane is broke because
• 46:02
  he can't afford to keep up with the rich and famous.
• 46:04
  And so he also becomes a drug dealer, and he's the one who
• 46:08
  steals the money from Steve. In the theatrical version, Greg
• 46:11
  is the thief and only Greg is dealing drugs.
• 46:14
  Yeah, so basically in the the extended version, the version,
• 46:18
  the hetero 1, essentially we've got a pretty boy that's like
• 46:22
  everyone wants a bit of a bit of the action from he's hitting the
• 46:26
  drugs, he's having a good time, He's sort of fucking trying to
• 46:29
  fuck his friend's best, his friend's girlfriend, but that's
• 46:33
  about it. There's no like real stakes are
• 46:35
  there for him. He's just kind of existing.
• 46:38
  Yeah, that's it. And you also don't get a sense
• 46:40
  of why this character is doing anything or what like what his
• 46:43
  motivation is like. It's, I mean, fine, it's
• 46:47
  probably good enough to be like, I'm from a small town and I have
• 46:50
  big city dreams like that maybe is kind of enough.
• 46:52
  But this one, it adds a dimension of I also couldn't be
• 46:55
  myself in my small town. And so I'm finally being allowed
• 46:59
  to express myself fully. And that is intoxicating.
• 47:03
  I don't, I don't need someone to be like to go off the rails with
• 47:06
  a drug addiction or I don't need to see that.
• 47:08
  But like, yeah, like something like it makes sense.
• 47:12
  Like he doesn't have money, but he's trying to keep up with
• 47:14
  people. That makes sense.
• 47:15
  Gives the whole story like a bit more.
• 47:17
  He also ends up going over the like, he also ends up having a
• 47:21
  drug problem. So everything you're saying will
• 47:26
  happen. Something Otherwise it's just
• 47:28
  like hot guy goes to club, has a nice time, yeah.
• 47:32
  Exactly what are the stakes? He's like, oh, I had a bit too
• 47:37
  much fun. I guess I'll the.
• 47:39
  Funniest place in the world? I guess I'll, I guess I'll just
• 47:43
  go be friends with my family again and manage a restaurant.
• 47:46
  The end. Yeah.
• 47:48
  Basically, let's. Yeah.
• 47:50
  Meanwhile. So yeah, in my version this sub
• 47:54
  character is being given a bigger part.
• 47:57
  Yeah, Nevada Campbell, we haven't quite got there yet.
• 48:00
  No, haven't we? Well, maybe we have.
• 48:03
  Yeah, I'm going to start calling it.
• 48:04
  I think we should just start calling it the hat version and
• 48:06
  the gay version. So they go to a fancy dinner
• 48:12
  where this is where Shane realizes he's pretty much he's
• 48:15
  basically just a pretty trophy to all of these people.
• 48:19
  Yeah, but we're not getting Versace.
• 48:21
  Level no, but that is the, that is the.
• 48:23
  Vibe, but I feel like I just need to really, if you haven't
• 48:26
  watched this movie, I can't let you believe that we're getting
• 48:30
  like Versace levels of fun now because it's not it's.
• 48:33
  Yeah, what what we get is you're the most gorgeous troglioedite
• 48:37
  I've ever seen. And Shane thinks it's a
• 48:39
  compliment and everybody laughs at him, but it is essentially
• 48:43
  Versace. Yeah, the the point of it, the
• 48:46
  scene is Versace. Also, we've got Michael York
• 48:48
  cameo there who is famously in Cabaret and that's obviously a
• 48:52
  very explicit nod to that. Pick up, Yeah.
• 48:59
  Also at this dinner, Anita is also up for sleeping her way
• 49:02
  around to get a record deal. I don't remember if this happens
• 49:05
  in the heady version or not. Oh yeah, she does.
• 49:07
  Yeah. Yeah.
• 49:08
  I mean because in the Haiti version, like a woman can be a
• 49:10
  slut. Yeah, a woman can sleep her way
• 49:12
  to the top, but a man? Because it's her only option.
• 49:15
  Yeah, like a man can't kiss another guy.
• 49:17
  No. So I will say it's funny because
• 49:20
  she has a terrible voice. I know.
• 49:22
  And it's like she's meant to be this like new hot disco side and
• 49:25
  she literally is awful. But I feel like she does kind of
• 49:29
  also be like, I'm not very good. Yeah, but it's not even like in
• 49:32
  a kind of fabulous performance artist disco diva kind of way.
• 49:36
  It's like. It's giving Jennifer Lopez
• 49:39
  great, great gowns, beautiful gowns.
• 49:41
  Yes, without the dancing. Yeah, without the it's
• 49:46
  literally. Like when you see those clips of
• 49:48
  Jennifer Lopez now and she's like singing songs from
• 49:50
  Broadway. And it's like, no, we do not
• 49:53
  need this. Thank you.
• 49:54
  What we need is Ashanti and Christine.
• 49:56
  Millions and voices ramped right up and you're reading in vocal
• 50:00
  at the bottom. And you've got a cane.
• 50:02
  Yes. You're doing some great cane
• 50:05
  work, so Shane is starting to feel a bit used because he wants
• 50:10
  to be taken seriously and valued for more than just his good
• 50:13
  looks and sex appeal. Loser.
• 50:16
  Yeah. Right, there's the.
• 50:18
  Violet like him. I know there's the whole thing
• 50:21
  with him. That's the thing.
• 50:23
  What is this thing like, oh, who is it?
• 50:26
  Oh, it's something Michelle de Swartz says.
• 50:28
  When you're a model, you literally don't need to give a
• 50:31
  shit. It's only when you, like, turn
• 50:33
  old that you actually have to start working on a personality.
• 50:36
  But like literally have your fucking glory days of being a
• 50:40
  fucking cunt because no one cares if you're a hot model.
• 50:43
  And I'm like, that is sensational.
• 50:45
  And then when you go downhill, then work on having a
• 50:48
  personality. Then such a Chinese friend.
• 50:50
  Gorgeous model. Carry on.
• 50:55
  That is that should. Yeah, that should be the message
• 50:59
  of this movie. It's not.
• 51:02
  So now we're now it's Christmas Eve.
• 51:03
  It turns out this movie is a Christmas movie if you squint.
• 51:06
  Merry. Christmas, you cunt.
• 51:08
  Dottie says that line and I can't wait to terrorize everyone
• 51:12
  listening to this podcast with that clip at come Christmas
• 51:14
  time. But yeah, it's Christmas Eve,
• 51:18
  Shane, Greg and and neither are at home in the gay version and
• 51:23
  they really nearly have a threesome.
• 51:25
  It's like they're all standing very close and they're all about
• 51:28
  to three-way kiss. It gets very close and then Greg
• 51:32
  walks out. But surely there could have just
• 51:33
  been a hefty way of doing that as well.
• 51:36
  Yeah, just making all about her and then you know, it's like I
• 51:40
  mean isn't that just like the most heady thing in the world
• 51:42
  like 2 Bros and well this one is touch each others Dick.
• 51:46
  Yeah, but. This one is very it looks really
• 51:48
  gay. Ohk OK, yeah, then she's not
• 51:51
  getting any. Yeah, they would have had.
• 51:52
  She's like, it's like honey, like go and get the strap on.
• 51:55
  Because we are, Yeah. Going they would have had to
• 51:57
  reshoot it because you you know, the the I fucking Ryan is doing
• 52:02
  to Greg is like, yeah, there's no way a teen in Long Island is
• 52:07
  going to be OK with that. OK, OK, got you.
• 52:10
  I'm God. I'm surprised because there
• 52:11
  aren't there aren't any properly gay or trans characters in this
• 52:16
  story. Just Mike Myers, yeah, in the
• 52:18
  neti. Version and there's no there's
• 52:20
  no trans, no characters in Studio 54, no film about Studio
• 52:25
  54, about disco in New York. I think you see like a flash of
• 52:29
  one drag queen one time. Yeah, that is fucking wild.
• 52:33
  Yeah. And I mean I'm surprised the
• 52:35
  Hetty version didn't just go down like the one gay character
• 52:38
  having AIDS and dying as well. Well, he does.
• 52:41
  That is what happens is. That what happens to him in the
• 52:43
  film. Yeah, at the end, I mean.
• 52:45
  The Hetty version. The Hetty version in the voice
• 52:47
  over at the end. They're like Steve Rebel died 4
• 52:50
  years later of AIDS. Oh, OK.
• 52:53
  So yeah, they did do that. Yeah, yeah.
• 52:55
  That is also true. That is what happened.
• 53:00
  So it's Christmas Eve still. They're in the club basement.
• 53:03
  And this is in the gay version. Shane breaks down about how
• 53:07
  hollow his life has become. And he's crying and Greg is
• 53:11
  there and Greg is comforting him and being like, I'm Greg's like,
• 53:14
  I want your life, man. Like you've got it all.
• 53:16
  Like, come on, it's all, everything's going to be fine.
• 53:20
  And in that comforting scene, Shane looks up at him and he
• 53:24
  kisses him. And they kiss for a minute and
• 53:26
  then Greg runs out because Greg is no homo.
• 53:29
  But they do kiss. None of this happens in the
• 53:33
  theatrical, in the head. None of this happens in the
• 53:35
  head. He cut.
• 53:36
  And then so Shane's just been rejected by Greg.
• 53:41
  Greg's freaked out because he's just been kissed by his best
• 53:43
  friend. He tries to get Anita to leave.
• 53:45
  They have a fight because she doesn't want to go because
• 53:48
  they're in an open marriage. And Greg can't really handle.
• 53:53
  It Yeah. And again, in the Hetty version,
• 53:55
  he just gets angry and you're like, Oh my God, no wonder she
• 53:58
  doesn't want to be with you. So then Shane and Anita meet and
• 54:01
  then they fuck in the bathroom and they've that's kind of why
• 54:03
  they're fucking, because they're both kind of pissed off at Greg.
• 54:06
  That's so much better. Yeah.
• 54:10
  And also, hello. That's exactly what a little fag
• 54:13
  like Ryan Felipe would do. It's like, oh, you turned me
• 54:17
  down, did you? I want.
• 54:18
  You to. Take your wife.
• 54:20
  Even though I want you, Greg, and I want your Dick, I'm now
• 54:23
  going to take her. That is exactly the kind of
• 54:26
  manipulation that we want to see in a movie.
• 54:29
  That's what you would do if you were chaotic 20 year old
• 54:31
  bisexual. Yes, And you have those powers.
• 54:34
  It's very Gina. Good shot.
• 54:36
  Yes, very crystal. Steve also watches them have
• 54:40
  sex, which does have a payoff in the gay version, so.
• 54:46
  Oh yeah, because in the Hetty version he just is, like, he
• 54:49
  just storms out, isn't he? Yeah.
• 54:51
  So now we're in the in the bit between Christmas and New
• 54:55
  Year's, and this is another big difference in the Hetty version.
• 54:59
  In this period, he has a short love affair with Neve Campbell.
• 55:02
  They go bowling. Yeah, bowling.
• 55:04
  And they go on a coffee day and I'm like, because I wrote this,
• 55:08
  I was like, this is a film about Studio 54 and we are watching
• 55:14
  people going bowling. What the fuck is going on?
• 55:19
  Why are there not any subplots? Are there not any more
• 55:23
  interesting things that we could happen that the world's most
• 55:26
  infamous exciting disco ever and we are fucking bowling with Neve
• 55:33
  Campbell? It's crazy.
• 55:34
  And she's in like a sensible knit, and he's wearing a wig of
• 55:38
  his own hair. Oh yeah.
• 55:43
  Because all of this, what you're describing to me is very camp.
• 55:46
  It's really funny to have a movie called About Studio 54.
• 55:51
  Actually is. Nevada Campbell bowling and a
• 55:54
  sensible knit. I'd like she's like, yeah, oh,
• 55:57
  she's all delusions of her. Even cosplaying as someone that
• 56:00
  goes to Studio 54 out the window, She's like, no, I'm back
• 56:03
  to my Sydney outfit. She knew what she was doing,
• 56:08
  didn't she? Yeah, so in the game version.
• 56:12
  Behind the hetification of it all, Not just not just acting.
• 56:17
  But like, do you think she's not joining your Nevada Campbell
• 56:20
  Haywell? Do you?
• 56:21
  Think she was like, listen, I know how to hetty this up, leave
• 56:25
  it with me. I think she was the mastermind.
• 56:27
  I think she was the one that made the decision that this
• 56:30
  needed to be hettified. She's like, Neve Campbell hates
• 56:36
  gay people and only wants to be in straight movies.
• 56:39
  She's like, she saw that director Scott, she actually
• 56:41
  paid all those kids to go to the screening in Long Island and was
• 56:45
  like, tell them you wanted to be less gay.
• 56:47
  I need more screen time. I believe it.
• 56:50
  I believe it. I've.
• 56:51
  Got this great idea for a bowling scene.
• 56:53
  Listen, let me cast your mind back to wild things.
• 56:59
  She ain't that wild with Denise Richards.
• 57:02
  Denise Richards. They had sex in a.
• 57:03
  Pool Denise Richards did all of the work and continues to do the
• 57:07
  work to this very day. Just because Neve Campbell
• 57:10
  didn't want to show her boobs does not mean she didn't do the
• 57:14
  work. Well, that's the start of the
• 57:16
  heterification of it all, so. The head of vacation so gay
• 57:26
  version none of no bowling gay version.
• 57:35
  Gay version no bowling would be a great T-shirt.
• 57:42
  The gay version yeah no bowling. But he's he's basically tries to
• 57:47
  go home because he's like realized he's crossed the line
• 57:49
  by having sex with Anita. He's taken too many drugs and
• 57:52
  he's crossed lines, so he goes home, but his dad rejects him,
• 57:57
  which makes more sense now that his dad thinks he's a drug
• 58:00
  addicted fag. In the heady version, you're
• 58:04
  like, why is he sleeping in his car?
• 58:05
  This doesn't make any sense. But in the gay version, he's
• 58:08
  like sleeping in his car because he's kind of fucked everything
• 58:11
  up. He decides he's going back to
• 58:13
  the city. He throws his bong out of the
• 58:15
  window, which again is not in the heady version.
• 58:17
  And he's like, he's going to patch things up and he's going
• 58:20
  to like do this right then it's. I swear to God, just having only
• 58:25
  watched the Hetty version, you don't get any sense of like, I'm
• 58:29
  literally just like, there's no problem, I'm watching this.
• 58:31
  I'm just like, there's no issues here.
• 58:33
  Totally. But it's also incredibly
• 58:34
  confusing because you'll get sections of scenes like for
• 58:38
  example, this scene where in the gay version, he throws his bong
• 58:41
  out the window. He like looks at it and he's
• 58:43
  like, no, you know what? I'm done and throws it out the
• 58:46
  window and it crashes. And that you can hear it smash
• 58:48
  on the road behind him and a car honks and he's like, oops.
• 58:52
  In the heady version, you just see him swerve.
• 58:56
  He's still driving his car. A car honks at him and he goes,
• 59:00
  but you don't have any. Like there's no reason why he's
• 59:02
  like, they're just like, we need some running time.
• 59:04
  So we need to use this bit. But.
• 59:06
  I also just don't get the sense that he's having a downfall as a
• 59:10
  no. I the only thing I do get a
• 59:12
  slight sense of is that he's like, oh, you know, his emotions
• 59:14
  are a bit all over the place. And that actually, you know,
• 59:17
  being with Neve Campbell, you know, that could be the thing
• 59:21
  that will tone him down. And actually he's thinking
• 59:24
  outside of life outside the party.
• 59:27
  But like the other thing, I don't even get like a drug
• 59:30
  problem. I get the biggest problem is
• 59:32
  unlike his evil whatever, when it's like, oh, you know, we're
• 59:36
  exhausted. It's such a big shift.
• 59:38
  Yeah, that's it. It's like, oh God.
• 59:42
  It's, yeah, it's, it's not only incomprehensible because the
• 59:46
  plot that they've decided to push with the heady version is
• 59:49
  stupid, but it's also like, so weirdly cut together that it's
• 59:52
  also just quite hard to follow. I'm like, when are we?
• 59:56
  Is this the same night? Like, what's happened?
• 1:00:00
  What's like, it's very confusing.
• 1:00:03
  But now it's New Year's Eve and things are ox between Shane and
• 1:00:08
  Greg because obviously he tried to kiss him and he was kind of
• 1:00:10
  rejected. Shane tells Anita he just wants
• 1:00:13
  to be friends and and he also owns up to stealing the money
• 1:00:18
  from Steve, which obviously none of this is in the heady version.
• 1:00:21
  They have this kind of more expanded, nuanced relationship
• 1:00:23
  here where Steve is like, yeah, I knew you were stealing from
• 1:00:27
  me, but like, I've got a soft spot for you.
• 1:00:29
  Like, they've got this weird kind of relationship, which in
• 1:00:32
  the heady version is just Steve is just a pervy old man.
• 1:00:37
  In another scene in the gay version, Greg goes back to
• 1:00:39
  Steve's house for a second time. There's another opening on the
• 1:00:42
  bartender spot. Greg is back at Steve's house
• 1:00:47
  with the bag of money, and he's finally ready to get to receive
• 1:00:52
  a blowy in order to get the bartender job.
• 1:00:54
  And Steve turns him down and says, now I'm not interested,
• 1:00:58
  but I would like to watch you and Anita have sex sometime.
• 1:01:02
  And Greg's like, fuck that, no. And he's like, why not?
• 1:01:05
  I liked it when I watched Shane and Anita have sex.
• 1:01:09
  Oh my God. So.
• 1:01:11
  Now we've actually got a reason. Why he was watching, you know,
• 1:01:14
  there's like at least a narrative through line.
• 1:01:17
  And more of this understanding of he's just this manipulative
• 1:01:19
  because he's just like the version I watch.
• 1:01:21
  He's just like a desperate old club owner.
• 1:01:25
  Yeah, which is why I kind of made the comparisons.
• 1:01:32
  So Greg storms back to the club and gets in a fist fight with
• 1:01:36
  Shane are. We hetty or gay version now
• 1:01:39
  because a fist fight could mean slightly different things
• 1:01:42
  Crystal So just to confirm are they fisting each other or?
• 1:01:46
  It's a heady fist fight in the gay version.
• 1:01:49
  So no fisting. No fisting.
• 1:01:52
  Shane also runs into never at the club and realizes that she's
• 1:01:56
  the same as everyone, she's just a social climber.
• 1:02:00
  It's not a big deal in the gay version because they barely know
• 1:02:02
  each other. But it's a huge like, Oh my God,
• 1:02:08
  my girl. But this is where we get to
• 1:02:10
  Shane's rock bottom. Because he's fallen out with his
• 1:02:13
  friends. Finally, all of his like, bad
• 1:02:15
  behaviours kind of come back to roost and he doesn't really have
• 1:02:17
  anywhere to go. So he freebases cocaine and he
• 1:02:22
  loses his fucking mind. He doesn't do that in the Hetty
• 1:02:26
  vote. No, he does not.
• 1:02:27
  No, he does not. So he's.
• 1:02:29
  Yeah, because. So now we're watching.
• 1:02:31
  Yeah, now we're watching him have a very bad trip and he's
• 1:02:34
  on. It's New Year's Eve.
• 1:02:35
  Dottie comes up to him and comforts him and is like trying
• 1:02:39
  to take care of him. She's like being like the.
• 1:02:41
  Old lady. The old lady, Yeah, Anita gets
• 1:02:46
  the chance to perform on stage. This happens in both versions.
• 1:02:50
  She's terrible. Yeah, she's she's quite bad, but
• 1:02:52
  the song kind of has a moment. Everybody.
• 1:02:54
  It's it starts week and you're meant to be like, oh, is she
• 1:02:57
  going to be able to do this? And then the disco of it all
• 1:03:00
  kicks in. She's doing well.
• 1:03:02
  Greg sees her on stage and forgives her for having sex with
• 1:03:06
  Shane and realizes he can't control her.
• 1:03:09
  And there's like this moment where he's like, I'm so proud of
• 1:03:11
  her and I want to be with her. Which again, in the Hetty
• 1:03:15
  version there's you're like, why are they fighting?
• 1:03:20
  He doesn't. He doesn't know she cheated on
• 1:03:21
  him. Listen, it's what it's telling
• 1:03:28
  me is like being Hetty is just a bit easier.
• 1:03:31
  You don't need to know about things and you just get on and
• 1:03:34
  it just happens. And then in both versions,
• 1:03:38
  Dottie takes some coke on the dance floor and she drops dead.
• 1:03:43
  Yes, yeah, now I have feelings about this.
• 1:03:47
  For starters, she is a fucking caner, OK?
• 1:03:51
  This old woman who was in her 80s is caning it every night,
• 1:03:57
  every night, every single drug that she can get her fucking
• 1:03:59
  hands on, even in the Hetty version.
• 1:04:01
  So I'm like, it kind of makes sense.
• 1:04:04
  It makes sense. Point #2 Wouldn't that?
• 1:04:06
  Isn't that how she would want to die?
• 1:04:08
  What a way? Did you want to go like that?
• 1:04:10
  It's New Year's Eve, I have just taken the world's most mind
• 1:04:14
  blown drugs and now I've died under under a fucking mirror
• 1:04:18
  ball. If it was the real Studio 54, if
• 1:04:21
  I died in that Studio 54, maybe I would be slightly sad.
• 1:04:25
  But going out on a dance floor, like surrounded by people we
• 1:04:29
  shopping music in your 80s like quite a fucking.
• 1:04:34
  It's so true because it's like, it's like a school theatre
• 1:04:39
  production of what transpires now, because it's like everybody
• 1:04:43
  in the club, which is you really, really, really, really
• 1:04:47
  realise how well lit the club is now.
• 1:04:49
  It's like a function room, isn't it?
• 1:04:52
  And then it's like, everyone's like, so.
• 1:04:57
  And then I was like, how many fucking ODS must have happened
• 1:05:01
  at Studio 54? They definitely had a system.
• 1:05:05
  Keep the music pumping, the cocktails flowing, and get rid
• 1:05:10
  of that dead body now. The most unforgivable, the most
• 1:05:14
  unforgivable thing that the theatrical version does is it
• 1:05:17
  tries to moralize this lady's death and make me think she's a
• 1:05:22
  victim of a hedonistic lifestyle where I'm, like, watching him,
• 1:05:24
  like, yeah. She makes it to her 80s and like
• 1:05:30
  she's still partying with the best of them.
• 1:05:32
  And I go. I'm going like darling.
• 1:05:37
  Right. It's just everybody's just like
• 1:05:41
  the only way that could feel right with the reaction they've
• 1:05:44
  given it is that like he was, I'm I'm going off script now.
• 1:05:48
  I'm creating it in his like cocaine high craziness.
• 1:05:53
  He accidentally gave her a drink that was drugged.
• 1:05:58
  And like, you know, Dottie's thing was she doesn't take
• 1:06:00
  drugs. She just like she's high on life
• 1:06:02
  or something. And then because of his actions,
• 1:06:05
  the old lady dies. She's hunting for drugs.
• 1:06:08
  We haven't been following her story.
• 1:06:10
  I don't know what else she's been mopping up that fucking
• 1:06:12
  night, but she's not fussy with what goes up and she.
• 1:06:16
  Is a scrounger. She'll take it all.
• 1:06:19
  Got any treats for Donnie? Yeah, it's like, but so it's
• 1:06:22
  just like, I kind of feel like she'd want everyone to just, if
• 1:06:25
  she did done that, that everyone just be like, yeah, but no, the
• 1:06:30
  way that my version of the film does, it's basically the end of
• 1:06:35
  Studio 54 because of this. It's so stupid and yeah, so in.
• 1:06:41
  Also quite camp, a very color. We're analyzing it like this.
• 1:06:45
  Yeah, very camp to turn try and turn this all into a morality
• 1:06:49
  play about the dangers and drugs and sex in the set at Studio 54.
• 1:06:54
  Set at Studio 54, The Studio 54 with no gay people.
• 1:07:02
  So Stephen Shane fight about Dottie's death and Shane gets
• 1:07:06
  fired because Shane's like no one cares about her and blah
• 1:07:12
  blah blah. Shane gets fired, the FBI raid
• 1:07:15
  the club, Steve gets arrested, and Shane is thrown out.
• 1:07:21
  This this is all kind of the same in both versions, although
• 1:07:23
  there is slight differences. And then we see Shane shivering
• 1:07:27
  on the sidewalk wrapped in a bin bag back where we started the
• 1:07:29
  movie. Julie then drives up in a limo
• 1:07:32
  and offers him a ride. And now we've got I.
• 1:07:35
  Like you, Shane. Yeah, now we've got the other,
• 1:07:38
  the other two big differences, I would say.
• 1:07:41
  So in the gay version, should I start with a better version of
• 1:07:46
  the I'll start with the one you've seen.
• 1:07:47
  So in the heady version, Nevada gets out of the car.
• 1:07:51
  They have a heart to heart. She says she's changed her mind
• 1:07:54
  about chasing that stuff. I don't know why She has enough
• 1:07:56
  30 minutes since she left, since they left her in the club, but
• 1:08:00
  she's had a change of heart. Well, it's because Dotty died,
• 1:08:03
  so you know she's had to rethink everything.
• 1:08:07
  And they say they're going to stay friends.
• 1:08:11
  And then the movie kind of ends. And then we see, like, a what
• 1:08:14
  happened next? And Shane does a voice over
• 1:08:17
  saying, like, he went to Business School and is now
• 1:08:19
  managing restaurants. Julie is successful and living
• 1:08:23
  in LA. Greg went to prison for drugs.
• 1:08:26
  But now he works in construction.
• 1:08:27
  And him and Anita are really happy.
• 1:08:29
  She released an album. She's doing OK Shane reconnects
• 1:08:34
  with his family and his sisters and is back at home.
• 1:08:37
  Like I'm having a great. Time with make up, even though
• 1:08:40
  it isn't the 90s. But yeah, he's it's literally
• 1:08:42
  like we're not even pretending we're in the this is a sort of
• 1:08:46
  a, a historical piece now, are we?
• 1:08:48
  And then Steve gets out of prison and they get to throw one
• 1:08:52
  last party at Studio 54 and everyone comes back together and
• 1:08:55
  ultra Nate. This is real though.
• 1:08:59
  This is what happened. Alternate Amber and Jocelyn
• 1:09:03
  Enriquez perform If you could read my mind on stage.
• 1:09:06
  The end. You ready for the gay version?
• 1:09:11
  Oh. Yeah, because this is this is
• 1:09:13
  blind to me now. The gay version.
• 1:09:16
  So he's in the bin bag walking down the street.
• 1:09:18
  Julie drives past in the limo. She says, do you want to get in?
• 1:09:22
  It's just me. And he says Nah.
• 1:09:24
  And so she just drives off. A man after my own heart.
• 1:09:30
  Get rid of her. He bumps into Greg, who's also
• 1:09:33
  on left the club. He's also wearing no clothes.
• 1:09:35
  He's on the run from the cops too.
• 1:09:37
  And then Anita comes out in a giant fur coat.
• 1:09:41
  Allah Hustlers wraps her two boys up in her fur coat and they
• 1:09:45
  all walk off in together. And the movie.
• 1:09:50
  And the implication is they're going to.
• 1:09:52
  Fuck, they're going to fuck. They're like we have been
• 1:09:55
  wasting our time. Let's just each other's brains
• 1:09:57
  out. Finally, we all want to fuck
• 1:09:59
  each other. The end.
• 1:10:01
  My God, that is such a good ending.
• 1:10:03
  Such a good. Ending.
• 1:10:05
  It's so funny, isn't it? Because now, like, I know that
• 1:10:08
  there's two. It's kind of makes mine funnier.
• 1:10:11
  Yeah, I know it. Actually.
• 1:10:13
  The meta camp of this movie is so good.
• 1:10:15
  Really, I will give it to you because I hated it, but I knew
• 1:10:20
  that they did a lot of changes to make it Hetty, but I I kind
• 1:10:27
  of the the joy wasn't there for me just because it it just is so
• 1:10:32
  like, and I know it's kind of funny to do all of these things
• 1:10:35
  and get rid of it, but it just doesn't play out in a fun way.
• 1:10:38
  But now I know that there's like an ulterior universe actually is
• 1:10:41
  out there. They're.
• 1:10:42
  So afraid of anything gay that they've like, chopped this movie
• 1:10:45
  into a Frankenstein version and added a bowling scene just to
• 1:10:50
  avoid any gay stuff. It's so funny.
• 1:10:53
  It's just like, are straight people OK?
• 1:10:59
  That's so true. It's like, are you OK?
• 1:11:02
  Do we need to wrap everything up A cut of all?
• 1:11:04
  For you even like there's bartenders in this in this movie
• 1:11:09
  and then the gay version, they're like there's clearly a
• 1:11:11
  couple and they like have a little fight one time they're
• 1:11:14
  like teasing each other another time they're just like
• 1:11:16
  background characters basically. But there's like gayness and
• 1:11:20
  they're even, they remove that from the heavy version.
• 1:11:22
  Phobic in this? In this?
• 1:11:24
  Where is the like basic lesbian stuff like the male gaze lesbian
• 1:11:29
  stuff 'cause that doesn't even exist in this, does it?
• 1:11:31
  Yeah, you're so right. Where's where's Neve Campbell
• 1:11:34
  letting off with Anita? You're right.
• 1:11:37
  Oh, we know she wouldn't do that because it's not in her
• 1:11:39
  contract, because she owns us Hattie Films.
• 1:11:41
  Yeah. You could imagine them also,
• 1:11:43
  like in that montage where he's making waking up in bed.
• 1:11:46
  Like you could imagine one time it would be two women.
• 1:11:48
  Yeah. They would have replaced one of
• 1:11:50
  the men with two women and be like, see, it's still a bit gay.
• 1:11:55
  It's so, so funny to me, what I would say.
• 1:11:59
  What? Does it mean though?
• 1:12:00
  What does it mean? What?
• 1:12:01
  How do we where do we go from here?
• 1:12:04
  I don't know what. I don't know what to do.
• 1:12:06
  I'm I don't know what to say. Well they are just such
• 1:12:11
  surprising. It's amazing how you can like
• 1:12:14
  have almost all the same plot points and have such different
• 1:12:17
  outcomes. And the style of movie.
• 1:12:19
  I really really really wish I'd seen the gay version first
• 1:12:22
  because it is actually I think quite a good movie.
• 1:12:24
  But when you watch it second your your perception of it is
• 1:12:29
  coloured by the shit version you watched before and you're you're
• 1:12:32
  kind of second guessing. You're like, did this happen?
• 1:12:34
  I can't remember. Did I just miss that before?
• 1:12:35
  So, right, I mean, I obviously haven't experienced it, but I
• 1:12:37
  think from what you're telling me, I would I, if I could go
• 1:12:41
  back in time, I'd like to watch the gay version first and then
• 1:12:44
  watch the Hetty and then laugh at how all the bad choices.
• 1:12:47
  That sounds perfect. Yeah.
• 1:12:48
  Exactly, And I'm not saying that the gay version is a perfect
• 1:12:52
  movie by any means, but it is like.
• 1:12:55
  Is it sloppy? Still no, it's not a sloppy
• 1:12:58
  because. Because but in terms of like do
• 1:13:01
  get more of a century in this kind of fun Judo 54.
• 1:13:05
  Yeah, absolutely. And like, because the editing
• 1:13:08
  isn't so weird, you're not like also kind of being jarringly
• 1:13:14
  janked from scene to scene or like you're not sure what's
• 1:13:16
  going on. You can't follow like the
• 1:13:18
  narrative makes more sense. But also like it becomes a quite
• 1:13:23
  like kind of classic gay coming of age story, which is like
• 1:13:27
  endearing. And like, especially, you know,
• 1:13:29
  if you were watching that as a 20 year old, I think it would
• 1:13:33
  have been quite a powerful movie.
• 1:13:35
  It's kind of got like a velvet goldmine sort of thing, but.
• 1:13:39
  Also, it sounds like it has a storyline and like kind of
• 1:13:42
  stakes and stuff, which the straight version doesn't have.
• 1:13:45
  It's so it is so sanitized. It's.
• 1:13:48
  Crazy. And so like, yeah, maybe it's
• 1:13:50
  still a bit of a cheesy gay coming of age story, but like,
• 1:13:54
  it's not a bad one of those, you know what I mean?
• 1:13:57
  And also less nab Campbell. So much less.
• 1:14:00
  So I'm like okay side. Yeah, she's barely in it.
• 1:14:03
  As she should be, yeah. And she was, I think, you know,
• 1:14:07
  she was cast in this to be a cameo, and they were tried to
• 1:14:11
  make her into a feature. It's so funny.
• 1:14:13
  It's so funny. Also, not only does it manage to
• 1:14:16
  erase all of the gay stuff, but because the only gay stuff
• 1:14:19
  that's left in the heady version is Mike Myers, it's also just
• 1:14:23
  becomes quite a homophobic movie.
• 1:14:25
  It goes from like a nuanced gay story with different gay
• 1:14:28
  characters living different ways to just the only gay person is
• 1:14:36
  pastiche. Well, no, I you know, as I said,
• 1:14:41
  I wouldn't necessarily say just, it's just giving an older figure
• 1:14:46
  running a club that, you know, I wouldn't want to.
• 1:14:50
  Yeah. It's like it was such.
• 1:14:51
  It's like not only are we going to erase queer, we can
• 1:14:55
  villainize. Anything.
• 1:14:57
  You know what? We can keep the pervy gay man?
• 1:15:00
  Yeah. The old ugly gay man.
• 1:15:03
  Let's keep that one. So that's that's quite funny.
• 1:15:08
  That is quite funny. Also, just even like the Greg
• 1:15:12
  and Anita relationship is so much more explicitly, they've
• 1:15:15
  got an open relationship in the gay version, which is also quite
• 1:15:19
  refreshing. Actually, that's given me like a
• 1:15:21
  flashback to the Hetty version because there's a bit where Ryan
• 1:15:24
  Felipe looks at their pictures when he goes into their
• 1:15:27
  apartment and there's the wedding picture and they and
• 1:15:31
  he's like, oh, what a what a lovely wedding picture.
• 1:15:34
  And they both kind of like look at each other in a weird way.
• 1:15:38
  And like I when I watched the Hetty version was like, ohh, is
• 1:15:41
  that because they're not really married or is this something is
• 1:15:44
  gonna come out because it was a look, right, Which is clearly
• 1:15:47
  from the original. So clearly there's more built in
• 1:15:50
  that they're not open so that they are open.
• 1:15:52
  So that marriage thing is, but in in the Hetty version, it is
• 1:15:55
  just like, and then I was like, oh, it's a fake marriage.
• 1:15:58
  He's gay or something, right. And then it just as you said.
• 1:16:00
  Nothing. Nothing.
• 1:16:01
  Doesn't make sense. Like love that they've made a
• 1:16:05
  new film but without caring about like well you said the
• 1:16:09
  director wasn't allowed to watch the final car now so who has
• 1:16:12
  been editing this? Was Neve Campbell editing it as
• 1:16:15
  well? The dark truth is that I think
• 1:16:17
  it was probably Harvey Weinstein, because apparently
• 1:16:19
  probably his nickname was Harvey Scissorhands.
• 1:16:21
  He loved to make directors recut their movies.
• 1:16:24
  Right. And just have no through line of
• 1:16:27
  anything. I mean, from a cynical point of
• 1:16:30
  view, I guess you can you could say like, OK, so this is the
• 1:16:33
  same studio that did Velvet Goldmine and that was a flop.
• 1:16:37
  And so maybe they're like, OK, people don't want a gay coming
• 1:16:41
  of age story. Maybe they want a teen focused
• 1:16:45
  with the two biggest teen stars of the day.
• 1:16:47
  Maybe we can make a love story out of this movie.
• 1:16:50
  But it like God, it's it's pathetic to watch.
• 1:16:54
  It's it's. It's so it's so interesting to
• 1:16:57
  me that there hasn't been another film in more recent
• 1:17:02
  years based around studio. Yeah, we haven't had it.
• 1:17:04
  Because I feel like people have more guts now, and that's what I
• 1:17:08
  think you need to do a Studio 54 film justice.
• 1:17:12
  Or even like a just a disco era movie.
• 1:17:14
  Totally. Because it's like, you know,
• 1:17:16
  like the glitz and glam is one thing, but of course inevitably
• 1:17:21
  there's going to be like, problematic, dark, murky
• 1:17:24
  subculture shit. Yeah.
• 1:17:25
  It's just such a rich thing for a film.
• 1:17:28
  Totally. The problem I have with this
• 1:17:30
  film, ultimately is there's just no, it's like, like an American
• 1:17:36
  high school production of Studio 54.
• 1:17:38
  There's no, like, luxury to any of the set pieces or it doesn't
• 1:17:42
  feel grand. It doesn't feel special.
• 1:17:44
  It's like you said about all of these stories about people
• 1:17:46
  Wheeling in glitter to great glitter sand.
• 1:17:49
  There's none of that. It's like a cardboard moon.
• 1:17:51
  Yeah. Yeah, yeah, so true.
• 1:17:54
  The movie that springs to mind, which is like the good version
• 1:17:56
  of this is Boogie Nights, which obviously does deal with all the
• 1:18:00
  darkness and it's about porn. It's not about, but it's in the
• 1:18:03
  same time period. It's obviously like in
• 1:18:06
  conversation with this movie, and it's just, yeah, so funny to
• 1:18:08
  see that one, which is like, yeah, really incredible, well
• 1:18:13
  acted, dark, nuanced, like. Oh, it all says, well, that with
• 1:18:16
  all of these kind of films, like, we've seen it done and we
• 1:18:19
  know that it can be done. Like, it doesn't have to be
• 1:18:21
  trauma porn. Yeah, it you can.
• 1:18:24
  You can still tell like really wonderful tales of people with
• 1:18:28
  really complicated, difficult lives, but still captured like
• 1:18:32
  the joy and the sort of essence of life in it without going down
• 1:18:35
  the route of like, and then they all die like you don't need.
• 1:18:38
  To do that. Yeah, but it's like there were
• 1:18:41
  ways of kind of like celebrating those glorious forces in
• 1:18:44
  nightlife culture that are like, have all of these, like demons
• 1:18:48
  around them. So yeah, I want to.
• 1:18:50
  I want to see someone else do it.
• 1:18:51
  Totally. I love that the gay version of
• 1:18:54
  this ends basically the same way as Showgirls, which is like,
• 1:18:57
  what did you win me? And it's like, I'm triumphantly,
• 1:19:02
  like, going into the future. I've been changed by this
• 1:19:05
  experience, but I've got no shame about what I've done.
• 1:19:07
  And like, I love, yeah. It's like so empowered.
• 1:19:11
  I think it's interesting that it's like a bisexual storyline
• 1:19:14
  and obviously I do not think this about our bisexual family
• 1:19:18
  members, but it's kind of giving like make a choice.
• 1:19:24
  Do you want to be straight and have an IT job and just, or do
• 1:19:29
  you want to go and just like fuck and be queer and like.
• 1:19:33
  Right. You mean the two?
• 1:19:34
  Versions. The two, two movies.
• 1:19:35
  Yeah, it's just like, what do you want to do?
• 1:19:38
  Yeah, that's so true. That's so true.
• 1:19:40
  I, I, I also think like the heady version is, well, I think
• 1:19:45
  the gay version is like, yeah, somewhere between showgirls and
• 1:19:47
  cabaret. And the heady version is
• 1:19:49
  burlesque, and that's almost being cruel to burlesque.
• 1:19:54
  Oh, it's not almost. It's like being really cool to
• 1:19:56
  burlesque because at least burlesque has like a bit of.
• 1:19:59
  Yeah, some, some production. Value.
• 1:20:01
  Yeah, it's like, where is this is just like, Oh my God.
• 1:20:04
  A number. It's got a routine.
• 1:20:05
  It's got an 8 count. Although saying that, what's the
• 1:20:08
  name of Christina Aguilera's love interest in burlesque?
• 1:20:12
  The Dane. Yeah, the guy's called Ham
• 1:20:16
  someone. Oh Cam music.
• 1:20:19
  Oh, that guy can be the. Storyline is is we've got rid of
• 1:20:24
  Christine Aguilera storyline and we followed him.
• 1:20:26
  He's just a barman. Yeah, you're right.
• 1:20:28
  Barman that has a girlfriend and it's just kind of Yeah, it's the
• 1:20:32
  same. Yeah, you're right.
• 1:20:33
  They are the. Homo.
• 1:20:36
  Whatever he wrote, he wrote, let me show you how to bless.
• 1:20:39
  So we all know he is a massive vendor.
• 1:20:41
  But the other thing I find really funny and obviously like
• 1:20:44
  they they had to be really careful with this, but it's so
• 1:20:47
  funny how they just kind of skirt round.
• 1:20:51
  No, like big legends like lies is not in the corner.
• 1:20:54
  Like, you know, it's like, oh. Truman Capote.
• 1:20:57
  I need to go out the way. Is what's true about a
• 1:21:01
  problematic with children? Oh God, I hope not.
• 1:21:03
  Because there was that paedo E boy Angel lowering down from the
• 1:21:08
  ceiling and I was just like, are they painting him as an old
• 1:21:11
  paedo? By what?
• 1:21:12
  But yeah, I just find it funny how it was like they didn't even
• 1:21:15
  attempt to give us a share or Donna Summer or.
• 1:21:19
  I think I saw someone who was meant to look like divine, maybe
• 1:21:21
  for one frame. Yeah.
• 1:21:23
  And you get Yeah, and you get Andy Warhol.
• 1:21:26
  Oh, God, yeah. Of course, the Andy Warhol.
• 1:21:27
  Oh, yeah. They also clearly at some point
• 1:21:31
  thought that Michael Myers in a prosthetic nose playing this
• 1:21:34
  character was going to be an Oscar winning.
• 1:21:35
  Role and. I love that people in Hollywood
• 1:21:38
  are still so transparent with this.
• 1:21:40
  It's like, let's make them look different and they'll win an
• 1:21:43
  Oscar. They still fall for it, don't
• 1:21:44
  they? I think there is an argument in
• 1:21:47
  the directors in the in the gay version for a supporting Oscar
• 1:21:51
  nomination for Mike Myers in this.
• 1:21:52
  Movie really OK. But it is on the edge of like,
• 1:21:55
  he's kind of doing it. It's kind of bad, but it's kind
• 1:21:57
  of good, but it's kind of bad and like it's on that.
• 1:21:59
  It's dancing on that line. But because it's in a better
• 1:22:01
  movie, you're like, yeah, I think I can give it.
• 1:22:03
  Literally in my film, all he does is he just tries to suck
• 1:22:07
  people's Dicks. He gets too high and he let's
• 1:22:12
  some people into a club and then fight as a secretary, not an
• 1:22:15
  accountant. It's hard to take a movie this
• 1:22:17
  bad and be like, anyone is worthy of an Oscar in this
• 1:22:20
  movie. But when the movie is much
• 1:22:21
  better, you're like, OK, yeah, I can see it.
• 1:22:25
  What did the director do after this?
• 1:22:27
  He didn't really get to do much. Shit, so this this like I.
• 1:22:30
  Think maybe his career is coming, coming back round since
• 1:22:33
  this has happened, but yeah. That's so upsetting.
• 1:22:37
  Should we rate it? We should rate it, yeah.
• 1:22:41
  Oh, yeah. I think I'm going to just rate
• 1:22:43
  both, OK. And you don't, you can just rate
• 1:22:47
  the one that you saw. Yeah, I mean, what I will say is
• 1:22:50
  the version I saw as a Merrill is, is terrible.
• 1:22:54
  So I can't, I can't comment on the version you've seen.
• 1:22:58
  And it's like really bad. It's like shameful levels of
• 1:23:01
  quality. It's just got like a 90s glaze
• 1:23:06
  on it that just does nothing. So as a film, I'm going to say
• 1:23:10
  it's like a 2. Yeah, I think I'd probably say
• 1:23:12
  the same and maybe 3 Merrill's for the the heady version and
• 1:23:17
  for the gay version, I think it's more like A7.
• 1:23:21
  Yeah, that's wild, isn't it? Wild.
• 1:23:24
  Maybe, maybe that's a bit too generous, but and maybe like I
• 1:23:27
  want it to be better than it was, but it's, it's really hard
• 1:23:30
  to tell. But yeah like 6 or 7 and then
• 1:23:36
  Liza. I would say the gay version is
• 1:23:40
  less camp now than the heady version, which is so weird to
• 1:23:46
  say, but somehow being afraid of all the gay stuff is much camper
• 1:23:50
  than actually just making a bisexual movie.
• 1:23:53
  Yeah, And like, as well, like, it's such a weird thing because
• 1:23:55
  like, obviously I was going to go so low camp on this knowing
• 1:23:59
  that they just sanitized it for heterosexual audiences.
• 1:24:03
  But now that the gay version has come back and only further
• 1:24:07
  highlights how shit the hetero thing is, we're now in a thing
• 1:24:13
  where this is suddenly becoming camp again because of this
• 1:24:15
  existence. And I think if he hadn't have
• 1:24:17
  released this film, I would be like, no way.
• 1:24:20
  Yeah, yeah. I think without the meta
• 1:24:22
  context, it's probably like, I don't know, A4 Lizers.
• 1:24:27
  And I think with it, I'm, I'm also tempted to kind of go into
• 1:24:30
  like A7. Perfect.
• 1:24:32
  Yeah. Well, having heard all of the
• 1:24:35
  kind of plot points that have just completely solved and like
• 1:24:38
  better things and then what they're masking, I'm going to
• 1:24:40
  give it a six. My version It's quite calm.
• 1:24:43
  And then I think I'll give the gay version.
• 1:24:48
  It's got queer joy so I'll give it 6 Lizers.
• 1:24:54
  I'll give it six eyes. It's very confusing story.
• 1:24:57
  Very confusing. There you go.
• 1:24:59
  If you are listening, yeah, watch the gay version and then
• 1:25:04
  if you need more just go watch some of the extra scenes from
• 1:25:08
  the petty. Version I will say one thing.
• 1:25:10
  It is such an because we hear this all the time about test
• 1:25:14
  audiences, don't we? And like we've all seen like
• 1:25:17
  directors cuts, but I don't think I've ever seen anything in
• 1:25:21
  this like level of commercial film that's been this much
• 1:25:23
  chopped around because of it being too gay.
• 1:25:26
  So it's a really interesting, like educational thing to, if
• 1:25:30
  you're like interested in in Hollywood and cinema, totally
• 1:25:33
  kind of see what the how the studio works and what kind of
• 1:25:37
  implications. Because there's lots of films
• 1:25:38
  where on paper they look great and then we know test audiences
• 1:25:41
  have taken out the ending and we see the final product.
• 1:25:44
  Yeah. So yeah, it just makes me want
• 1:25:45
  to like, see more uncut stuff. Totally.
• 1:25:48
  Yeah. I think it's so interesting.
• 1:25:50
  It's so bizarre to me that 54 has ended up being one of the
• 1:25:54
  movies I've like, had to do the most research.
• 1:25:59
  Like I've watched it two to three times and like had to
• 1:26:04
  consume so much media just comparing the two.
• 1:26:07
  It's like I don't need this much brain space for 54.
• 1:26:10
  But also, even that is just kind of camp to me.
• 1:26:12
  Yeah, it's occupied. Yeah.
• 1:26:15
  It's like quite mediocre movie. You are now like the expert
• 1:26:20
  expert. On Well, there you go.
• 1:26:24
  That's 54. What a what a roller coaster
• 1:26:29
  it's been. I think you know what I don't
• 1:26:31
  know about you, but I need some cocaine.
• 1:26:36
  Bye. Get away from her, you bitch.