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Even in relationships, the way you destroy them without really meaning to. If I can control this, then maybe I can control everything else. She also just hates losing.


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When she makes that choice, then the conflict is really over. She has to come to terms with having made that choice. You may get satisfaction from it. And at the very end of the show, you see Christine completely in control. But also, the conflict is passed, and so it may be replaced by new conflict. It is very traumatic what happens to her. AS: Exactly.

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Every six to nine months, he blows it all up. Well, that seems like a natural segue to pivot into a full-tilt boogie discussion of the finale. I feel like it almost becomes like the final scene in Blow Up , where the hero is watching these mimes play tennis. Is there or is there not something extra-textural or extra-dramatic happening in this finale? LK: It really is a performance. To this point, professionals drop in, and not only in the escort role but in many other areas of life, and you establish a certain degree of professional intimacy, but how intimate are you really?

And how much of it is really a performance, and how knowable or unknowable are people at the very end of the day? And sort of when we, in staging it, I wanted to make it seem like it was a play, you know?

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And that the play begins. You see the curtains drawn, and the stage is set, and they do play out their roles. LK: Yeah. But it is all rehearsed, because their play had a fantasy.

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They say it drives them wild. We talk about intimacy and being close to somebody — that means the man has to describe to the escort exactly what his fantasy is. There is a loose script that they probably came up with before the scene starts, which is kind of comical but also very intimate. I wanted to ask you both about two particular lines that really stuck in my head. Basically the subtext is, his fantasy is to be humiliated, and the fuel is an immense degree of pain — the emotional and psychological pain.

But at the same time, in order to do that, the contract between the three is that she is in love with the other man. So if she is in love with the other man, she is rejecting Gordon and rejecting him both emotionally, and as an extension, physically also. LK: Well no, I disagree a little bit.

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They include him very much in their reactions. Like any sort of weird fantasy, you know? And reading and researching that, we found that there was both this engagement and disengagement in these fantasies that would replicate a dream, in a way. LK: I think the experience is too intense for the male escort. We just need to get on the same page. LK: Yeah, because the male escort is kind of rattled by the intensity of Gordon.

He starts to lose confidence. Did you tell us that, and I just missed it?

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AS: [ Laughs. Obadiah Austin is a Texan in exile. He used to write about MMA, pro-wrestling and movies. He then actually tried MMA and making movies and had more success in the former. But could Tarantino really just be a giant cuck? Movies have always been used as a propaganda organ.

In the past, producers like Merian C. Cooper and studio bosses like Howard Hughes and Walt Disney understood the power of movie imagery and utilized its globalist reach to promote pro-American values. The values promoted are not those of patriotism, communism or religion—no, only globalist branding matters now. Product trumps art. These same fans have an almost automatic, Pavlovian response to every trailer, every poster and every leak of casting news about the latest comic adaptation, rarely calling things in to question except when there is a consensus.

However, I enjoyed his movies but never found myself addicted to them. I watched them then went on my way but his latest work always aroused a bit of curiosity. But I did notice, with a little alarm, Tarantino had devoted followers—sycophants, really. But maybe they are even worse than sycophants. When the director was criticized, they would attack.

They give lip service to feminist politics but secretly express violent fantasies towards the women who wrong them and of course love the films of a man who creatively kills women on screen. On that note, the establishment liberal press—like The Guardian— feature glowing articles about the director and his work. There is severe cognitive dissonance at work here.

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Or is there? Harvey in particular is a powerful force in Hollywood and Democratic fundraising circles. Providing this cash were major studios or the Goldman-Sachs funded Weinsteins. So how does a straight white male filmmaker, who likes politically incorrect language and violence, survive in this type of environment?


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  6. What I find offensive is that Merchant-Ivory shit. Notice how all the female cast members are either ugly or de-sexualized? But in Pulp Fiction she was forced to wear a black wig a supposed nod at French starlet Anna Karina and in Kill Bill , the woman appears disheveled or bloodied a majority of the time, with her feet featured prominently. And no matter the looks, the women speak in a vulgar patois that shames even the most foul-mouthed of male sailor. Could it be something else, maybe?

    They take pleasure in the killing of the lovely ladies? Could it also be a dog whistle to men who have no game? A repressive mechanism for them to take out their anger on the various women who spurned them? Reservoir Dogs , the only true independent gets a pass here but the subsequent films do not.

    Pulp Fiction : A black character, Jules, a hitman no less, lectures a white thief on moral ethics. How is this different than any Morgan Freeman picture? Director David O.