Latest / Camp Classics / To Wong Foo, Thanks for Everything! Julie Newmar (1995)

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To Wong Foo, Thanks for Everything! Julie Newmar (1995) · Camp Classics

• 0:00
  If you want them another steak for dinner, you'd better let
• 0:02
  them hear it sizzle. Get away from her, you bitch.
• 0:08
  Classic. He was in the Amazon with my
• 0:11
  mom. When she was researching spiders
• 0:13
  right before she died, no war. Hang on you.
• 0:20
  Thought you become a prostitute. You're a dog at it.
• 0:22
  I used to love doggy chow. I used to love.
• 0:26
  Doggy chow too. I got more legs than a bucket of
• 0:29
  chicken. I'm Crystal.
• 0:32
  Get your hand off my Dick, buddy.
• 0:34
  Actually, scratch that, because I would actually quite like your
• 0:37
  hand on my Dick, buddy. Yeah, it's me, baby.
• 0:39
  Lame. And welcome to Camp Classic.
• 0:43
  I'm quite like, sorry. You know when you do Camp
• 0:46
  Classic, I quite like a heavenly sound effect there, I think.
• 0:49
  Oh, OK, sure, I can add that in. And welcome to Camp Classics.
• 0:57
  It's a thoughtful podcast about stupid movies.
• 1:00
  Welcome in. Oh my God, I just said welcome
• 1:03
  in. I've been in.
• 1:03
  America, what does that mean? Three days.
• 1:05
  It's what they say to you anytime you go into any store in
• 1:09
  America. Like if you'd walk into the CVS
• 1:11
  pharmacy, someone at the door will be like, hey, welcome in.
• 1:14
  Oh. And I used.
• 1:15
  To. I kind of like it, but I've just
• 1:17
  absorbed. I mean, I'm sure you've heard
• 1:18
  that phrase many times before, just not in that context.
• 1:24
  What? So you're in, you're in LA at
• 1:26
  the moment. The LA life suits you, doesn't
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  it? It really fucking does.
• 1:30
  Does I just belong in the sun? So what else?
• 1:33
  What else have you been getting up to in LA?
• 1:37
  Well, I was actually in Mexico in Puerto Vallarta.
• 1:40
  That was my trashy week last week and I just got to LA and
• 1:44
  then I got food poisoning. So it hasn't been the most
• 1:46
  exciting week come anatomy like, but you know, I'm ready to go.
• 1:51
  I I saw sinners and and the sinners.
• 1:55
  The other day as well. What a great film.
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  Yeah, it's so great. I've decided my favorite kind of
• 2:00
  vampires are vampires that are like evil tricksters.
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  Like, rather than just being like, I was about to say, cum
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  guzzlers. Bon appetit.
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  No, I mean, I mean blood guzzlers.
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  Oh, that really? That really got me.
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  I kind of like it when they're like, you know, like being
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  naughty. I mean, I know they weren't just
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  being naughty. I know in sinners they are like,
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  awful trying to kill people. But I also quite like that kind
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  of like, oh, I'm just going to tease you outside.
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  If you won't let me in, I'm going to get in your head.
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  I'm going to fuck with you a bit more.
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  I think that's my kind of vibe as a vampire.
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  Yeah, it was so cool. But also it does make being a
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  vampire seem quite fun as well. Oh.
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  Yeah, like they, they were having a great time, weren't
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  they? Like they were literally having
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  a party outside. Yeah, I feel like that's the
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  moral of basically every vampire story.
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  Like, be the vampire, yeah. The cum guzzling vampire, Yeah.
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  The limit does not exist. That was your nickname in
• 3:01
  Berlin, wasn't? It Oh, I wish I really wished.
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  And actually, as you can hear listeners, Crystal is the beacon
• 3:10
  of health at the moment you're actually.
• 3:13
  Dying, aren't you? I've been through it.
• 3:15
  Not only did I get food poisoning here last week in PV
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  we went on a boat. PV What's PV?
• 3:21
  Sorry, I don't know what any of the, IT sounds like an.
• 3:23
  STD Yeah, well, that too. But we went on a we went on a
• 3:29
  boat trip, like a booze cruise, and I just was throwing up the
• 3:31
  entire time. I was so seasick.
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  Oh. Yeah, so I've I've been throwing
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  up in 2 separate occasions in the past four days for unrelated
• 3:40
  reasons. Well, it sounds like you're
• 3:42
  living the glamorous lifestyle I'm very jealous of.
• 3:44
  You honestly. Yeah.
• 3:47
  What are we here for? Oh well, you know what?
• 3:50
  I know what we're here for because every two weeks we're on
• 3:53
  this podcast discussing, exploring, and rating some of
• 3:56
  the peaks and valleys in the genre of camp in the search for
• 4:00
  the Campist of camp class. The campist, the camp, the campy
• 4:06
  campy Ness I feel. Like we haven't done this I.
• 4:08
  Know can you tell? Yeah, we've got, we're like
• 4:12
  having our catch up too. Anyway, this week we're covering
• 4:15
  90 fives to Hong Fu. Thanks for everything.
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  Julie Newmar, Wagon Wheel. What to See?
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  It's a catchy title of a film if ever I've heard one.
• 4:24
  Yeah, it's, it's a mouthful. Oh, who is it on this?
• 4:33
  Oh God's sake. Before we get into the movie
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  though, we do have a gay tree on where for only £4 a month you
• 4:41
  get a bonus episode every month and access to our growing back
• 4:46
  catalog of bonus episodes. Our last bonus episode was on
• 4:49
  Basic Instinct 2 Risk. Addiction Oh still, it still
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  makes my I was about to say my Willy flutter.
• 4:56
  I'm sorry, I'm just really like peen based today I.
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  Mean, I think that's fair enough.
• 5:02
  And I I which would I rather was fluttering for you?
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  I don't know. Let's not get into it.
• 5:07
  Welcome in. Yeah, welcome in.
• 5:11
  Coming next week, we are covering barbed wire.
• 5:14
  Wow, yes, yes, yes. Well I only watched the last
• 5:18
  show Girl the other day so. OK, that movie sucked.
• 5:21
  Really. Did you not like it?
• 5:23
  Oh, I I didn't like that. I quite enjoyed it.
• 5:25
  Oh, did you? OK, interesting.
• 5:27
  Yeah. But we're not talking, we're not
• 5:28
  talking about that one, are we? So.
• 5:30
  No, we're not. Yeah, I'm looking forward to
• 5:32
  watching Barbed Wire again because I, I just feel like a
• 5:35
  lot's gone on in Pammy's career since, obviously.
• 5:38
  And it'd be really interesting to kind of go back to that era
• 5:41
  because, I mean, visually she looks so hot in that era, didn't
• 5:45
  she? Yeah, but yeah, it's going to be
• 5:47
  really fun. Speaking of the gay Tron, we've
• 5:49
  had a couple new annual subscriptions on Apple Podcasts.
• 5:54
  OK, Rich, that's. The commitment, isn't it?
• 5:56
  OK, I'm not. Sure, I'd be willing to make a
• 5:58
  year long commitment with us, but welcome in.
• 6:02
  Welcome in. Thank you for being rich and
• 6:05
  supportive. Who have we got?
• 6:07
  I don't know, I can't see their names on Apple Podcasts, so if
• 6:10
  you're listening to this, you know who you are.
• 6:12
  Yeah, you're rich. You don't care about being name
• 6:14
  checked. You're like.
• 6:15
  Yeah, exactly. You're happy to just be an
• 6:17
  anonymous donor. Do you remember that time?
• 6:20
  This is another tangent, sorry, but do you remember when I did
• 6:24
  the finale of Drag Race UK Season 1 at the Rio cinemas and
• 6:29
  I had £1000 prize fund for like we were doing?
• 6:33
  It was called the Crystals Creatures Pageant, and we had a
• 6:35
  bunch of contestants and the winner won 1000 lbs.
• 6:38
  Someone watching the show, the straight man was like, I love
• 6:41
  this. It's so great.
• 6:42
  I want to also donate 1000 lbs to give to the runner up.
• 6:45
  And I was like, wow, that's so generous.
• 6:47
  That's so nice. He's like, yeah, yeah.
• 6:48
  Can I come up on stage and like announce it?
• 6:50
  And I was like, yes, absolutely. And then when it came time to, I
• 6:52
  was like, and the the gentleman has been so kind and he didn't
• 6:56
  even want the attention. He just wanted to namelessly
• 6:58
  support the drag arts. Because I was like, you're not
• 7:02
  getting any stage time. To say, yeah, she was saying
• 7:05
  that I was like, who are you? I don't think you would ever
• 7:07
  allow that to happen. No, but you got the money.
• 7:10
  Yeah. Well done, cha Ching.
• 7:12
  We take the cash, we cash the cheque.
• 7:15
  You show them what they want to see.
• 7:17
  You know, You know when you make, I mean, I am guilty of
• 7:19
  this. You know, when you make a
• 7:20
  donation to like a crowdfunder or something, I will make it
• 7:24
  known what my name is on it. Absolutely.
• 7:26
  I'm not an anonymous one at all. Unless I'm not donating very
• 7:30
  much well. Hopefully you're going to say
• 7:31
  unless you're donating to something you don't want people
• 7:33
  to know you're donating to, oh, let's cancel that.
• 7:37
  Yeah, Trump's third term election campaign.
• 7:40
  That's why I'm. Putting all my But that's why
• 7:41
  you're in America right now, isn't it?
• 7:43
  You're doing the. Ground work, just just doing
• 7:45
  meetings with Trump. What the fucking hell?
• 7:47
  I'm surprised they let you in. Oh.
• 7:48
  My God, I had deleted all my socials before I got to the
• 7:51
  board. Is that?
• 7:51
  What you've got to do? Now, I don't know, I was just
• 7:53
  scared. Yeah.
• 7:54
  Also, sorry, we're still on the gate round, but we've had Seth
• 7:57
  the Ghostwriter and Ilya both join on the Patreon.
• 8:01
  So thank you, Divas. Seth.
• 8:03
  The ghostwriter? Yeah, I don't know what that.
• 8:05
  No, I don't either. It's interesting though, isn't
• 8:08
  it? Hey Seth, I want to get to know
• 8:09
  you. Send us Adm.
• 8:13
  And if you're not in a position to subscribe, well, why don't
• 8:15
  you go give us a five star rating on the platform you
• 8:18
  listen to this podcast on? I was actually thinking about
• 8:21
  this rating thing because it, you know, it is a real thing to
• 8:24
  get people to do ratings on anything.
• 8:26
  I mean, I myself very rarely do it.
• 8:29
  I was thinking what if we did a competition where if it the most
• 8:32
  for the most interesting review that someone could leave.
• 8:35
  There has to be 5 stars that they win a prize.
• 8:39
  I love that. What kind of prize?
• 8:40
  I don't know something, just something from, I mean, I was
• 8:43
  going to say something from your like Drag Race archive, but I'm
• 8:46
  not sure if anybody would want that, would want that now.
• 8:48
  I mean, I can. I can offer a signed T-shirt.
• 8:51
  OK, there we go. We'll start with that.
• 8:53
  Yeah, that's two signed T-shirts for the most interesting five
• 8:58
  star review. Be creative.
• 9:00
  Perfect. So one at each top two reviews.
• 9:03
  Yeah, I think that must have to be on Apple podcast.
• 9:05
  So head over there because I don't think you can leave like a
• 9:07
  comment review on Spotify. Great idea, Crystal.
• 9:10
  So on Apple Pod, leave us those reviews.
• 9:13
  Yeah, and why don't we circle back to this in two weeks when
• 9:17
  we do our next episode? Good thinking, baby.
• 9:20
  Oh, you know, I'm just in my entrepreneurial era.
• 9:24
  I can't speak. I love that.
• 9:26
  What movie would you like us to cover next?
• 9:29
  Well, follow us on Instagram at Camp Classics Podcast and drop
• 9:34
  us a message with your suggestions.
• 9:35
  And we had Jorge get in touch to request we covered Clue.
• 9:41
  Oh. Yeah, I think it's a fun shout.
• 9:43
  Yeah. Do you know what?
• 9:44
  I don't think I've ever seen it. I've seen bits of it, yeah.
• 9:47
  So I'd be definitely up for that.
• 9:48
  Yeah, I watched it maybe a year or two ago for the first time
• 9:52
  and I really, really enjoyed it. I'd love to.
• 9:53
  Like, I think I watched it by myself and, you know, it kind of
• 9:56
  would have benefited from someone to talk to about it.
• 9:59
  Do you know what I mean? Yeah.
• 10:00
  But anyway, great suggestion, Jorge.
• 10:02
  Thank you so much. Maybe this is 11 suggestion
• 10:04
  we'll actually take. Yeah, we didn't know we the the
• 10:07
  list is, it is extensive now, but I think we are slowly
• 10:10
  starting to work through what people want us to talk about.
• 10:13
  We had a few ones we had to get out of the way first just to
• 10:16
  sort of settle the podcast and I think now we're wide open.
• 10:20
  So welcome in any suggestions. Welcome in See, it's addictive.
• 10:25
  Isn't it is addictive? I love it.
• 10:28
  Baby, before we go any further, what makes the Camp Classic you?
• 10:32
  Right now, you right now. Well, that question is an
• 10:35
  affront to the delicacy of my nature, quite frankly.
• 10:39
  Oh, a camp classic is something that unlocks queer joy.
• 10:43
  We want to feel all of the feels all over our bodies.
• 10:47
  It is something that needs to have an ongoing legacy.
• 10:50
  Ideally, we want these movies to be stupid.
• 10:53
  They should inform queer pop culture and ultimately be anti
• 10:57
  mainstream slash underdog flop vibes.
• 10:59
  Because we are, let's face it, big old flops ourselves.
• 11:05
  Flopping out on this desk. Oh.
• 11:13
  What's your history with this movie?
• 11:15
  I can't remember when I first watched this but I must have
• 11:19
  watched it. I don't know, maybe in the
• 11:20
  night. Late 90s, so a couple of years
• 11:22
  after it was released and oh God, I think I just remember
• 11:26
  feeling quite excited by it because it was like a glimmer
• 11:29
  into the the world that is our career, isn't it?
• 11:32
  It's it's kind of, this is going to be an interesting one to talk
• 11:34
  about because, you know, obviously we're queer and we
• 11:38
  relate that to every other film, but this is actually something
• 11:40
  we get paid to do. So I think it's quite
• 11:42
  interesting to kind of talk about it, but I just remember
• 11:45
  feeling excited about it, but also a bit like, oh, this is
• 11:48
  kind of like forbidden. Fruit.
• 11:50
  Yeah, yeah, yeah. You're like, you're almost like,
• 11:55
  oh, I don't want to be that kind of gay.
• 11:56
  You're already, you're already worried about that.
• 12:00
  It's interesting. I think I was yeah, the exact
• 12:02
  same as you watched it young was kind of excited.
• 12:06
  I mean, it's it's got like a real kind of childish story arc
• 12:10
  where you're like, oh, people come in and save other people.
• 12:13
  And it's so it's quite like easily digestible as a child.
• 12:16
  And then you watch watching it again to prep for this.
• 12:18
  I was like, oh, some of these jokes are like quite adult or
• 12:24
  mature or, you know, there's like a there's so much pop
• 12:27
  culture reference as well, which is really fun.
• 12:29
  But I I enjoyed it in a completely different way this
• 12:31
  time. Yeah, and I also just think, and
• 12:33
  I'm sure we'll get into it. It's it's actually just like
• 12:36
  with the the way the world is at the moment, it's it's way more
• 12:39
  like relevant than I remembered it being the last time I watched
• 12:43
  it a few years ago. It feels like.
• 12:44
  Wow, fuck, we're back here again in so many.
• 12:47
  Ways. That's so true.
• 12:48
  That's so true. Which is really interesting
• 12:50
  because as she said, it is ultimately quite a floppy film,
• 12:53
  but it does punch with some layers as well, which I found
• 12:55
  quite interesting. Yep.
• 12:57
  Well, let's do some context. So I I found this story about it
• 13:02
  getting made. It was this gays gay writer who
• 13:06
  was developing it as a stage play and he realized it wasn't
• 13:11
  going to work as a stage production because it'd be hard
• 13:14
  to get a car on the stage and so.
• 13:16
  Tell that to Greece. Right.
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  I mean, you didn't, you didn't really think about this.
• 13:20
  Tell this to Chichi. Chichi bang, bang.
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  I mean, yeah. I mean tell, tell it to
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  Priscilla the Musical as well. Yeah, it's like it's actually
• 13:27
  quite an easy thing to do. So I believe there's a car in
• 13:30
  Annie as well. So, OK, maybe he should have
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  circled back and thought about that.
• 13:35
  So sorry, just putting out there.
• 13:37
  But he got it in the hands of a gay person who worked at Amblin
• 13:42
  Entertainment. And Steven Spielberg, he this
• 13:45
  guy, this guy was out and Steven Spielberg was like cool with gay
• 13:48
  people. And basically this guy just
• 13:51
  centered up the chain. And Steven Spielberg read it and
• 13:54
  loved it. And then Spielberg gave it to
• 13:57
  Robin Williams to read to be like, do you think this is
• 14:00
  actually funny? And Robin Williams like, yes,
• 14:02
  you should make this movie, but it's just kind of like an
• 14:04
  interesting. I guess that's probably the case
• 14:06
  with all movies in the end of the day.
• 14:07
  But like there was something kind of about the gay, the gay
• 14:11
  code in this one where it's like a gay guy knew another gay guy
• 14:14
  and like they managed to kind of get it in the big in front of
• 14:17
  the big boys. Also, it's like Robin Williams,
• 14:19
  like the the person that signs off.
• 14:22
  Yeah. I mean, because he was very gay
• 14:24
  in the 90s. Robin Williams.
• 14:26
  Yeah. Or very like playing with
• 14:28
  gender. Mrs. Doubtfire The bird cage.
• 14:30
  Yeah. Yeah, this movie actually exists
• 14:35
  in a vacuum with Priscilla. Oddly, Priscilla came out a year
• 14:38
  before, but when this movie was in development, no one knew
• 14:41
  about Priscilla. So it just so happens that both
• 14:44
  of these movies came out within a year of each other, and we're
• 14:47
  both like drag queen road trip movies.
• 14:49
  It's odd timing something in the air.
• 14:51
  Yeah, really. Odds.
• 14:53
  Yeah, the movie opened at #1 the US box office.
• 14:57
  It stayed at #1 for two weeks, went on to make $48 million
• 15:00
  worldwide. I couldn't find its budget, but
• 15:03
  it probably made a small profit theatrically.
• 15:05
  And then I think because it went on to be a cult hit, it's
• 15:08
  probably been very, very profitable in the decade since.
• 15:11
  It's one of those movies that's kind of stuck around.
• 15:14
  It's got 48% on Rotten Tomatoes, so not an amazing score.
• 15:19
  And the critical consensus is this movie seeks to celebrate
• 15:22
  individuality, but it's too timid and predictable to achieve
• 15:26
  its admittedly noble aims. Critics were positive about the
• 15:29
  performances, but they found the story cliched and undercooked.
• 15:34
  Speaking of the performances, though, Swayze and Patrick
• 15:37
  Swayze and John Leguizamo were both nominated at the Golden
• 15:40
  Globes her Best Actor and Best Supporting actor, respectively.
• 15:44
  So people thought they were good.
• 15:47
  Yeah. And then finally Trudy on Google
• 15:51
  Reviews. Oh, not Trudy.
• 15:54
  Yeah, that's Trudy, she says. I tried to watch it, but I
• 15:57
  couldn't finish it because a lot of what was said in the movie
• 15:59
  didn't make sense to me. One star.
• 16:01
  OK, fair, Fair, Trudy. Trudy didn't get it.
• 16:05
  Cool, Before we get into the pot, have you got a little
• 16:08
  quizzer? Quiz arena.
• 16:09
  Quiz today. There's no quiz arena.
• 16:10
  No. OK, OK.
• 16:12
  Is is do you know what? Sometimes when we put together
• 16:15
  these quizzes, they they just like flow out of me.
• 16:17
  It's coming. Out of me like lava.
• 16:19
  And they're a joyous thing. And then other times I try
• 16:22
  different angles. And you know what?
• 16:24
  I don't want to be hitting you all with the same questions
• 16:25
  every time, which is, you know, which actor was up to play this.
• 16:29
  And then I was trying to look into because I don't know if,
• 16:32
  you know, Patrick Swayze and John, what's his chops nearly
• 16:35
  got into fisticuffs on the set. And so I was then like, oh,
• 16:39
  would it be quite fun to find out like actors and celebrities
• 16:43
  that have like got into physical fights and turns out that's not
• 16:46
  as fun as it as you think it is. So toxic men fighting or it's
• 16:50
  Brandy and Monica or domestic abuse basically.
• 16:53
  So I I decided to turn you away from that.
• 16:57
  Had a fight before they did their performance of the Boy is
• 16:59
  mine at the MTV Awards. Monica punch.
• 17:02
  Really. Yeah.
• 17:04
  Wait, so they were doing a song about fighting over men and then
• 17:07
  they fought? Yeah.
• 17:09
  Monica punch Brandy and then they had to go out and sing the
• 17:11
  song so. Wow.
• 17:14
  So irrelevant to a quiz. Oh my God.
• 17:17
  But that's also just so relatable.
• 17:20
  Yeah, painting on a smile to like, go do a thing.
• 17:24
  With Oh my God, well, don't, but this is this is something I
• 17:26
  think we should talk about throughout this.
• 17:28
  This review is whether or not representation of drag
• 17:33
  characters and what drag Queens find themselves in is relatable
• 17:38
  to our experience as well. Because like you've hit the nail
• 17:40
  on the head. We've done shows before where
• 17:42
  we've had arguments backstage and then you've got to walk on
• 17:44
  set on stage and the lights are on and you're laughing at each
• 17:48
  other's jokes when you just want to punch each other and kill
• 17:50
  each other. So the girls are fighting the.
• 17:55
  Girls are fighting. It's so interesting to me about
• 18:00
  like what is real in this and what isn't, because in my mind
• 18:03
  it's made with quite a sort of a knowing angle on a lot of this
• 18:07
  stuff. I totally agree.
• 18:10
  And then some of it's just completely farcical and far
• 18:13
  fetched and completely not at all based in reality.
• 18:16
  It's interesting how it's kind of got both.
• 18:18
  Yeah, definitely. Well, I guess let's get into the
• 18:20
  pot. So we start in New York with
• 18:26
  three drag Queens getting ready. We've got Vita Boem played by
• 18:31
  Patrick Swayze, Noxzema Jackson played by Wesley Snipes, and
• 18:36
  Chichi Rodriguez played by John Leguizamo.
• 18:39
  Now what do we think of this getting ready montage?
• 18:42
  Well I think one thing that pops for me straight away is I
• 18:46
  fucking love that song episode. Oh my God, I love that song so
• 18:49
  much. It's so good.
• 18:52
  And where is the body? Yeah, don't hate me because I'm
• 19:02
  beautiful. It is so cunty, isn't it?
• 19:07
  And it's like, I like, you know, again, like being in these kind
• 19:11
  of dressing room spaces when you're getting ready as a group.
• 19:14
  And that happens quite a lot, doesn't it?
• 19:16
  You want these kind of songs that make you really thought,
• 19:19
  sort of feel yourself and feel your eyes.
• 19:21
  And I was just like, that is exactly the kind of song.
• 19:23
  If I was doing a big show, I would want to listen to that.
• 19:26
  And and again, it made me kind of question about like the
• 19:30
  ritual of dragon getting ready because lots of people have
• 19:33
  different things, don't they, about how they like to get
• 19:36
  ready. And it's like, I wish I was one
• 19:38
  of those people that would like, you know, light a candle and
• 19:41
  kind of set the table and really, you know, enjoy it.
• 19:45
  Whereas I'm literally, and I've tried so hard to break out this
• 19:48
  habit. I am still the Tesco bag.
• 19:50
  Oh my gosh. With like, say the Tesco bag,
• 19:52
  the Tesco bag with like some dried wet wipes that have just
• 19:56
  been left in there. So you're kind of like picking
• 19:58
  those up, they're sort of soiled.
• 19:59
  Then you're looking at brushes which are just crusty and hard
• 20:02
  and dirty. And then just like scraps of
• 20:05
  makeup and then it's literally being me huddled over whacking
• 20:10
  it on and it's, it's never. Been toilet.
• 20:13
  Yeah. And it's never, there's never
• 20:14
  this like beautiful kind of drawn out experience do.
• 20:18
  What about you? Do you have like a ritual like
• 20:20
  that, An ideal ritual? I don't know about an ideal
• 20:23
  ritual. I what I found relatable about
• 20:26
  this scene was watching them like start to really feel
• 20:30
  themselves as it as they got ready.
• 20:33
  Like there's that. There is always that moment for
• 20:35
  me when I'm getting into drag where there's suddenly I'm like,
• 20:37
  oh, oh, who is she? Oh, and where is the body?
• 20:46
  Listen, I've witnessed this and it is, it can be insufferable
• 20:50
  because it's like if you've worked out like a good colour
• 20:53
  that you're doing on your eye or you're trying something new,
• 20:55
  I've literally seen you just like having an orgasm of your
• 20:58
  reflection. So, but it's part of the fun,
• 21:03
  isn't it? It's part of transformation,
• 21:05
  absolutely. The other thing that's really
• 21:07
  relatable is you can tell they're like backstage at a club
• 21:10
  or getting ready because the lighting was fucking shit as
• 21:12
  well. Oh my God.
• 21:13
  Well, that was the other thing. It was like, there's no way
• 21:15
  those girls were getting ready in that lighting.
• 21:18
  And so that's like, I was like, this is good representation.
• 21:22
  The bad representation was like none of them are wearing any
• 21:25
  makeup. Well, it was the 90s because
• 21:28
  this is the thing. And don't you remember this
• 21:30
  cross section as well? Like I think when we started
• 21:32
  doing drag, there weren't there weren't any like YouTube
• 21:35
  tutorials, absolute makeup and stuff.
• 21:38
  And you were just kind of like going to kind of your super
• 21:41
  drugs or your boots to get like a bit of makeup or a bit of like
• 21:46
  sort of face paint. You know what I mean?
• 21:48
  It wasn't like we didn't know about kind of contouring and
• 21:51
  stuff like that. Oh my.
• 21:52
  God, of course. Yeah, so, so again, I was kind
• 21:54
  of like it. It made me sort of hark back to
• 21:56
  the sort of more innocent days of drag where it was like, you
• 22:00
  just go to a a pharmacist and you just get like whatever you
• 22:04
  can get your hands on. Gosh, we're not.
• 22:06
  This is going to take us ages. No, I know.
• 22:08
  But I I thought from the get go, something that that opening
• 22:12
  scene does is it makes you realize that the approach of how
• 22:16
  they're approaching drag is with respect.
• 22:20
  Yes. There were no cheap gags in it.
• 22:22
  It was about these people, as you said, transforming and kind
• 22:27
  of getting seduced by that magical transformation and kind
• 22:32
  of really indulging in it. And you've got this really
• 22:34
  affirming soundtrack and it just felt really powerful and like,
• 22:38
  and there was totally agree. And it's not like, oh, we're
• 22:41
  seeing the the the behind of a beautiful woman and then they
• 22:45
  turn around and it's a dudes. Do you know what I mean?
• 22:48
  And so I really appreciated that.
• 22:50
  Do you think this is the reason why so many people are obsessed
• 22:53
  with drag Queens getting ready? Like whenever someone wants to
• 22:56
  film you, they're always like, I just thought we could film you
• 22:59
  backstage getting ready. Like number one, and again, for
• 23:04
  people that don't do drag, this is #1 something.
• 23:07
  No, what? I've never met any drag
• 23:09
  performer that is remotely interested in showing their
• 23:12
  process to anyone. It's like, hey, can I just take
• 23:16
  some pictures of you backstage while I look fucking shit?
• 23:19
  No, it's about the full fantasy. You know something, something
• 23:24
  that gets behind the artifice. Like no artifice is the point.
• 23:28
  Totally. It's not about it's not about
• 23:31
  finding the people beneath at all, which is, and I'm sure
• 23:33
  we'll get into it. But again, that's like, it's an
• 23:36
  interesting thing, isn't it? About once they sort of make
• 23:41
  that transformation at the beginning, that's who we see
• 23:45
  throughout, isn't it? We don't see any other shades.
• 23:47
  You get hints to past lives, dead naming, but you don't see.
• 23:52
  I mean, we'll get into it, won't we?
• 23:54
  But it is interesting this is the only time you see them out
• 23:57
  of drag. Yeah, in the whole in the whole
• 23:58
  movie. Ending scene you don't see
• 24:00
  Chichi out of drag do. You.
• 24:01
  No, you're right. You don't.
• 24:03
  And I mean, it's because it's because they're trans, aren't
• 24:05
  they? They're trans women.
• 24:07
  Well, Chichi definitely is. I think, I think Veda you.
• 24:10
  Think they all are? I think Veda is as well, maybe
• 24:13
  not Moxie. Is it Moxie ma her name?
• 24:16
  Noxima. Noxima what?
• 24:18
  What does? What does that even mean?
• 24:20
  It's a, it's like a skin care. It's like Cetaphil.
• 24:23
  OK, I didn't. I didn't know what it was.
• 24:25
  I like it as a name, but I didn't know it.
• 24:28
  So then we're at the Drag Queen of the Year pageant.
• 24:32
  Cameos galore. This is quite fun.
• 24:35
  It's like a who's who of 90s drag.
• 24:36
  Really nice. Coco Peru's like chewing the
• 24:39
  scenery. You've got Lady Bunny.
• 24:42
  Joey Arias, Joey. Arias, Suzanne, Bart, I think is
• 24:45
  there. Yeah.
• 24:48
  And again, that's I, I, we will get through this movie
• 24:51
  listeners. But again, I think for me that
• 24:53
  that felt so authentic, like. Totally.
• 24:55
  It's like it was like being at the Divine Lip Sync 1000.
• 24:59
  Everyone's crammed in together, like all kind of looking fab in
• 25:03
  their own way. And again, like, it's this kind
• 25:06
  of like pettiness and bitchiness and competitiveness.
• 25:10
  Like you could, lots of people might think, oh, that's just
• 25:13
  like the cliches of being a drag queen.
• 25:15
  But when you're in the full get up and you're in those
• 25:18
  scenarios, it does kind of become like that, doesn't it?
• 25:20
  I did. I felt that again, that was
• 25:22
  like. Oh my God, the fight, the fight
• 25:24
  at the front of the ribbon cutting at drag con when they're
• 25:28
  when there's a bunch of photographers and there's 150
• 25:32
  drag Queens who've all been on TV fighting for to get to the
• 25:35
  front to get a photo like next to RuPaul.
• 25:37
  It's evil. It is disgusting.
• 25:41
  I could imagine it, but it is because these are like high
• 25:44
  stakes things in the moment, aren't they?
• 25:46
  I mean, they mean nothing to the real world, but like, when
• 25:48
  you're in it, it's like, yeah, this is my everything.
• 25:51
  Yeah, no, I love the scene. And again, I thought like, I
• 25:55
  just love the the kind of I I was jealous looking at the like
• 25:58
  set in the scenery and the venue.
• 26:00
  I was like, Oh my God, imagine putting on the show there
• 26:02
  because it's like Webster Hall, isn't it?
• 26:04
  But. OK, and we've got RuPaul coming
• 26:06
  down from the ceiling. As racial Rachel tension.
• 26:10
  Rachel Tensions, which is so good, So good.
• 26:13
  Wearing a Confederate flag. Yeah, just really fun.
• 26:17
  And literally, I love the line that she says.
• 26:20
  I don't know who he is, but if there's a snowstorm tonight,
• 26:24
  he's going on my tires. I don't really understand it,
• 26:28
  but I loved it. I don't.
• 26:29
  Know I think it's because he was wearing strappy like a strappy
• 26:33
  harness. So he would be like good snow
• 26:36
  tires, right? Batman was Danny Ash.
• 26:38
  Oh, my God, The performer, Danny Ash.
• 26:41
  Yeah, totally. I mean, the parallels with this
• 26:44
  anyway. But again, like, the thing I
• 26:46
  love about that rude delivery is it it shows like what a great
• 26:50
  drag queen is because it doesn't really matter what you're
• 26:52
  saying. It can just be like, the most
• 26:54
  powerful statement ever. But I loved it.
• 26:58
  Just deliver it kind of confidently.
• 27:00
  It that's very much like the John Sizzle approach, right?
• 27:02
  Like, yeah, what you just said wasn't necessarily funny, but it
• 27:06
  was funny. But I'm sold by it.
• 27:08
  So I think what we're seeing from like the opening minutes of
• 27:11
  this film is they've actually bothered connecting with a
• 27:15
  legitimate community. And whether or not that's, you
• 27:18
  know, obviously the the stars of the film aren't part of that
• 27:21
  community, but it's a believable world that we're in at the
• 27:25
  beginning, isn't it? It's not like fictitious or like
• 27:28
  someone's idea of what drag is. It's totally pretty real, I'd
• 27:31
  say. Totally.
• 27:32
  I totally agree. So Vida and Noxzema tie for
• 27:36
  first place and then they get into their after the pageant
• 27:44
  looks and they're leaving the venue and they spot Chichi
• 27:48
  Rodriguez, little Latin boy in drag.
• 27:51
  Why are you crying? I love that line.
• 27:55
  And Vita insists they take her under their wing.
• 27:57
  So this is the first time we're kind of seeing their characters.
• 27:59
  And I think they're they're all great.
• 28:02
  They've all got such like distinct characters.
• 28:04
  They're, they're clearly like committed to selling this.
• 28:09
  I think Wesley Snipes in particular, I'm actually really
• 28:12
  by as a drag queen and a gay man.
• 28:15
  There are people that we know that are very like that
• 28:18
  character. Yeah, yeah, yeah, yeah.
• 28:19
  It's. Really good.
• 28:21
  It's really good. I think, I think the thing that
• 28:23
  makes Wesley Snipes so real is it's, it's not this, it's not
• 28:28
  this like betrayal of trying to just be a woman.
• 28:32
  It's, it's more nuanced than that.
• 28:34
  Do you know what I mean? It's hyperfem.
• 28:36
  But then there's also kind of there's like a kind of a queer
• 28:39
  mystery about the character rather than it's just being like
• 28:43
  I'm a 2D version of what I think a woman is.
• 28:46
  There is there's like a kind of an attitude to it.
• 28:49
  But again, it's not like finger clicking, heads knocking, kind
• 28:53
  of like I'm a black drag queen. So this is like my, you know,
• 28:58
  2D2 dimensional version of what that is.
• 29:01
  There's a soul to it from the get go, which I think is really
• 29:04
  interesting. I totally agree.
• 29:06
  I think it's Patrick Swayze for me who's the weakest link of the
• 29:09
  three. I think because it is more like
• 29:12
  classic like he's trying to do a woman.
• 29:16
  But I've watched some interviews with him and he said he actually
• 29:18
  tried to do it more Queenie and it just wasn't working.
• 29:21
  So he was trying to do like the yes God finger snap head toss.
• 29:26
  And he's just like, it didn't work for the character because
• 29:28
  the character has got so much heart and soul.
• 29:30
  And I guess, and I guess maybe there are like, you know, kind
• 29:33
  of older drag Queens, more traditional drag Queens that are
• 29:36
  like more set in their ways, more about the rules, the
• 29:38
  systems of drag, the hierarchy, the respect, the history of it
• 29:43
  all will maybe kind of conduct themselves in more of that kind
• 29:46
  of refined manner. Totally not the people we work
• 29:49
  with though. No, no, they're all rotten.
• 29:53
  But also chichi I've I've no I know many chichis out.
• 29:56
  There, Oh my God, absolutely so many.
• 30:00
  She's so good. But again, there's like, it's
• 30:03
  not like this disrespectful portrayal of whether it's a drag
• 30:09
  queen or a trans woman or a little Latino boy in a dress,
• 30:12
  whatever it is, that character exists and is a very real
• 30:16
  person. And we've met and worked with
• 30:18
  many people like that, haven't we?
• 30:20
  They're a little bit chaotic. They're like highly sexualized,
• 30:24
  but they're kind of feeling themselves.
• 30:25
  They've got something about them and their whole life is like a
• 30:28
  mini soap opera. And again, I was, I just watch
• 30:30
  it and I'm like, that is bang on.
• 30:33
  That's 100% bang on. I mean, she's just so watchable.
• 30:38
  Like I could watch the Chichi Rodriguez story any day.
• 30:41
  She's like, yeah, she's fabulous.
• 30:44
  I also love that in this scene, they've like just come from the
• 30:47
  gig and they're they're like going to the, The Afters are
• 30:50
  basically going to balance and they've gotten into their like
• 30:53
  after the gig drag looks. And I was like, I know those
• 30:56
  Queens, too, who are like, they're not ready to get into
• 30:58
  the drag because they still want a bit more attention.
• 31:01
  Definitely they they want some trade tonight and that's the way
• 31:04
  they're going to do it 100%. Yeah.
• 31:08
  So then they go to this restaurant and they find an
• 31:12
  autograph photo of Julie Newmar, which becomes their symbolic
• 31:17
  Talisman. And we've got a fab Robin
• 31:20
  Williams cameo. So Robin Williams was actually
• 31:24
  asked to be one of the leads, and he said he was too hairy to
• 31:26
  do it. And so he was like, but I will
• 31:29
  do a cameo. And he's not actually credited
• 31:32
  in this movie, which is interesting.
• 31:33
  But again, like the representation of like him as
• 31:37
  this like kind of sleazy, flamboyant gay man.
• 31:41
  Yeah. You know, maybe 10 years ago I
• 31:42
  would have found that offensive, but I'm like, yeah, I know these
• 31:46
  people as well. And like, you know, they like a
• 31:49
  crossdresser and they're into that and that kind of
• 31:53
  sleaziness. And.
• 31:54
  And again, I was like, this is this is painting a pretty
• 31:58
  accurate sides of of this world. It's not.
• 32:01
  It doesn't define it, but these people definitely are real
• 32:05
  people. Yeah, Rob Williams for me does
• 32:08
  get a pass of playing gay men. I don't know why.
• 32:11
  He's OK sometimes life is like that though, isn't it?
• 32:15
  Yeah, yeah, I think, I think he really proved himself with
• 32:18
  Birdcage as well. Exactly.
• 32:21
  Yeah. Also what I wanted to say is
• 32:23
  we've also got a Catwoman link. So we're in the Catwoman
• 32:26
  universe once again. We've got Julie Newmar.
• 32:28
  There's actually an extended scene which I saw where they
• 32:31
  actually rank all of the different Catwoman.
• 32:34
  Oh, OK. Interesting.
• 32:35
  Yeah. And Michelle Pfeiffer Michelle
• 32:37
  Pfeiffer is mentioned but they put her below Julie Newmar,
• 32:40
  which. Whatever is, is a lie meow.
• 32:44
  But also I might be a bad gay but I don't really know much
• 32:47
  about Julie Newmar. No.
• 32:50
  Other than this film, the kit is higher than me, than that for
• 32:53
  me. Halle Berry is higher for me.
• 32:58
  Yeah, I watched some clips of Julie Newmar as Catwoman, and
• 33:00
  it's, I don't know, she's hot. Yeah, she's hot at the end when
• 33:04
  you see her. Oh yeah.
• 33:06
  But I love that because that's like pre like surgery we have
• 33:10
  now that's kind of like old school plastic surgery.
• 33:13
  So it's all a lot more like draggier, isn't it?
• 33:15
  Yeah, I'm, I'm kind of here for it because she looks mental but
• 33:19
  incredible as well. So.
• 33:21
  She kind of looks like the Martian lady in in Mars Attacks.
• 33:27
  Totally. Yeah, Yeah, yeah, yeah.
• 33:29
  So the trio decided to take a cross country road trip to Los
• 33:33
  Angeles in driving instead of flying, and they're going to go
• 33:36
  to the Drag Queen of America pageant.
• 33:39
  So they go to a used car dealer and they take the convertible
• 33:45
  Cadillac. Style over substance.
• 33:48
  Yeah, style over substance. This is the first time and then
• 33:51
  this is the first time you see them in the day in still in
• 33:54
  dragon like hang on. Yeah, yeah.
• 33:57
  Hold up. Yeah, I was willing to let you
• 33:59
  go to dinner after the show in drag.
• 34:02
  You're now, it's not the next day and you're in car shopping
• 34:06
  and drag. What's going on here?
• 34:09
  And yeah, it turns out they're not going to spend the entire
• 34:10
  movie in drag. They're never going to get out
• 34:12
  of drag, which is weird. It's weird, isn't it?
• 34:14
  And like I've seen different things written about it.
• 34:17
  Like some people say that like the fantasy element just helps
• 34:20
  sort of enhance it all and kind of make it more whimsical and
• 34:23
  amazing. But I guess at the time it was
• 34:27
  probably quite a negative thing to put out into the universe,
• 34:30
  this idea that like like equating drag people with trans
• 34:35
  people. Or do you know, it's it's it's
• 34:37
  quite like a murky, it's sort of saying this is what drag Queens
• 34:41
  do. And obviously that's not what
• 34:43
  drag Queens do. They don't stay in drag all the
• 34:45
  time and they don't live their lives as and I think that's why
• 34:48
  my reading of it now is more in vain that these are just trans
• 34:52
  women. But this is but before a world
• 34:55
  where on a Hollywood platform you'd you'd explore that.
• 34:58
  Yeah, it's it's it's a bit weird because the movie does address
• 35:03
  the difference. It like describes the difference
• 35:06
  between a trans person and a drag queen.
• 35:08
  But and yet the movie also seems to not really know.
• 35:13
  And the writer actually said it's about fantasy and the
• 35:16
  illusion. It's about the work that goes
• 35:17
  into the art form. It was never meant to be an
• 35:19
  absolutely truthful documentary look at drag, which I guess is
• 35:23
  fine. But I think, I think where
• 35:25
  Priscilla does better is that it does have both, Yeah.
• 35:28
  And you can get into, there's almost like more interesting
• 35:31
  characterization that can come by seeing both sides of, of the
• 35:35
  character. So I, I think it kind of doesn't
• 35:38
  work for me, but I, it adds to the farce, the farseness of it
• 35:43
  all, I guess. Yeah, I think it, I think you're
• 35:46
  right, it doesn't. It is definitely like a flaw in
• 35:48
  the film. But as I said, I think I just
• 35:50
  choose to just view it in a different way now.
• 35:52
  Yeah. And I, I, I sort of, but
• 35:54
  obviously as we know, trans people can do drag.
• 35:57
  It's not saying it's one or the other, but I think I just kind
• 35:59
  of view them as drag Queens and I'm like, I feel like 2 of them
• 36:03
  are trans, right? Yeah.
• 36:05
  Which isn't my decision to make, but it that's that's kind of how
• 36:07
  I like. To view it.
• 36:09
  It just kind of makes more sense to me about where the story
• 36:12
  develops and where it goes and it gives me and ultimately it
• 36:14
  gives me a bit more queer joy with the the outcome stuff.
• 36:19
  I. See that?
• 36:20
  Yeah, it's interesting though, because in Priscilla, I mean, we
• 36:22
  should probably talk about Priscilla at some point and
• 36:24
  like, it would be interesting to kind of compare and contrast,
• 36:26
  but Priscilla has a trans character.
• 36:29
  And so, yeah, kind of does both. And I think it's interesting to
• 36:32
  see what it could have been like as well.
• 36:35
  Yeah. But anyway, whatever, they made
• 36:38
  their choice. So now we've got like a bunch of
• 36:41
  random scenes of them travelling America.
• 36:44
  Some of them are fun, others are kind of weird.
• 36:48
  They go to Veda's hometown and learn that she's been disowned
• 36:53
  by her parents for being gay Slash a drag queen.
• 36:57
  I got to say when this happened I was like, I wish the mom had
• 37:00
  been played by Kim Cattrall. I just want every road trip
• 37:06
  movie to include a big disowned by Kim Cattrall.
• 37:10
  Yes, yes, I mean Oh my God, I'm sold on that as a concept and
• 37:16
  for what people don't haven't got the link yet.
• 37:18
  Crystal's talking about Kim Cattrall in Crossroads and being
• 37:21
  Britney Spears mother and it's one of the most pointless slash
• 37:25
  important roles of cinema history I could argue.
• 37:29
  Just like the mum in this movie. Quick question though, doesn't
• 37:33
  Veda wear a white pantsuit? Oh, is she evil?
• 37:36
  Is she evil? She's definitely on the cusp of
• 37:39
  evil. She's like, what's it like
• 37:43
  lawful evil, right? You know that in that grid.
• 37:47
  Yeah, yeah. She's not chaotic evil, but she
• 37:50
  is evil. Yeah, yeah.
• 37:53
  OK, we can add Veda in. Great.
• 37:55
  OK, great. Yeah, that.
• 37:58
  Yeah, these scenes of them travelling across America, like
• 38:00
  weird. They go to that motel in drag
• 38:04
  and then they end up like at a ladies basketball convention.
• 38:07
  We've got like Noxzema playing basketball.
• 38:11
  It's like, it's just, it's just kind of like a random montage of
• 38:13
  scenes. And that do you know what?
• 38:15
  That basketball scene? That's yeah.
• 38:17
  Because they they end up going to a motel and they're scared
• 38:20
  of. And again, something that I
• 38:23
  think we've all experienced as drag performers, you have a
• 38:27
  power when you're in venues, but as soon as you step outside,
• 38:30
  whether you're going to public transport or you're moving
• 38:33
  around it, it feels incredibly. Vulnerable and.
• 38:37
  Dangerous. Yeah, and dangerous.
• 38:39
  So then the idea of like, you know, even turning up to a venue
• 38:43
  and being around other people with that sort of danger in that
• 38:46
  field is very, very real. But then the the pay off is
• 38:50
  they're like, oh, we're waiting for you.
• 38:51
  And it turns out there's a female basketball.
• 38:54
  And again, that was the first time I was like, oh, that,
• 38:56
  that's a bit of a punch me down joke, you know what I mean?
• 38:59
  And especially I think it's just because of what's happening with
• 39:02
  sports at the moment in relation to trans people.
• 39:04
  It just, it just felt a bit icky.
• 39:06
  And then it oh, it turns out that whereas he's like, the dude
• 39:09
  is really great at playing basketball.
• 39:11
  It's just a bit like. Yeah, yeah.
• 39:13
  It's very like man dominating women's sports.
• 39:17
  Yeah, sort of narrative. Which happens quite a couple of
• 39:21
  times. It is like that in this film,
• 39:23
  isn't it? Oh, like the man element will
• 39:25
  sort things out? Yeah, yeah.
• 39:27
  Doesn't that happen in Mrs. Doubtfire as well?
• 39:30
  Doesn't Robin Williams do really well at basketball and Mrs.
• 39:33
  Doubtfire or like Hopper or soccer?
• 39:36
  Maybe it's like a soccer. There's like some scene where
• 39:39
  it's like that old lady's good at sports.
• 39:42
  Right. Oh, yeah.
• 39:44
  OK. Yeah, yeah.
• 39:47
  Right. So their road trip continues,
• 39:50
  and they encounter Sheriff Dollard, who is a corrupt and
• 39:53
  bigoted cop. He racially abuses them and then
• 39:57
  attempts to sexually assault Vita.
• 40:00
  Vita fights back, punching him out, leaving him unconscious.
• 40:04
  I mean, this movie is just full a cab, which I love.
• 40:08
  Yeah. And also I think.
• 40:10
  How common was that for a 90s movie to be like, the cop is the
• 40:14
  villain. Yeah.
• 40:15
  And it's like, because he's a bigot, basically.
• 40:18
  It's great. Yeah, and it's so as well, just
• 40:21
  again, it's just sort of watching it.
• 40:24
  This film's like 30 years old and watching it and it's like,
• 40:27
  wow, that shit hasn't changed. Hasn't.
• 40:29
  Changed at all? And then their car breaks down.
• 40:34
  Chichi goes off to find them a ride.
• 40:36
  She's the Latina Marilyn Monroe. She's got more legs than a
• 40:39
  bucket of chicken, and she gets them a ride to Snydersville,
• 40:46
  which is a small little rundown town where they have to wait
• 40:49
  over the weekend for car parts to arrive.
• 40:52
  What could possibly happen? Makeover time, yeah.
• 40:57
  And again, this is something I've related to because if I had
• 41:00
  to stay in like a shitty like, you know, apartment or something
• 41:04
  over a weekend and I had materials and stuff, I would
• 41:07
  probably spruce. Yeah, you'd get that little
• 41:11
  Tweety Bird lamp out. Oh my God, we'd we'd do a
• 41:15
  makeover. I mean, and this is when we
• 41:17
  realized this film is what's inspired with I for a straight
• 41:20
  guy, It's also we're here. It's basically the same concept,
• 41:23
  isn't it? Yes, exactly.
• 41:26
  Both those two shows ongoing legacy.
• 41:29
  Yeah, OK. Oh, is that?
• 41:31
  Is that? Are we foreshadowing something?
• 41:34
  Yeah, so they're taken in by local woman Carol Ann, played by
• 41:39
  sucker Channing and her abusive husband Virgil.
• 41:43
  And yeah, we've got that decorating montage.
• 41:46
  I love the deck. I do love the decorating
• 41:48
  montage. They're like kind of have
• 41:50
  magical gay powers. And again, it feels powerful.
• 41:54
  It doesn't feel like, oh God, of course these whiny gays are
• 41:57
  going to only think about like, aesthetics.
• 41:59
  It's like, no, it was to Wonder Woman.
• 42:02
  Again, a great soundtrack choice.
• 42:04
  And yeah, I felt that I actually just as a whole, I think the
• 42:07
  soundtrack to this film is really brilliant because it it
• 42:10
  has your sort of more obvious camp songs on it.
• 42:13
  But then there are some like, weird, you know, slightly more
• 42:17
  offbeat choices. But again, it's all it feels
• 42:20
  like the right kind of pride soundtrack rather than like you
• 42:24
  want to float in Oxford Street and someone's put the ball in
• 42:27
  this way. Spotify mix on.
• 42:29
  Do you know what I mean? Yes, yes I do.
• 42:32
  So the girls over the next few days, the Queen's befriend the
• 42:37
  townspeople who all have their various troubles.
• 42:40
  And meanwhile Sheriff Dollard is trying to find the girls and
• 42:45
  he's looking for them at places for homos, which I, I did really
• 42:50
  like. Can you?
• 42:52
  Can you name any of the places for homos?
• 42:54
  I can't remember them get you, did you?
• 42:56
  Did you screen grab it or something?
• 42:58
  I know that, but why don't you guess?
• 43:00
  OK, like a florist. Yeah, A.
• 43:04
  Beautician like a. Oh no, that doesn't exist, but
• 43:09
  it should have been ballet schools.
• 43:13
  Oh, of course. Yeah, flight attendant lounges.
• 43:18
  Fair, fair ballads. Restaurants for brunch again?
• 43:24
  Yeah, and antique stores. Got to say Sheriff Dollard had
• 43:29
  us clocked. Yeah, exactly.
• 43:31
  Shit, he's coming now, everyone. Yeah, the tragedy is that does
• 43:35
  sound like something that like police officers in America would
• 43:38
  get given as an instruction. Oh, my God.
• 43:41
  Yeah. Yeah.
• 43:41
  It's fucking dark. OK, so then we're going to spend
• 43:44
  some time in town. So Chichi nearly gets raped by
• 43:47
  some scary townies but is late, but is rescued by local boy
• 43:52
  Bobby Ray, who thinks she's a cisgender woman.
• 43:55
  And they have a budding romance going on.
• 43:57
  The Queen's help the woman of the town rediscover their
• 44:00
  confidence and their beauty. They have a day with the girls,
• 44:04
  everyone. Can I just say that's where,
• 44:06
  that's where that's the part that really fucking icked me out
• 44:12
  because I hate putting people in drag and I hate having to like
• 44:16
  live their first time in drag. And I'm sorry if that offends
• 44:18
  anyone we're listening to. I know at its core it's like
• 44:22
  everyone should be able to enjoy presenting this big larger than
• 44:26
  life version of themselves, exploring gender colours,
• 44:29
  etcetera, etcetera. But there's nothing worse than
• 44:32
  someone like, lip syncing for the first time and thinking
• 44:35
  they're voguing or something down a runway, when really
• 44:38
  you're in a corporate office setting and there are a couple
• 44:41
  of like limp rainbow flag bunting around.
• 44:45
  Well, if you're in a corporate office setting, at least you're
• 44:47
  getting paid. Yeah, I'll do it if I'm getting
• 44:50
  paid. Yeah.
• 44:52
  It's very. I was going to talk about this
• 44:53
  later, but it's probably a good time.
• 44:55
  It's like the trope is magical queer where it's like you're the
• 44:59
  fairy godmother who's here to, like, save people.
• 45:03
  And it's something that I think appears in ROM coms a lot where
• 45:07
  you've got, like, the gay best friend.
• 45:08
  Yeah. Where it's like that person is
• 45:10
  just on the sidelines. They're completely de
• 45:11
  sexualized. They're there just to like sort
• 45:14
  out the straight people's lives. It happens a lot in this movie.
• 45:19
  And like as you said, it's kind of continued down in with like
• 45:23
  Queer Eye. We're here.
• 45:25
  It's all that sort of thing of like, what if I just had like
• 45:27
  this gay person who could just come in and like, sort out my
• 45:30
  boring come drum life? Well let me break it to you
• 45:33
  straight. We've got enough shit to be
• 45:35
  dealing with ourselves, so if you can't work out how to put a
• 45:38
  lip on and a bit of colour then that's boohoo your life story.
• 45:44
  I'll make you over, but only if you also develop a drug
• 45:47
  addiction and like, maybe it's a problematic relationship with
• 45:52
  chem sex. I don't know.
• 45:55
  Welcome. Yeah, welcome to the queer
• 45:57
  existence. But.
• 45:58
  I mean, as much as I'm sagging off, I kind of like the
• 46:03
  empowerment that queer people are giving.
• 46:07
  Totally. It's, it's both, it's both.
• 46:10
  It's like it's trophy. It's kind of annoying.
• 46:12
  It's kind of annoying because you kind of know where it's
• 46:14
  going as well of like that kind of commodification of drag that
• 46:19
  we live in now where it's very sanitized and very corporatized.
• 46:24
  And that's all kind of annoying. At the same time, it is
• 46:26
  satisfying to watch. Like, I don't know where people
• 46:31
  sort sort people's shit out. And I think as well, like on a
• 46:34
  kind of a more base level, if you're not kind of analyzing
• 46:37
  kind of the realism too much of this film and if you're just
• 46:40
  maybe looking at it as like something that young people
• 46:42
  might watch or people that don't know much about, like, you know,
• 46:46
  we're culture, it kind of something I was sort of
• 46:49
  thinking. I was like, I just want to show
• 46:51
  this to like really dumb turfs. Do you know what I mean?
• 46:54
  Because it really lays down the issue in quite a basic
• 46:59
  digestible way, which is essentially straight men are the
• 47:02
  problem and toxic and horrible. And actually, if we all bind
• 47:08
  together, if women all come together, and if queers come
• 47:10
  together and we all embrace each other, we can identify that
• 47:15
  these people are the problem and we can get rid of them.
• 47:18
  Do you know what I mean? It's kind of like.
• 47:21
  That's so nice. But it is because it's like, you
• 47:23
  know, ultimately the victims, the straight men victims are 1
• 47:28
  is a racist rapist, and the other one is beating up his wife
• 47:32
  and abusing her. And it's like, yeah, it's just
• 47:36
  like, hello, straight men. Yeah.
• 47:39
  There you go. You're so right.
• 47:41
  So like, that's something I kind of took away from the film and
• 47:43
  kind of like a more sort of fairy tale, optimistic, not
• 47:47
  never going to happen. But I there was kind of a
• 47:49
  sweetness to it that it's like, yeah.
• 47:52
  It's like, it's why I think Queer Eye, like Queer Eye
• 47:55
  basically changed the world for gay people because it did allow
• 47:59
  a lot of straight people to see gay people in a completely
• 48:02
  different light. And so it's like so important
• 48:05
  that this kind of media does exist.
• 48:07
  At the same time, it's like, I don't want it to be my job, you
• 48:09
  know what I mean? Totally.
• 48:10
  And so that's kind of the like, and especially when we work as
• 48:14
  drag Queens and like we work in that field, I think there is
• 48:17
  sometimes an expectation that it's our job to, like, make
• 48:21
  people's lives more fabulous. Yeah.
• 48:26
  I'd like that kind of unpaid labor sort of situation or like,
• 48:29
  you know, you're not really seen as a person, you're seeing as a
• 48:32
  as a trope. And so it's like, I'm so glad
• 48:36
  this movie exists. And I also kind of don't want it
• 48:39
  to like become the thing that I'm expected to also.
• 48:43
  Yeah, because you're definitely not as nice as those those
• 48:46
  performers imagine us going into that town let like this is
• 48:55
  definitely what would happen. I would just lock myself in a
• 48:59
  room and not talk to anyone for the entire stay.
• 49:03
  I'd be like the most antisocial 1.
• 49:06
  I'd be like the old woman that just doesn't talk.
• 49:09
  Yeah. That would be my reality.
• 49:11
  It's so true. It's so true.
• 49:12
  I, and I like to joke about this, but I actually have done
• 49:17
  so much of this in like a professional setting and I
• 49:20
  actually do kind of end up enjoying myself typically like
• 49:24
  so. You go to villages and like
• 49:26
  liberate the the women of. I mean, you say that, but like,
• 49:30
  I think kind of DJ ING a straight wedding, this kind of
• 49:34
  that to a smaller degree. Like you turn up and you're
• 49:37
  like, God, this is going to be awful.
• 49:39
  You feel like you've lost all your power.
• 49:41
  You feel really stressed about like whether or not like some
• 49:44
  drunk old uncle's going to be mean to you or like, you know,
• 49:47
  you're going to get bullied or whatever.
• 49:49
  And by the end of the night, like, yes, you've played Mr.
• 49:52
  Brightside, but like you've helped everyone have like a
• 49:55
  really great time and like you've kind of unlocked a bit of
• 49:58
  joy for them that you've kind of got access to that they don't,
• 50:02
  which is like a sense of liberation.
• 50:03
  It sounds really cheesy, but like, I've had those moments and
• 50:07
  they can be really powerful. And then at once, as soon as
• 50:10
  it's like, come around again, you're like, fuck this, I don't
• 50:12
  want to do this. I can't do this.
• 50:12
  No, don't make me, don't make me.
• 50:14
  And then by the end, you're like, oh, actually that was kind
• 50:17
  of cool. Right.
• 50:18
  Yeah, Yeah. I mean, I hear that.
• 50:21
  I do hear that as well. So it's complicated in it.
• 50:25
  It certainly is one thing I will say about where we've got to in
• 50:29
  the story now, though, is the character of Chichi.
• 50:32
  As we've said, we we're buying it straight away.
• 50:34
  We think the performance is brilliant.
• 50:37
  I I really my heart really breaks for her.
• 50:39
  Like, I know this like kind of, and again, I actually think this
• 50:45
  is something that isn't, isn't too hammy, but this idea that
• 50:47
  like she should be in be able to be in this relationship, but she
• 50:52
  just can't. And that's not the reality for
• 50:54
  her. And I, I don't think, I'm not
• 50:56
  sort of saying that I'm buying into this kind of trans
• 50:59
  stereotype that trans women can't be happy or they can't
• 51:02
  meet people, but it's just, it was just a kind of a very like,
• 51:07
  yeah, it was just, it was something that I just found
• 51:09
  quite heartbreaking because she's like full of life.
• 51:12
  She's gorgeous. She's so charismatic, but she's
• 51:15
  sort of being forced by her sisters to kind of not do what
• 51:19
  she wants to do, and she's just painted as this, like, tragic.
• 51:22
  Yeah, so Chichi wants to get with Bobby Ray.
• 51:26
  Yeah. Who thinks she's sis?
• 51:28
  And the other Queens are like, you can't date him.
• 51:30
  Like, it's not going to work. He's going to find out.
• 51:33
  And so she ends up deciding to, like, let him go and give him
• 51:39
  away to another girl in the town.
• 51:41
  Yeah. I think it kind of comes back
• 51:43
  again to what I was saying about how these characters don't
• 51:45
  really have any sexuality or like, yeah, they're kind of
• 51:49
  missing a bit of characterization.
• 51:51
  And in a sense, it's great that, like, this movie doesn't dwell
• 51:54
  on, like, dark themes particularly.
• 51:56
  It's like it seems to exist in a world without the HIV AIDS
• 52:00
  crisis. Yes, it's kind of not doing
• 52:03
  that, which is kind of kind of great in a way.
• 52:06
  But in another sense it does leave the main characters a bit
• 52:09
  hollow I think. Yeah.
• 52:11
  It's like, it's like, are they, are they giving us something
• 52:15
  different? And it's great to kind of be
• 52:17
  away from those like, awful. Stereotypes, the tragic, like
• 52:21
  bury your gaze, all that stuff. Yeah.
• 52:23
  Or is it just kind of completely just like we don't care enough,
• 52:27
  so we're just giving you like a very 2D representation of what
• 52:30
  it is? It's like, it doesn't feel like
• 52:32
  a satisfactory route either way, does it?
• 52:34
  It's kind of. And again, I guess to come back
• 52:37
  to Priscilla again, like the storyline with Terence Stamps
• 52:42
  character who plays a trans woman like kind of like she
• 52:45
  falls in love with someone she doesn't know if he knows that
• 52:49
  she's trans, they like overcome it and they end up together and
• 52:53
  it's kind of like a really beautiful story And it's it's
• 52:57
  like this movie is scared to go there.
• 52:59
  I can guarantee that if. That Bobby Ray got with Chichi,
• 53:03
  he'd probably have a fucking great time, do you know what I
• 53:06
  mean? Rather than the prudish, like
• 53:08
  little kid that's like been there all their life, Chichi's
• 53:11
  been around, and I know that Chichi was.
• 53:14
  Chichi would show you a good time.
• 53:17
  All that. And that is a fact.
• 53:20
  Bobby Ray missed out on a chance to get a finger up his.
• 53:22
  Butt yeah, but this? But this is the thing though.
• 53:24
  It's like, you know, how many straight men love getting with
• 53:29
  drag Queens or trans women? It's like that.
• 53:32
  That, again, is like a hard fact.
• 53:35
  And we have receipts of that. Do you know what I mean?
• 53:39
  Yeah, So. Yeah, I kind of just wish the
• 53:42
  movie had like dared to to go there a bit instead of like,
• 53:47
  skirting. Skirting.
• 53:48
  Away from it and just keeping these characters so like
• 53:51
  desexualized, anodyne, like safe.
• 53:54
  Yeah. We've also got a fight scene
• 53:55
  here which I wanted to bring up because, yeah, Vita and Chichi
• 54:00
  have a fight about whether or not Chichi should be allowed to
• 54:02
  date Bobby Ray. And it turns into like real
• 54:06
  racial abuse from Vita. Yeah.
• 54:08
  It's really, really gross. Like Vita calls her like third
• 54:12
  world puta trash. Like it's gross.
• 54:16
  And it's the movie kind of, I feel like doesn't necessarily
• 54:18
  recognize that Vita's being incredibly racist.
• 54:21
  It's just kind of like, it's like they're both just being
• 54:23
  like, mean to each other. It's like, whoa, this is a lot.
• 54:27
  Yeah. And it's kind of like I mean.
• 54:29
  Everybody says stuff that they don't mean in the heat of a
• 54:31
  moment, but that's like deeply, deeply packed information.
• 54:36
  And it's like, maybe, maybe you shouldn't be friends with Peter
• 54:41
  Chichi after that. There's a lot that's said, but
• 54:45
  but again, it's like, you know, it's kind of another reflection
• 54:49
  of like how much they were kind of considering elements of the
• 54:53
  story they're telling, isn't it? And that that is just like a
• 54:56
  massively inappropriate, but it's what is interesting is
• 55:00
  that. Then Chichi's character is like,
• 55:02
  oh, you're like this. Like she hurls it back at her in
• 55:06
  like a really kind of spot on way where she's like, you're a
• 55:09
  white woman telling a Hispanic lady and a black lady what to
• 55:13
  do. You think you're the the shit
• 55:15
  because you're a white lady, but like, so it's it's almost like
• 55:19
  Chichi knows what's going on. But then, yeah, there's not
• 55:21
  really any actual accountability for Veda's character.
• 55:24
  Yeah. So then, yeah, they overhear
• 55:26
  Virgil abusing Carol Ann and Veda intervenes, beating him up
• 55:31
  and running him out of town, which is very satisfying.
• 55:33
  Again, this is the bit where it's like.
• 55:35
  Oh, this is the, like the zinger, isn't it?
• 55:38
  It's like, well, what you don't know about Veda is she works
• 55:41
  out. And it's like, and again, I was
• 55:44
  like, here we go. Yeah, yeah, yeah, totally,
• 55:46
  totally. Everyone in town slow dances for
• 55:51
  some reason. That happens.
• 55:53
  That's good. Would you?
• 55:54
  Would you if you were doing the strawberry?
• 55:56
  Heap Pageant or whatever it is. I quite like the theme of Red
• 55:59
  and Wild, by the way. I was like, that's terrible.
• 56:02
  Yeah, yeah, I was sold on. That I was like.
• 56:04
  That's a great idea for a theme, yeah.
• 56:06
  Then Carol Anne. Fixes their car on her own
• 56:10
  without Virgil, and she reveals that she knows Vita is a man but
• 56:13
  she doesn't care because women don't have Adam's apples.
• 56:19
  But then she does say something afterwards.
• 56:21
  Doesn't. She where she's like, she says
• 56:23
  that about that, but then she does go, but some ladies can,
• 56:28
  which I kind of thought was oh right, yeah, it kind of
• 56:31
  balances. Out and again I think I'm.
• 56:32
  I'm viewing it through wanting it to be this kind of reclaimed
• 56:35
  trans story, so I kind of found that.
• 56:38
  Quite warming. Even though this is just this is
• 56:40
  just me putting a filter through it and just this is how I'm
• 56:42
  watching this movie. So it might not be like this 31
• 56:45
  else. I think that's fair enough.
• 56:47
  You kind of it's, it's just got to pick and choose with
• 56:50
  representation sometimes, don't you?
• 56:52
  So then it's the day of the Red and Wild Town Fair and Sheriff
• 56:57
  Dollar tracks them to Snydersville and threatens to
• 56:59
  expose them. And he's like, got a megaphone
• 57:01
  and a gun, and he's like, basically going to kill these
• 57:03
  drag Queens. Very menacing.
• 57:05
  But the townspeople now loyal to the Queens all stand up to
• 57:08
  protect them. And Stocker Chan and comes out
• 57:11
  in this amazing red look with a veil.
• 57:14
  And she's like, I'm a drag queen.
• 57:15
  And then everyone's a drag queen, including men, which is
• 57:17
  really fun. Yeah.
• 57:19
  And they basically run Sheriff Dollar out of town.
• 57:22
  And our girls had stayed hidden the entire time.
• 57:26
  And they're just completely moved by the townspeople's
• 57:29
  loyalty and support. And I think that is, it's quite
• 57:32
  touching actually. Yeah, I, I agree.
• 57:34
  I do think and. I think that's quite a, a, a
• 57:37
  sort of a surprising way that they dealt with that because you
• 57:40
  could imagine them just all rallying around and just being
• 57:42
  like, you leave them alone. And then like the guys getting
• 57:45
  all big and burly and being like, well, if you've got a
• 57:47
  problem with them, you've got a problem with me.
• 57:48
  But I enjoyed the way that they all took being what being a drag
• 57:52
  queen is. And they all, yeah, totally
• 57:54
  these men in the small. Town are embracing their
• 57:56
  femininity in this unexpected and and and as are the CIS women
• 58:00
  as. Well, and it's again, wake up
• 58:04
  call everyone. Drag isn't about woman face.
• 58:08
  It's about expression and about kind of playing with power and
• 58:12
  celebrating. And yeah, again, they've they've
• 58:15
  found a power in reclaiming what drag means to them.
• 58:18
  And as cheesy as that sounds, I think that's something I can get
• 58:22
  behind the concept. God, this movie has softened.
• 58:25
  Baby lame. I know.
• 58:27
  I'm like I've eye rolling. Myself as I'm saying all of this
• 58:30
  shit, I apologise everyone. Stocking channel looks amazing
• 58:34
  though. She does look incredible.
• 58:36
  She looks so. Good.
• 58:37
  That is a look. And again, I'm like, that's
• 58:39
  just. Some red toil, but fuck me, that
• 58:41
  is well styled red toil. Yeah, drag Queens, we've all got
• 58:45
  just gone to the fabric shop and done a veil before, but that was
• 58:49
  the right length and the right volume of fabric.
• 58:51
  Yeah. So then everybody parties at.
• 58:54
  The red and wild fair and then they say their goodbyes.
• 58:57
  Vita gets the love from Carol Anne that she never got from her
• 59:00
  mother, which is quite sweet, and they drive off, changed by
• 59:05
  the journey. So then they go to LA for the
• 59:08
  pageant and Chichi wins and she's wearing a little Kitty
• 59:14
  Kitty. Wig, isn't she?
• 59:15
  Yeah, a little Kitty catwig. And.
• 59:18
  She's had a real glow up. She looks amazing.
• 59:21
  She wins the pageant and Julie Newmar gives to the crown.
• 59:24
  Yeah, and also that last shot of her.
• 59:26
  Chichi as well is that's just like fabulous.
• 59:28
  Do you know what I mean? Like, she's giving like fantasy.
• 59:31
  She's serving, healing herself and again, and that's.
• 59:34
  They're the. Genuine moments of joy I get in
• 59:37
  this where I'm like, I'm not like, oh, look at the person
• 59:40
  playing a drag queen. I'm like, no, I am buying that
• 59:43
  fantasy and that's, you know, I'm sure you agree with this as
• 59:46
  well. That's like one of the most
• 59:47
  exciting things about seeing a drag queen is when they are
• 59:50
  delivering full fantasy moments. That's when you're that's when
• 59:54
  you're buying what they're selling.
• 59:55
  So I love that last shot. Totally.
• 59:57
  I mean it just. Really feels like Don Leguizamo
• 1:00:00
  was like, actually invested in doing this well.
• 1:00:05
  And like, you could tell was actually feeling gorgeous.
• 1:00:09
  Yeah, which is really nice. Totally like an understanding.
• 1:00:14
  Yeah, what the appeal of this is because it's not.
• 1:00:17
  It's not. And that's the other interesting
• 1:00:19
  thing as well. And I don't know if this is just
• 1:00:20
  because it's like 90s drag, but they don't have like, you know,
• 1:00:24
  huge tits or anything. They're just, you know, it's it.
• 1:00:28
  There's this real sensuality about their drag and that seems
• 1:00:32
  authentic as well. Yeah, right.
• 1:00:34
  Cool. Well, that's the movie.
• 1:00:37
  We've kind of covered a lot of what I talked about, what I want
• 1:00:39
  to talk about as we went into it.
• 1:00:42
  I guess one thing I'll bring up now is I found this out when
• 1:00:46
  researching. John Leguizamo talked a bit
• 1:00:49
  about colourism and her skin tone.
• 1:00:52
  And she said that growing up, there was a real tendency for
• 1:00:57
  women in her family to paint their their skin a lighter shade
• 1:01:02
  because of colourism in the community.
• 1:01:03
  And, you know, the the goal was to look whiter than you were.
• 1:01:07
  And so that's why Chichi at the beginning of the movie is
• 1:01:10
  painted so pale because she's kind of like trying to figure
• 1:01:13
  out how to be beautiful in this kind of white, acceptable way.
• 1:01:18
  And by the end of the movie, her skin, her foundation matches.
• 1:01:21
  And it's because she's like, kind of figured out self love
• 1:01:24
  and is self actualizing and is, you know, kind of finally,
• 1:01:28
  finally full of self love and fully formed.
• 1:01:30
  I think that was really nice and, like, a beautiful task
• 1:01:32
  detail. Yeah.
• 1:01:34
  And it's like particularly paying.
• 1:01:35
  Paying tribute to. Yeah, Donna Guizamo's family,
• 1:01:38
  which is really nice. No, but that's that I, I, you
• 1:01:40
  know, we keep. On touching upon it, I think it
• 1:01:42
  just has to be commended how much respect the actors have for
• 1:01:50
  the characters they're playing. They seem to really love the
• 1:01:52
  characters they're playing, yeah, and there's no sort.
• 1:01:56
  Of shame. In them and obviously I think,
• 1:01:59
  you know, whether or not it was like stunt casting, all their
• 1:02:01
  motivation behind doing the roles.
• 1:02:04
  But you know, I feel like being straight, mainly like action
• 1:02:09
  movie stars and taking on roles like this.
• 1:02:12
  It there's there's a lot of kind of like bad that it could do to
• 1:02:16
  your career. I'd imagine.
• 1:02:17
  I can't imagine it's going to be like, oh, this is the one that's
• 1:02:20
  going to, like, career boost me. And so therefore I, I'm still
• 1:02:26
  surprised when I watched the film back about how respectful
• 1:02:30
  and nuanced their interpretation of drag Queens are, even though
• 1:02:33
  the story's super fluffy. Yeah.
• 1:02:36
  Yeah. Like.
• 1:02:37
  Wesley Snipes had no business doing so well in this.
• 1:02:42
  Like, Wesley Snipes was an action star who took this role
• 1:02:46
  basically to prove that he could do something other than action
• 1:02:48
  movies. And then, like, hit it out of
• 1:02:52
  the park did so well, like just really live to the character.
• 1:02:56
  It's really, really amazing. Like, And again, there's like a
• 1:02:59
  little, like a little. Joke about how I can't remember
• 1:03:02
  the exact words about how she's built like a brick shit house or
• 1:03:05
  whatever because obviously such a muscular physique.
• 1:03:07
  But again, it's like that might just be like a really one note,
• 1:03:11
  you know, take on that type of person in drag.
• 1:03:14
  But like, again, it's like, of course, like there were people
• 1:03:17
  with like really muscular bodies and they're really large and
• 1:03:20
  stuff. But that doesn't mean that you
• 1:03:21
  can't embody this beautiful feminine energy.
• 1:03:24
  And again, it's not like you're watching this big tongue dude in
• 1:03:28
  a dress. You're watching this like
• 1:03:30
  beautiful person. Yeah.
• 1:03:32
  Yeah, she was so. Hot in it, like slinking.
• 1:03:34
  Around and kind of and funny as well, and bitchy and kind of
• 1:03:39
  multifaceted, even though the script wasn't.
• 1:03:42
  Yeah, totally it. It does like strain the
• 1:03:46
  credulity where you're like, people are supposed to be
• 1:03:49
  confusing these people for CIS women like that, that that
• 1:03:54
  doesn't really work. But that's kind of not their
• 1:03:58
  fault. It's that's like the script
• 1:03:59
  talk. When I watched this movie with
• 1:04:01
  my husband and he's, he was like, they should have, this was
• 1:04:05
  his pitch for like how they should have fixed it.
• 1:04:07
  They should have. So they go to that basketball
• 1:04:09
  convention or, you know, that sort of scene happens and they
• 1:04:12
  do a drag show and they're raising money to fix their car
• 1:04:14
  or something, whatever. And then they drive and their
• 1:04:17
  car breaks down. And so they end up in this small
• 1:04:18
  town, but they're still in drag. And so they can't get out of
• 1:04:21
  drag because they're scared of the people finding out that
• 1:04:24
  they're they're men. And so they have to stay in drag
• 1:04:26
  in that town. And it's like a comedy of errors
• 1:04:28
  of them, like trying to pretend. And then by the end, when
• 1:04:32
  everyone finds out, then we get them out of drag again and not
• 1:04:35
  you. And that would have just made it
• 1:04:37
  all make a bit more sense. Yeah.
• 1:04:39
  Because we've got these weird scenes of like, yeah, them car
• 1:04:44
  shopping or like in there going to bed in drag.
• 1:04:48
  It's just. Like what are you trying to say?
• 1:04:51
  Here anyway, I think that could have been quite fun.
• 1:04:54
  Definitely, I think something else I I enjoyed.
• 1:04:57
  As well was the sort of the sisterhood the three of them had
• 1:05:01
  as well, even though, despite, you know, beaters incredibly
• 1:05:06
  problematic statements, this idea again and I felt that was
• 1:05:10
  quite authentic. I think like, you know, often
• 1:05:12
  drag performers are like grouped together and from different
• 1:05:15
  backgrounds and different types of people and different clashes.
• 1:05:18
  But there is this kind of like, I hate to say, found family
• 1:05:22
  thing, but like it's true, isn't it?
• 1:05:24
  And like, there's this I, I again, I kind of believe the
• 1:05:28
  three of them being together. I don't.
• 1:05:31
  Think that even though. They're so different to each
• 1:05:33
  other. I can.
• 1:05:34
  I can believe it. Yeah.
• 1:05:36
  Yeah. You Really?
• 1:05:37
  Buy the fact that Vida and Noxim have known each other for a
• 1:05:40
  really long time and they're like they know each other's
• 1:05:42
  foibles and quirks and blah blah blah like it all.
• 1:05:45
  It feels real. I guess one of my other problems
• 1:05:49
  with this movie is like we don't get because I think it kind of
• 1:05:53
  shifts focus to the townspeople and fixing their problems.
• 1:05:57
  It doesn't necessarily do anything a lot for the the
• 1:06:01
  heroes arcs, yeah, they kind of get sidelined a bit.
• 1:06:05
  It's like, yeah, because it's kind of like what you want,
• 1:06:08
  really. Is you want Veda to go back to
• 1:06:11
  the house, don't you? And you want her to crash the
• 1:06:13
  car through the house or something or or get everyone in
• 1:06:17
  the car and like all just kind of dance at the front of at the
• 1:06:21
  mum's house. Do you know what I mean?
• 1:06:23
  Like something like that. You want some sort of.
• 1:06:25
  Redemption or like? Some sort of fuck you moment
• 1:06:27
  rather than just being like quietly, totally and like what's
• 1:06:32
  What's Noxzema? 'S art, Really.
• 1:06:34
  She has no art. Yeah, she's kind of got.
• 1:06:36
  Like the? Best you could say was that she
• 1:06:38
  was like, I don't really like other people and I don't want to
• 1:06:40
  help them to like liking other people and wanting to help them.
• 1:06:44
  That's kind of the best you could say for her.
• 1:06:47
  But like, there's that bit at the end where that old lady
• 1:06:50
  gives her a letter and just like, give this to this producer
• 1:06:54
  when you get to Hollywood. Do you remember that?
• 1:06:57
  No, I don't. Yeah, I actually don't.
• 1:06:59
  Remember that it's right at the end of the movie.
• 1:07:01
  You know the old lady. With the movies, yeah, she's
• 1:07:03
  she's like, take this letter and give it to so And so when you
• 1:07:07
  get to Hollywood and it's almost like, oh, what's that going to
• 1:07:09
  be like? Is Noxima going to get her her
• 1:07:12
  big break as a result? And like she's like learns.
• 1:07:15
  You have to let people in in order to like progress.
• 1:07:19
  I don't know. But yeah, there's basically just
• 1:07:21
  nothing for her really. And then Chichi as well as like,
• 1:07:24
  oh, you learned what? That like you can't be happy.
• 1:07:29
  Yeah, you can't be happy. But you look gorgeous now.
• 1:07:32
  I don't know. So there.
• 1:07:34
  It's all a little undercooked for the the three mains again
• 1:07:37
  when I'm in my like soft. Like kind version of myself I
• 1:07:42
  did. I found that line about it's so
• 1:07:44
  cheesy, but I also found it incredibly moving when she was
• 1:07:46
  like, I've got a light bulb for every man I've ever had on
• 1:07:50
  Broadway. And when they go out, it's just
• 1:07:52
  screwing another one. I was like, I think maybe I was
• 1:07:55
  in a very sad place watching this one because I was like,
• 1:07:58
  that's beautiful. And now as I'm saying it out
• 1:08:00
  loud, I'm like, oh God, no, I think that line was.
• 1:08:03
  I think that line was. Beautiful.
• 1:08:05
  Chichi has such good lines. Yeah, she really, really does.
• 1:08:08
  But yeah. Like, I agree with you, like,
• 1:08:11
  I've loaded this film with like all of this extra subtext that
• 1:08:14
  I've like, tried to make feel more relevant to me, but
• 1:08:16
  actually nothing really happens, does it?
• 1:08:20
  And it's, well, she said. Everything happens for the
• 1:08:22
  townspeople. Yeah, they come in and sort out
• 1:08:25
  all their problems, which sure, I guess.
• 1:08:29
  But yeah, it's it's kind of underserves the gay characters
• 1:08:33
  as a result. There's we're used to it.
• 1:08:35
  We're used to it. It's what happens, isn't.
• 1:08:38
  It's not what I would prefer, but it is.
• 1:08:40
  Yeah, it is. It is common, but again I will
• 1:08:43
  say like. There was a real time in the 90s
• 1:08:46
  where like these kind of like queer films were just being
• 1:08:50
  made. We talk about them so much, but
• 1:08:52
  there was a real pocket of time where there was just kind of
• 1:08:54
  these quirky little weird films kind of being quite successful
• 1:08:58
  with mainstream audiences. We did kind of talk about this a
• 1:09:02
  bit, but like the. Sanitization of it all in some
• 1:09:05
  ways, I think is quite affirming.
• 1:09:08
  And it's it's like, oh, we don't just need to have stories about
• 1:09:12
  gay people dying of HIV and AIDS and dying alone and unhappy and
• 1:09:18
  like doing gay trauma. We can also have like gay joy.
• 1:09:21
  And I think that is what this movie does really well and
• 1:09:24
  successfully. I just wish it had brought in a
• 1:09:26
  little bit more into them as well.
• 1:09:29
  Like given them a SEC, given one of them a sex life, Yeah, for
• 1:09:33
  example. Yeah.
• 1:09:35
  Because they're the characters are just quite neutered, I
• 1:09:39
  guess. Absolutely.
• 1:09:40
  And like, yeah, you're right. And.
• 1:09:42
  I think something I think that's sort of lovely looking at where
• 1:09:45
  this was when this was released in time was you're absolutely
• 1:09:48
  right, because, you know, this is when people didn't really
• 1:09:51
  have access to the Internet very much and like the Internet
• 1:09:53
  wasn't very like capable back then.
• 1:09:56
  So it is one of the few resources that a young queer kid
• 1:09:59
  might have been able to rent it from a video shop and have
• 1:10:02
  something that is a different version of queer life other than
• 1:10:06
  like Philadelphia or like, you know, I So I do think there is
• 1:10:11
  kind of an importance in that in terms of totally, but I can also
• 1:10:15
  imagine being. A gay man in 1995 when this
• 1:10:18
  movie came out and being like incredibly eye rolly about it.
• 1:10:21
  Like this is not like, you know, if you're someone in your like
• 1:10:25
  40s and you're watching this movie like fuck this, like I
• 1:10:29
  couldn't fair fair. I think it just depends.
• 1:10:31
  I think it's like if you're a closet case.
• 1:10:33
  Yeah, in the middle of nowhere. It's it's aspirational,
• 1:10:36
  probably. Totally.
• 1:10:37
  I totally agree. Eye Rolly.
• 1:10:38
  If you're a city person, yeah, it's like.
• 1:10:41
  Yeah, it's kind of it's, it's just making out that everybody
• 1:10:43
  in the 90s was closet cases. And it's like that definitely
• 1:10:46
  wasn't the case. Yeah, but you know, one movie.
• 1:10:50
  Can't, like, do everything for every queer person.
• 1:10:53
  Arguably it can, and that. Movie would be Basic Instinct to
• 1:10:58
  risk addiction. Yeah.
• 1:11:03
  How do you picture it, Doctor? Also as well, I would just like
• 1:11:08
  to. Say I really enjoy the the sort
• 1:11:10
  of costume design in it. I know it's sort of dated drag,
• 1:11:13
  but I'm I'm here for the kind of like 90s seventies like
• 1:11:17
  crossover stuff. I just think that's gorgeous and
• 1:11:20
  it's a real, it's a really enjoyable thing to see what
• 1:11:23
  they're wearing next. You know what I mean?
• 1:11:25
  Like, even though I'm like drag Queens don't wear like, or drag
• 1:11:29
  Queens, I'm sitting around the beach, you know, or around a
• 1:11:32
  swimming pool in like a two piece in the big hat.
• 1:11:35
  Like you're sweating and you're like, Get Me Out of this fucking
• 1:11:37
  heat. But I was, I was here for every
• 1:11:40
  fashion moment. Yeah, I like that.
• 1:11:42
  They all have. Real individual style, like
• 1:11:45
  they're each of real character. A drag.
• 1:11:49
  Character and it's. Like it's believable that that's
• 1:11:53
  how they dress. I love that it's really
• 1:11:54
  consistent. It's like, oh, Vita is this like
• 1:11:57
  classic glamour puss, and she's always going to give you that.
• 1:12:01
  And Knoxy's doing like sixties 70s, like disco meets mod
• 1:12:06
  fashion. And it's like, it's like they
• 1:12:09
  all feel like real drag characters, which is really fun.
• 1:12:11
  Yeah, definitely what I would say like.
• 1:12:13
  They give. Chichi a hard time about her
• 1:12:16
  look in the opening scene, but her dress in the opening scene,
• 1:12:19
  the green and the pink, it's so good.
• 1:12:21
  Great. It's so good.
• 1:12:24
  Like imagine. Telling her she looks busted in
• 1:12:26
  that I don't like we know. Well, I can, I can definitely
• 1:12:30
  speak for myself and say that maybe some of my better outfits
• 1:12:34
  are still not up to that level of but yeah, ultimately I
• 1:12:39
  ultimately it's a really visual feast, I think.
• 1:12:43
  And I like and I, you know, you can't go wrong with people
• 1:12:46
  wearing red. It's always been a strong drag
• 1:12:48
  look, hasn't it? It's ultimately you're never
• 1:12:50
  going to fail in an all red ensemble.
• 1:12:53
  Well, I, I think we're, we're edging closer now, aren't we?
• 1:12:56
  Yeah, I'm so close, Crystal. Oh, welcome me in.
• 1:13:05
  Oh. What's the line?
• 1:13:08
  If you want them another steak for dinner, you'd better let
• 1:13:10
  them hear it sizzle. It's so good.
• 1:13:12
  Why is that voice the best voice to deliver?
• 1:13:15
  Any line in you know that slightly well I'm here and I'm
• 1:13:18
  going to give it to them. It's it just works, doesn't it?
• 1:13:22
  Alaska does May West. Yeah, I'm a tough.
• 1:13:24
  Rod, I'm going to. Serve it to you.
• 1:13:28
  Yeah, it just, it just works. OK, well, let's.
• 1:13:32
  Rate this movie on our patented campometer.
• 1:13:36
  We need to give it a score out of 10 Merrells for quality and
• 1:13:40
  10 Lyses for camp factor. Let's start with Merrills.
• 1:13:44
  Let's start with Merrills. Bon appetit.
• 1:13:47
  How good is this movie? What's the quality of this
• 1:13:49
  movie? Oh, it's tough.
• 1:13:53
  Oh yeah. Oh, because I think I always
• 1:13:57
  just want to love this film more than it's probably worth.
• 1:14:01
  And it's like, as we've spoken about it, I'm kind of like, oh,
• 1:14:04
  it's not actually as good as it in in my head.
• 1:14:06
  It is really which I sometimes, you know, believe that when we
• 1:14:09
  review these films, it is about a feeling.
• 1:14:11
  But logistically breaking through it, I mean, OK, let's
• 1:14:14
  start with acting. So the performances from our
• 1:14:17
  leads and from Stockard Channing, etcetera.
• 1:14:20
  That's pretty fucking high, right, Wouldn't you say?
• 1:14:22
  Yeah, absolutely. And they've managed.
• 1:14:26
  To give weight to a very like light script, I'd I'd argue as
• 1:14:30
  well. Yeah, yeah.
• 1:14:32
  So the quality is there. I think I basically agree.
• 1:14:35
  With that, like critical consensus, I read at the top,
• 1:14:38
  which was like, the performances are great and that the script is
• 1:14:40
  actually a bit fluffy and light. Yeah.
• 1:14:44
  And I'm really happy that this movie exists and that it's
• 1:14:46
  dealing with the themes that it's dealing with.
• 1:14:49
  And I think it's fab for those reasons.
• 1:14:51
  But I do think there's like a better movie that could be could
• 1:14:53
  have been made. Totally.
• 1:14:55
  Yeah. And that probably is Priscilla.
• 1:14:56
  Queen of the Desert, isn't it? Yeah, probably.
• 1:14:59
  Yeah, probably. It's OK.
• 1:15:00
  So I'm going to go right I'm. Going to go five overall, but as
• 1:15:05
  a sub Meryl Streep moment, I think Chichi deserves like a 10
• 1:15:13
  yeah, just because it's like an. Incredible.
• 1:15:16
  Performance. I think, yeah, I'm going to go,
• 1:15:19
  I'm going to go. With a six.
• 1:15:20
  OK. I'm Julia Child.
• 1:15:23
  Rarely scoring higher than you. Yeah.
• 1:15:25
  No, that's true actually. OK, and what about Liza's?
• 1:15:32
  The camp factor, I think this one's quite tough too.
• 1:15:34
  I'm I'm a bit torn, Yeah, I mean.
• 1:15:38
  It just, you know, as we said, I think they've got kind of drag
• 1:15:43
  Queens down quite well in terms of like, it might not be the
• 1:15:47
  realistic the story, but in terms of what we see from the
• 1:15:52
  dragon mannerisms, yeah. And it's kind of and it's like.
• 1:15:56
  Yeah. Like, but then also when we're
• 1:15:58
  talking about camp, it is camp that they're in drag going to
• 1:16:01
  the B, the swimming pool. It is camp that they're in a
• 1:16:04
  boudoir wearing like really like, you know, bustier things.
• 1:16:08
  So that is all camp, isn't it? The soundtracks camp as well.
• 1:16:14
  Yeah, it. It doesn't veer ever into, like,
• 1:16:19
  so bad it's good. That's that's right.
• 1:16:21
  Yeah. Yeah.
• 1:16:24
  And I think because it plays it safe, it like kind of misses a
• 1:16:27
  few bits of queer joy for me. There's something about the
• 1:16:30
  first third of the movie where I'm, like, fully locked in.
• 1:16:34
  And it's queer joy for me when it's like, we're in New York.
• 1:16:38
  We're at that ball. Yeah.
• 1:16:39
  We're like watching them interact with Robin Williams,
• 1:16:42
  the car shopping, even like the montage of them travelling to
• 1:16:45
  America. I was like, I am in.
• 1:16:47
  And then something happens when they get to the town where it
• 1:16:49
  feels like it kind of shifts into a bit more safety.
• 1:16:53
  And the answer to the answer to that is straight.
• 1:16:55
  People yeah, that's what happens to this movie because you're
• 1:16:59
  right. Because imagine following the
• 1:17:00
  antics of those three just like moving around the city and just
• 1:17:04
  kind of like what it's like competing against other drag
• 1:17:07
  houses and kind of, you know, the men that they're all
• 1:17:10
  sleeping with and like there's there is a a a more fun world
• 1:17:14
  for them, isn't there? But then it does just become
• 1:17:17
  sanitised in an episode of We Are Here.
• 1:17:20
  Yeah, a bit. Yeah, but it does have lots.
• 1:17:26
  It does have queer joy. It's just like, I wouldn't say
• 1:17:28
  consistently queer joyful. Yeah, totally.
• 1:17:33
  And I. Think because as I said earlier,
• 1:17:36
  I do still, I found it like sort of surprisingly ringing true on
• 1:17:41
  a very base level and it just kind of reminded me that
• 1:17:44
  actually if people come together and fight toxic masculinity,
• 1:17:48
  then that's the answer. And I that kind of gave me.
• 1:17:52
  Some queer joy just as a little bit of take up from that.
• 1:17:55
  But is it enough to, you know, propel it to the heights of
• 1:17:58
  Catwoman and Basic Instinct too? And I still know who killed me
• 1:18:04
  or whatever that Lindsay Lohan one's called, which is our
• 1:18:06
  highest rating one. I would say no.
• 1:18:09
  So I'm going to give it 7A7, a good seven for me.
• 1:18:13
  Yeah, I think I'm with you. I.
• 1:18:15
  Was maybe also thinking around 6:00 but honestly when baby,
• 1:18:21
  when something touches your heart, it touches my heart so
• 1:18:26
  well I feel swayed. Well, to quote Vida your
• 1:18:29
  approval. Neither desired nor required,
• 1:18:31
  quite frankly. I'm with you.
• 1:18:35
  I'll give it a 7 as well. Oh, well done.
• 1:18:37
  Well done. What do you say?
• 1:18:42
  Wasn't it? It was wholesome.
• 1:18:44
  I've kept I'm. Kind of shocked you suggested
• 1:18:47
  this movie because it is so wholesome.
• 1:18:49
  It's like it's not what I expect you to go to.
• 1:18:52
  No, I don't. Well, I liked it.
• 1:18:54
  Maybe I was. Drunk when I suggested.
• 1:18:55
  It because. It's also not really the film I
• 1:18:57
  remember watching. I remember it being made really
• 1:19:00
  far more radical, but maybe that's because I hadn't been a
• 1:19:02
  drag queen at that point, so it was like, wow, I could wear a
• 1:19:06
  wig too, and I could help some straight people in a village.
• 1:19:10
  The softer side of Baby Lane. It is soft welcome in.
• 1:19:14
  Welcoming everyone, If you want to experience the softness, you
• 1:19:17
  know I am. But yeah, maybe we should cover
• 1:19:19
  Priscilla. Sometime soon, while this one's
• 1:19:21
  still a bit fresh and it'd be interesting to kind of compare
• 1:19:23
  and contrast totally what's next for us, actually.
• 1:19:26
  I know we talked about the gate show and what's the next step?
• 1:19:29
  Oh, I think we're covering. Mommy dearest with Peaches,
• 1:19:33
  Christ. Petrina.
• 1:19:39
  Christopher. Dammit.
• 1:19:39
  Oh yeah. Now that is a very different
• 1:19:41
  film. Very different.
• 1:19:43
  Let us know what you think. About the rating of this movie,
• 1:19:45
  do you agree or disagree? Would you like us to cover
• 1:19:48
  Priscilla? And yeah, don't forget to leave
• 1:19:52
  us a review on Apple Podcasts and win AT shirt that we're
• 1:19:56
  going to find in the back of our closet.
• 1:19:57
  Yeah, I can't wait to smell that.
• 1:20:01
  We'll be back in two more weeks with more Camp classics.
• 1:20:04
  And baby, I just want to leave you with this.
• 1:20:06
  Oh, go on. Yeah, I don't.
• 1:20:08
  Think of you as a man. I don't think of you as a woman,
• 1:20:13
  I think of you as a whole. Yeah, baby, I'm down with that.
• 1:20:18
  Thank you for that. That means a lot.
• 1:20:20
  Thank you. You're welcome.
• 1:20:21
  You're welcome. Goodbye everyone.
• 1:20:22
  Goodbye, get away from her you bitch.
• 1:20:27
  Classic. He was in.
• 1:20:29
  The Amazon with my mom when she was researching spiders right
• 1:20:33
  before she died. No, I thought you can't
• 1:20:41
  prostitute or go get it. I still love doggy chow.
• 1:20:45
  I love doggy chance too. We do that one more.
• 1:20:48
  Time actually, because I think you peaked.
• 1:20:49
  Oh, OK, Oh, did I OK, as in I? Peaked.
• 1:20:52
  I just peed. Yeah.
• 1:20:53
  Yeah, that's it. Yeah, you're done.