Tag: Wild Side

Representations of Sex Workers: The Roundup

Check out all of the posts for Representations of Sex Workers Theme Week here.

For a Good Time, Call …: A Modern Rom Com About Friendship by Scarlett Harris

But For a Good Time, Call… doesn’t think of itself as better than other films with sex workers as their protagonists, with Lauren using Katie’s virginity against her as a metaphor for her insecurity when they have their first major fight, a prevalent attitude that buys into virgins being lesser versions of sex-having humans. As Vivian in Pretty Woman resents Edward for making her “feel cheap,” Lauren’s treatment of her housemate brings up feelings of worthlessness for Katie. “You make me feel like I’ll never be good enough for you,” she cries. It seems we can’t win either way: women are slut- and prude-shamed no matter our real or perceived bedroom habits.

Beyond the Mainstream: How Indie Films See Sex Workers by Nicole Elwell

Welcome to the Rileys and Starlet are not flawless examples of how to depict sex workers in film, but they are a step in the right direction. With Hollywood’s repetitive use of sex workers as one-dimensional cardboard cut-outs with a single purpose, the indie genre often gives sex workers, both supporting characters and protagonists, expressed thoughts and feelings, making them fleshed out and human.

Porno Moms and the Sexual Healing of Family in Boogie Nights by Rebecca Willoughby

The vision of Eddie/Dirk’s home life at the beginning of the film shows us that no family is without its failures, and that true family and community bolsters individuals while forgiving and healing these flaws. The film is progressive in its inclusivity (of male, female, and queer characters), and specifically in its treatment of Amber as she constructs her own version of motherhood and family, for better or worse.

Randy defines the male sex worker in ways that are diametrically opposed to more traditional depictions of female sex workers. He is not oppressed by his clients, controlled by a pimp, or violently threatened until the very end. Even then, such “threats” are delivered as a comedy of errors after a group of husbands discover their wives have been ordering a lot of pizza with “extra anchovies,” the code for Randy’s clandestine services. Thus, he enjoys a much more privileged kind of work as a casual summer gigolo than as a professional prostitute who is often trapped in such work for extended periods of time and trapped by dominating patriarchal forces.

Some clues for her motives are in the scenes between Abby and her spouse. They are affectionate and loving with each other, even when they’re alone, but the sex has gone out of their marriage. After a disastrous first encounter with an escort, we feel Abby’s ache of longing when a second “better” escort begins to touch her. Later we see Eleanor’s first client, a 23-year-old virgin, react to Eleanor’s touch in much the same way.

Pretty Woman depicts a world where everyone is either a card-carrying member of the corporate caste or an obliging subordinate whose primary purpose in life is to serve, drive or blow members of that caste. It is obsessed with things and encourages the audience to share its obsession with things. These include Lotus cars, jets and jewelry. It also sells the City of Angels, of course. Rodeo Drive is one of the stars of the show. In fact, the whole movie is pretty much an extended Visit California commercial.

Season Two Episode One of Sherlock, “A Scandal in Belgravia,” is adapted from the Sir Arthur Conan Doyle Holmes story “A Scandal in Bohemia.” The storyline focuses on Irene Adler, portrayed brilliantly by the arresting Lara Pulver, who has incriminating photographs of a member of nobility that Sherlock must retrieve.

Sex Workers Are Disposable on Game of Thrones by Gaayathri Nair

When we are introduced to Ros, she is working in Winterfell but as war approaches she decides to try her luck in King’s Landing expressing the view that if all the men leave for war there is not going to be much for her in Winterfell. Once there she goes from being “just a sex worker” to getting involved in the politics of the realm by becoming the right hand woman of Little Finger and subsequently double crossing him by becoming an agent for Varys. However despite her many interesting qualities and potential for interesting storylines, Ros basically exists for one reason to provide exposition regarding male characters on the show while naked. She is sexposition personified.

An Authentic Portrayal of a Transgender Sex Worker in Wild Side by Andé Morgan

Like much of Lifshitz’ previous work, Wild Side explores sexuality and emotional intimacy. Thankfully, Stéphanie’s gender identity or Mikhail and Djamel’s bisexuality are not the sole focus, but rather appropriately important facets of their characters.

Inara Serra and the Future of Sex Work by Deborah Pless

Inara shows all the benefits to the cultural changes of the last 500 years. She’s a Companion, a highly trained and respected sex worker who ministers mostly to dignitaries, businessmen, and other elites. She’s taken a ride on Serenity, the ship around which most of the show’s action centers, because she wants to see the universe. Because she is a Companion, she can write her own ticket – there will always be clients, so long as they stick to planets with some level of economic stability, and she can just rent a shuttle for as long as she wants. Plus, Inara herself is fun, witty, and classy as all get out. She’s the woman we all want to be, and she’s a sex worker. That’s progressive, right?
The problem here comes not from what the show is saying about sex work. It’s saying very complimentary things. The issue is that this show, this wonderful lovely show, is showing us something entirely different. Namely, that sex work is bad and nasty and wrong.

Mark says he wants a girlfriend and that although he understands Rachel is a sex worker, he likes that Rachel makes him feel as though he has a girlfriend. That’s an important distinction that the trailer conveniently cut out. People with disabilities are not children who form childish emotional attachments from fantasies. We understand reality, but that doesn’t mean we don’t want to escape it from time to time like everyone else.

On its surface, True Romance comes off as yet another story about a guy who saves a girl from a horrible existence as a sex worker and he protects her forever and they live happily together forever and ever, the end. But, if you’ve ever seen it, you know that this is not the case. Alabama Whitman is a hero in her own right. She’s never apologetic about her sex life or her choices; they are what they are and she’s OK with it.

Sex Workers Telling Our Stories: From DIY Web Shorts to Feature Documentaries by Audacia Ray

Whether we make online videos that directly respond to terrible portrayals of us in the media, videos with the purpose of educating and doing advocacy, or produce feature films, sex workers who make media are constantly pressed up against all of our stereotypes. Over the last decade, I have dealt with documentary media about sex work as an audience member, a subject, and a producer. Whether we’re portrayed as villains or victims, pretty women or desperate girls, sex workers are a popular focus of documentary projects. But the only way to reach beyond simplistic narratives is for sex workers to be involved in the production of these projects.

When I reflect on the recent twitter conversation #notyourrescue project, I think of The Client List as a seriously flawed baby step forward in the portrayal of sex workers in the media: the sex worker is the main character, she is portrayed as making a decision to do sex work in a situation of economic constraint, not abject victimhood. But I can only call it a baby step forward from a perspective of harm reduction.
Navigating male prostitution has always been tricky, but ‘Deuce Bigalow: Male Gigolo’ (Mike Mitchell, 1999) unburdens audiences from tackling any heavily philosophical explications through its potty humor, shallow characters, and offensive depictions of ailments such as Tourette Syndrome, Gigantism, Narcolepsy, and obesity. This same brand of mindless humor is found in ‘Deuce Bigalow: European Gigolo’ (Mike Mitchell, 2005). However, despite what the movie lacks (and it’s certainly aware of itself as a raunchy, unconventional rom-com), its central themes are love and kindness, and what is perhaps less apparent is the seemingly rare ability to pause and see someone for who they truly are, as opposed to how they may be of service in terms of sex or money. This goofy film featuring Rob Schneider begs a feminist critique not only because the film lacks many multi-dimensional characters, but because it is a prostitution narrative encoded as a story depicting the pursuit of romantic love, rather than a cautionary tale about the dangers of the world’s oldest profession.

 

An Authentic Portrayal of a Transgender Sex Worker in ‘Wild Side’

Like much of Lifshitz’ previous work, ‘Wild Side’ explores sexuality and emotional intimacy. Thankfully, Stéphanie’s gender identity or Mikhail and Djamel’s bisexuality are not the sole focus, but rather appropriately important facets of their characters.

Wild_side
Foreign release poster.

 

Written by Andé Morgan.

Some topics to avoid at a holiday dinner (aside from the fact that Columbus was an awful, awful man or that Jesus probably wasn’t born on December 25): politics, religion, and, if several generations of feminists are sitting around your table, sex work. I can’t bridge that chasm here, but I can tell you that I support the recognition of the human rights of both sex workers and transgender people (big of me, I know). Consequently, I appreciate stories that portray sex workers and transgender people as real people.

Unfortunately, I wince reflexively whenever I hear about a transgender character in a new movie or TV show. The notable exception of Laverne Cox in Orange is the New Black not withstanding, transfolk on screen are usually one-dimensional, and typically function to fill in a story or to be a catalyst for another (cis)character’s development. We’re familiar with the transgender character as a caricature: the “tranny” who is deceptive, immoral, dirty, ugly, and undesirable. These characters don’t develop. They’re either cheap punchlines, or they provide an opportunity for the main (cis)character to develop tolerance or sensitivity. Continue reading “An Authentic Portrayal of a Transgender Sex Worker in ‘Wild Side’”