Lifestyle
Before Hollywood handled sex with care, this lesbian neo-noir focused on authenticity
Corky (Gina Gershon) and Violet (Jennifer Tilly) in Bound.
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AJ Pics/Alamy Stock Photo
Susie Bright still remembers the note she received — on letterhead from the storied Hollywood producer Dino de Laurentiis — in the 1990s. It was from two aspiring film directors who’d loved her book, Susie Sexpert’s Lesbian Sex World, and used it as inspiration in a script, which they’d attached. Would Susie, they asked, be willing to make a cameo in their upcoming movie?
The directors behind the letter were Lana and Lilly Wachowski, who would go on to make a little film called The Matrix. But that wasn’t the script they’d sent Susie. What they’d mailed was a bloody neo-noir about a criminal-turned-contractor named Corky who’s hired to fix up an apartment after she’s released from prison. She quickly meets the next door neighbors, a mobster named Caesar and his girlfriend, Violet, who wastes no time in seducing Corky and enlisting her help to swindle a small fortune from the mafia. The movie was called Bound.
Bright says she was flattered by the Wachowskis’ praise and invitation, but she needed to be honest. “I hate to be rude, but the lesbian community is so sick of being twisted by Hollywood and is so defensive of all the garbage that gets put out there,” she remembers writing back. “If I may be so bold, could I be your little helper on creating these characters and these sex scenes? Because I noticed that part’s rather bare on the page.”
The Wachowskis agreed, and so — decades before most productions employed staff dedicated to making sex scenes safe and realistic — Susie Bright took great care in making Bound an authentic lesbian thriller. Since its release in 1996, Bound has been enshrined as a queer cult classic. In June, the film became part of the selective and sought-after Criterion Collection, which praised its “deliciously sapphic spin on a crackerjack caper premise.”
The challenge of casting Bound
Susie Bright wasn’t the only one with initial reservations about the material. In past interviews, the Wachowskis have said they struggled to cast the main roles because so many actresses were hesitant to play queer characters, and some studios even asked about turning Corky’s character into a man.
Gina Gershon, who wound up playing Corky, says her agents advised her against taking the role immediately after playing a bisexual character in Showgirls.
“I read it, and I thought, ‘This is a really great script,” she says. “The woman never gets to be the hero in these stories, you know? The men always get the girl and get the car and get the money. They’re the tough guys, and they win.”
Gina Gershon as Corky in Bound. The Wachowskis have said that casting Corky and her love interest Violet was challenging, and some studios even advised that Corky’s character be re-written as a man.
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Criterion Collection
Gershon says she wanted to play the kind of role usually reserved for leading men like Marlon Brando and Robert Mitchum, so to her team’s dismay, she signed on. And she wasn’t the only one blown away by the character, says Jennifer Tilly, who also read for Corky but ended up being cast as Violet, a Marilyn Monroe-esque, femme fatale seductress.
“All the girls wanted to play Corky,” she says. “I thought, you know why? Because we’re so used to not having power in Hollywood. Violet is an interesting character once you get past the trappings of femininity, which now I see is a sort of a costume that she puts on to move in the male world and get what she wants. It’s an outfit for the male gaze — which is kind of what I do in acting.”
Crafting Bound’s pivotal early sex scene
At its core, Bound is a film about the personas people put on and the secrets they keep from one another. But it’s also a story about two women breaking out of those boxes and falling in love through an intense sexual connection. Bright says that while lesbian films of the 1980s and ‘90s like Go Fish, Desert Hearts and The Hunger focused on romance and beauty, they lacked eroticism and suspense. Bound packed a heavy punch of both. The film’s main sex scene, thoroughly detailed in the script and shot in one continuous take, unfolds in the first 20 minutes of the movie. Bright says that immediacy is essential to the plot.
“These are two women who met in an elevator, sized each other up, got some very big surprises that led them to commit the perfect crime and to trust each other in ways that wouldn’t have happened if this sexual intimacy hadn’t exploded within the first, you know, day of their acquaintance,” she says.
But Bright, Tilly and Gershon all remember dealing with intense scrutiny from the ratings board – in part, they believe, because the scene wasn’t just about sex, it was about a deep emotional connection. They say that in one initial take, Corky and Violet did not appear as exposed as in the version that made the final cut – but because Violet’s hand moved along Corky’s thigh, implying manual stimulation, the shot would’ve earned the film an NC-17 instead of an R rating, Bright and Tilly say. Bright believes that a man’s hand on a woman’s thigh wouldn’t have stirred so much controversy, and says she felt the issue had more to do with the chemistry between the characters than the actual content of the scene.
“The intensity between Jennifer and I was so palpable. You could feel the love these women had. [But] we had to choose a different take where it was much more carnal, much more sexual,” says Gershon. “For some reason, the ratings board is like, ‘Oh no, these women could be f****** each other, but they shouldn’t really be in love.’ That was my takeaway from it. And the scene we had was still really great, but it was an interesting comment about where we were as a society and the rules of American film.” (The Motion Picture Association wouldn’t comment on specific movies.)
How Bound’s place in queer cinema has been redefined
Since its release, Bound’s place in the queer canon has been redefined, says film historian and programmer Elizabeth Purchell. At the time the film debuted, the Wachowskis were known as male directors. Some critics alleged that the film used lesbianism for shock value. Years later, Lana and Lilly Wachowski both came out as trans women. “I think the perception of the film at the time was like, ‘God, these two straight men are making this nasty lesbian movie where we’re the villains,’ to now like, ‘Oh, here’s these two closeted trans women making this hot, lesbian neo-noir,” says Purchell. She thinks the film is now getting the flowers it deserved all along.
At a 2018 screening of Bound, Lana Wachowski explained that she was moved to write the story after leaving a showing of The Silence of the Lambs in tears, frustrated with how LGBTQ+ characters were constantly portrayed as serial killers or basket cases. She wanted to write a film where the queer characters won. In Bound, Violet and Corky are not saints, but no big, bad punishment awaits them. They get away with double-crossing both the mafia and heteronormativity, upending expectations about their relationship and each other. “I wanted it to be shown that femmes are not just pillow queens who lie there and do nothing, and that we are capable of complete loyalty and great understanding,” says Bright.
Caesar (Joe Pantoliano) and Violet (Jennifer Tilly).
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Criterion Collection
Intimacy on screen today
After Bound, Susie Bright thought Hollywood would come knocking at her door to help make sex scenes sexy again. But no calls came, and it’s something Hollywood still struggles with today.
“Everyone is nervous and scared of sex,” laughs Rebekah Wiggins, an actor, filmmaker and intimacy coordinator who’s worked on movies like the 2024 lesbian crime thriller Love Lies Bleeding, which Elizabeth Purchell links closely to Bound’s legacy. Wiggins says it’s still common to receive scripts that describe sexual encounters solely as “two figures make love in the background.” She likes to meet with the actors before filming to really understand how their characters are shaped by their sexuality: what turns them on? What turns them off? How do those factors move the story forward?
“Then from there, [we] build out choreography based on that,” she says. “So you’re giving people the voice and the platform first, rather than coming in and saying, ‘OK, it’s a sex scene. So, you know, three hip thrusts and a side to side wiggle.”
That effort, she says, goes a long way in making the scenes jump off the page; it’s part of what makes Bound still feel fresh today. Susie Bright was not an intimacy coordinator for Bound – she was credited as a technical consultant and helped in a number of ways, including, she says, convincing the Wachowskis to fly real lesbians from San Francisco to L.A. to play extras in a bar scene (where she finally made that highly sought-after cameo they wanted). But both Bright and Wiggins agree on one big thing: crafting sex scenes intentionally is key to making movies.
“If you take the time and you take care to build your erotic scene so it supports the characters and the plot, you’re going to have something that electrifies your audience, and that isn’t a gratuitous joke,” says Bright.
And like Corky and Violet, it opens doors for more characters to be gay, do crime and ride off into the sunset.
Turkey’s Yusuf Dikec, pictured competing in the shooting 10m air pistol mixed team gold medal match at Chateauroux Shooting Center on Tuesday, went viral for his casual look.
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Alain Jocard/AFP
NPR is in Paris for the 2024 Summer Olympics. For more of our coverage from the Games, head to our latest updates.
Olympic shooters have been getting lots of attention for their cyberpunk-looking gear. But one is standing out for his decidedly lower-tech look — and the fact that he got to the podium nonetheless.
On Tuesday, Turkey’s Yusuf Dikec shot his way to a silver medal in the air pistol mixed team competition, and to instant online fame. His winning quality, the internet decided, was his seeming nonchalance.
While many of Dikec’s competitors were decked out in large ear protectors, visors and sci fi-esque shooting glasses, he played it a different kind of cool with regular eyeglasses and barely visible ear plugs.
Wearing a jersey that looked like an ordinary T-shirt, and shooting with his free hand tucked in his pants pocket, the 51-year-old gave off a noticeably casual vibe.
So casual, in fact, that scores of social media users jokingly wondered whether Turkey had sent a hitman to the Olympics. Some praised his aura as “infinite,” others as “insane.”
“We need you out of retirement for one last job.”
“Who?”
“Not who, but where. The Olympics, in France. You’ve always been our best shooter.” pic.twitter.com/4yZhElPSRA
— @goth (@goth600) August 1, 2024
And many drew a contrast between Dikec and South Korean shooter Kim Yeji, whose futuristic aesthetic and unflappable demeanor made her an overnight style sensation earlier this week.
Memes joked that the two embodied the contrast between Google Sheets vs. Microsoft Excel, men vs. women packing for a trip and anime protagonist vs. recently divorced engineer, to name a few.
“South Korea sent a fully-kitted out player for the Olympic shooting,” read one viral tweet. “Turkey sent [a] guy with no specialized lenses, eye cover or ear protection and got the silver medal.”
Dikec and his teammate, Sevval Ilayda Tarhan, won silver in the mixed team 10-meter air pistol event, bringing home Turkey’s first-ever medal in Olympic shooting.
He placed 13th in his individual event, and is already looking ahead to his next Olympics.
“I hope next in Los Angeles (for) a gold medal,” he said afterward, according to the Associated Press.
The former officer loves dancing and cats
This is Dikec’s fifth Olympics — he has competed in shooting events in every Summer Games since 2008.
He’s also a seven-time European champion and 2014 double world champion in the 25m standard pistol and 25m centerfire pistol, according to his Olympics biography.
Dikec’s bio says he took up shooting in 2001 after he started working as a non-commissioned officer for the Gendarmerie General Command (an armed law enforcement organization in Turkey).
His current occupation is listed as “athlete,” and EuroNews reports that he retired from the Gendarmerie.
Dikec lists exactly one hobby on his bio page: dancing. He’s also a cat lover, as social media sleuths quickly discovered.
His philosophy, ironically, is, “Success doesn’t come with your hands in your pockets.”
His unique style comes down to personal preference
Sevval Ilayda Tarhan and Yusuf Dikec pose with the Turkish flag and their silver medals beneath the Eiffel Tower on Wednesday.
Miguel Medina/AFP via Getty Images
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Miguel Medina/AFP via Getty Images
Shooting glasses — a customizable combo of a lens, mechanical iris and blinders that together can help athletes better line up their mark — have become pretty standard in recent years, though clearly not all athletes are required to use them.
Dikec told Turkish radio station Radyo Gol that while most shooters use one eye, he prefers to use both.
“Shooting with two eyes — I believe that it’s better,” he said, according to a translation from CNN. “I’ve done a lot of research on it, so I didn’t need the equipment.”
Chinese rifle shooter Liu Yukun won a gold medal Thursday with a similarly sparse set of gear, the AP notes — just earplugs, with no blinder or visor.
And Dikec is not the only athlete who shoots with his other hand in his pocket. He told the radio station that it’s a matter of feeling more motivated and comfortable.
The stance “is actually about bringing the body to equilibrium and focusing and concentrating,” he added.
Dikec seems to be taking his social media stardom in stride, reposting several memes to his Instagram page (and, of course, a photo of his silver medal). He has also continued to defend his style.
EuroNews reports that he told the Turkish press: “I did not need special equipment. I’m a natural, a natural shooter.”
Lifestyle
Abby Wambach has won 2 gold medals. She says real success came later : Wild Card with Rachel Martin
Abby Wambach celebrates the 5-2 victory against Japan in the FIFA Women’s World Cup in Canada in 2015.
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Abby Wambach celebrates the 5-2 victory against Japan in the FIFA Women’s World Cup in Canada in 2015.
Kevin C. Cox/Getty Images
A note from Wild Card host Rachel Martin: We’ve all got unexpected turns in our lives, right? But let’s be honest, some people have more than most. And I am going to put Abby Wambach in that camp. Here’s the short version of what went down.
She’s this global U.S. soccer star with two Olympic gold medals and a World Cup championship. She also holds the U.S. goal scoring record for women and men. She’s on top of the world. When she retires from soccer in 2015, life becomes disorienting. And it turns out she’s been hiding a drinking problem, and roughly five months later she gets a DUI. Then comes rehab, and a personal reckoning.
She writes a book about all of it, then goes to an event to promote said book and ends up meeting the woman who would become her second wife, the author Glennon Doyle. Now she’s the stepmom of three kids, a leadership coach, and the co-host of the hit podcast she does with Doyle called We Can Do Hard Things.
I mean, she’s only 44 and Abby Wambach has lived at least three lives. And in her show, you hear all the stuff Wambach has learned in those lives.
And if for any reason you are feeling a little bit down, watch Wambach’s winning goal against Brazil in the 2004 gold medal Olympics match (it’s at 2:07:30 in the clip below). Just do it. You will feel happier. Trust me.
Abby Wambach’s goal against Brazil in 2004.
YouTube
This Wild Card interview has been edited for length and clarity. Host Rachel Martin asks guests randomly-selected questions from a deck of cards. Tap play above to listen to the full podcast, or read an excerpt below.
Question 1: When you were bored as a kid, where would your imagination take you?
Abby Wambach: When I was growing up, there weren’t any women athletes to watch on television. It was just basically, you know, Michael Jordan. And so I saw him win a lot of championships after scoring those last-second points. And so when I was bored, I would imagine a ball kind of coming in from the sideline into the box and I would imagine myself scoring the goal in the last second.
So when those moments started to actually happen, I had played through this moment so often in my head. And because of the imagining, I never stopped believing that we could have that one moment come to fruition. And people ask me all the time, “How did you score so many big goals in such important moments?” And there’s a lot of reasons for it, but I think one of the first steps is believing and imagining that you can do it before you do it.
Rachel Martin: I mean, that’s so powerful. Now, everybody talks about manifesting, right? Like, you just think it and then it can happen. But that’s like a very clear example of doing that.
Wambach: Yeah. I mean, my wife, it drives her nuts because I’m such an optimist and sometimes that can steer me awry. But if you want something in your life, it’s not just that you are ready for it, it’s that this moment has already happened.
Question 2: Has your idea of success changed over time?
Wambach: I don’t think it necessarily has changed. I think the context of my life has changed. It’s a feeling of self-esteem that I think determined my success. My definition of success is, how do I feel about myself today?
Because I’ve had high levels of success. And I know for certain, when we watch the gold medal ceremonies at the Olympics, the athletes that are standing on that top podium are going to feel really good about themselves. But that moment is fleeting. You have to wake up tomorrow and also feel good about yourself.
Martin: Without all the fanfare.
Abby Wambach and Glennon Doyle at the Alliance For Women In Media Foundation’s 49th Annual Gracie Awards in May.
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Amy Sussman/Getty Images
Wambach: Yeah. And I think that having a gold medal is really cool. I think it’s really cool. But let me tell you, a couple weeks away from the Olympics after getting a gold medal, I still have to look at myself in the mirror and say, “How do I feel about myself today? What did I do today to feel good?”
I can’t rely on being an Olympic gold medal winner and having that be the thing that sustains me throughout my life. Because it doesn’t work. Things that we do in the past will not justify how we feel in the present. And so I think that my idea of success hasn’t changed, because I’ve always kind of held this belief, but I think my definition of what makes me feel good every day has changed throughout my life.
Question 3: Are you comfortable with being forgotten?
Wambach: I am. When I retired, Gatorade pitched me on a possible commercial shoot that they wanted to do for my retirement game. And as I was reading through the storyboards, I just started to weep because the idea of this commercial was, “Forget me.” Because if I am forgotten, then I know that the game has grown and the game is better. If I am forgotten, then somebody else has taken my place. And that is the natural order of the world.
Wambach says she is very comfortable with being forgotten.
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Ronald Martinez/Getty Images
I believe that records are meant to be broken. I believe that growth, especially 10 years ago where we were with women’s soccer, was required, was necessary, was not just possible, but inevitable. So I think that we all should live a life like that. I think we should all lay our cards out, leave it on the field, whatever you want to say. And then in the end, if you are forgotten, it means that you have done the right kind of work here to make the world a little bit better by having existed.
The funniest thing about this is I was coaching my kid’s rec league team about five or six years ago. And we were warming up for the championship game. I was telling them about when I retired from playing soccer. And one of the players said, “Wait, you played soccer?” I said, “Yes.” And she said, “Who did you play for?” And I said, “The United States of America.” And she said, “Oh. Do you know Alex Morgan?” And I was like, sheesh, we need to be careful what we wish for, peeps. So yeah, forget me.
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