Church, But Make It Gay | Why "She’s Gotta Have It" Feels Like a Religious Experience

She's Gotta Have It Season 2 opens with a queer Black intimacy montage that demonstrates how to film a great sex scene. Two intimacy coordinators break down why.

Full description:

Some shows open quietly. Season 2 of She's Gotta Have It opens with a bang — literally.

Ariel and Morgan break down the iconic simulated sex montage from Season 2, Episode 1, focusing on how lighting, space, and who's in control radically reshape how intimacy is experienced and understood onscreen.

In this episode:

• How Spike Lee uses daylight vs candlelight to reflect different emotional states
• Why this scene feels devotional rather than voyeuristic
• How Nola's relationship with Opal marks a shift from exploration to embodiment
• How choreography, hair, and stillness do as much storytelling as movement
• Why this scene quietly sets a new bar for how queer Black intimacy is filmed on television

A filmmaker's lens on queer intimacy

We also discuss the evolution from the 1986 film to the Netflix series, what it means to reclaim Nola Darling's story through a more expansive lens, and why sexually liberated queer Black women are still so rarely given this level of care onscreen.

It's reverent, gorgeous, deeply nerdy, and a reminder that intimacy doesn't have to escalate to be electric.

Watch along timestamps:

• TV show (Season 2, Episode 1): 1:22:10 – 1:29:34
• Movie (1986 original): 39:27 – 40:27

Subscribe for bi-weekly behind the scenes breakdowns of film and TV's most iconic sex scenes.

Credits

She's Gotta Have It (Season 2, Episode 1: "#IMFEELINGMYFEELINGS") | Director: Spike Lee | Netflix (2019)

She's Gotta Have It (1986) | Director: Spike Lee | 40 Acres and a Mule Filmworks

Hashtags

#SheGottaHaveIt #SpikeLee #QueerIntimacy #IntimacyCoordinator #Netflix

Transcript

SPEAKER_00 0:01

And they start off with a literal bang. Why did he choose to make this show based on this film after so many years? Why did he choose to bring back this story?

SPEAKER_04 0:11

My parents are like, why are you so focused on sex? And dude and I'm like, I don't know.

SPEAKER_01 0:41

We're breaking down the gas set.

SPEAKER_04 0:50

Hi, I'm Ariel Lee Cohen.

SPEAKER_00 0:53

Hey, I'm Morgan Smith.

SPEAKER_04 0:54

And we are the hosts of Faking It with Ariel and Morgan.

SPEAKER_00 0:58

We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV. I watched Testament of Anne Lee. I don't know if you've seen that.

SPEAKER_04 1:07

Oh, how was it? It's really interesting. I didn't know anything about the Shakers. I also just love a musical, so I'm just down. But what was interesting is they had like five childbirth scenes. Wow. A montage. Like simulated sex, childbirth. Simulated sex, childbirth. Over and over again. I'm like because it happened that quickly. I think the point they were trying to make, no, it doesn't happen that quickly. Oh my god, thank God it doesn't. That would be very stressful. The stakes are too high. The stakes are too high for Antley. He's using like the switch. He was using it in their sexual contact, which was really interesting for me for like very God-fearing 1780s people.

SPEAKER_03 1:54

A little, like a little touch of BDSM in here. I'm like, I don't know, to like this. It's almost like people have been doing kink for a really long time. I know, but it's never portrayed.

SPEAKER_04 2:05

So I was like, what about you? Have you seen anything recently?

SPEAKER_00 2:11

No, I've been in like Prep City. I have a bunch of projects this month, which I'm excited about. I'm working on one vertical that's got big heated rivalry vibes. There's a feature I'm doing later this month. Then I have another vertical that is just werewolves, but it's well written. I've been seeing those scripts in my brain and nothing else.

SPEAKER_04 2:36

I am applying to get my certification for sex coaching. So I'm gonna do that. Oh my god, where are you gonna go? I think I'm gonna go to one called Sex Coach U. Do you get a shirt? Do you get a sweatshirt? I think you might. I think you could. Like they probably have merch or something where it just says sex coach you. I think that we're just gonna add that in, not getting rid of intimacy coordination, just adding that into the pile of jobs.

SPEAKER_00 3:05

So this is actually something that comes up a lot. A lot of people confuse intimacy coordinators for sex coaches. Can you define the difference?

SPEAKER_04 3:15

I'm not gonna go through what an intimacy coordinator is. I feel like we should know by now if you're listening to this podcast. And if not, keep listening. We'll tell you all about it. But a sex coach is someone akin to a life coach, but focused on sex and empowerment. It is not a sex therapist who has a degree in psychology, usually a master's, if not a doctorate. A sex coach will work with you on logistics of, I want to peg my boyfriend. How do I do that? And I say logistically, this is how. You can work with postmenopausal women trying to learn more about their new bodies and how sexuality works with those new bodies. If you have an accessibility issue with your leg, let's say, and you want to be on top, we talk about logistically how you might do that. Or if you are terrified of being on top, maybe we discuss that. And we don't go deep into the traumas of the past because that's what a therapist might do, but we would discuss what's holding you back and maybe create some options as far as how to get into a particular headspace, how to play with your partner, and how to figure out the best way to make you feel confident enough to go up there. And I do want to say this with a caveat that if you were to work with someone as a sex coach, let's say who maybe had erectile dysfunction and they're looking to alleviate that, you would say, okay, have you been to a doctor to look at your erectile dysfunction? Okay, yes, you have, great. Have you been to a therapist to discuss those issues? Maybe yes, maybe no, probably recommended to do so. But if you've been to those two parties and you feel that it's not like a deep-seated issue, you just need tactile, comprehensive strategies, then you would go see a sex coach to go over that. But all sex coaches have niches, there's too much information otherwise, and you do kind of have to decide what you're focused on. I would not yet know what I'm focused on. Yeah.

SPEAKER_00 5:21

Okay, so is a sex coach ever present when clients are doing any kind of sexual acts? This is a great question.

SPEAKER_04 5:31

There are different kinds of sex coaches, um, and the language really does matter when it comes to what you're called. A sexological body worker would be present in the space, potentially participating in whatever the action is. But something called a sexual surrogate or a sexual healer would also probably participate. If let's say someone says, I can't figure out how to please my partner, maybe both partners would hire a sexual surrogate so that both parties can be in the room at the same time, but they say, okay, I am gonna be your wife in this role-playing moment. Let's attempt to have sex and talk about it while it occurs. Talk about what's feeling right and what isn't. And usually a sex coach might work with a sexual surrogate or sexual healer because a sex coach is not going to participate in those actions. That's not within my boundaries to participate in those actions. But maybe I would work with someone who would do that and I'd say, okay, I think we've reached the limit of what you and I can do together. Maybe from here we move into that.

SPEAKER_03 6:41

Whoa, I love that for you.

SPEAKER_04 6:44

My parents are like, why are you so focused on sex and nudity? And I'm like, I don't know. They're very supportive, but they really are like, I don't know why this is the thing you've gone into, but like, okay. All right. Well, I think that we should get into some reactions. Do you think so?

SPEAKER_00 7:06

Yeah, I think we should. And what are we reacting to today, Ariel?

SPEAKER_04 7:09

Well, great question, because today we are reacting to the TV show She's Gotta Have It. Woo! I've gotta have it. I loved it. I love this show.

SPEAKER_00 7:21

We've gotta have it.

SPEAKER_04 7:22

We've gotta have it.

SPEAKER_00 7:23

Have you seen the show before? Yes. Yes. I love the show. I think I watched it pretty soon after it came out, so it's been a minute, but I love it. I reference it all the time. It's so gorgeous.

SPEAKER_04 7:36

I think the scene that we're about to watch shows how Nola, the main character, romanticizes sex differently through lighting and control. We're gonna watch season two, episode one, hashtag feeling my feelings from 2019. It's based on the original film from 1986. She's gotta have it originally written, directed, co-starring Spike Lee. The actors and characters in the scene, we have Dewanda Wise as Nola Darling, and Ilfanesh Hadera as Opal Gilstrop. It is written by Cinke Lee, Joy Lee, Spike Lee, directed by Spike Lee again. It was IC'd by no one, but this is the first one I think that we've watched where ICs have existed but were not used.

SPEAKER_00 8:24

So that's kind of interesting. Oh, interesting. Okay. Okay, but they weren't required yet.

SPEAKER_04 8:29

Yes, they weren't required in any capacity. And they were still very new. Like I only started learning about intimacy coordination in 2019.

SPEAKER_00 8:39

So 2019 still was like barely part of the conversation.

SPEAKER_04 8:43

It was just a baby. If you'd like to follow along with us, we're watching 417 to 634, just about. Context, you don't need a lot of it. Nola Darling used to be in polyamorous or open relationships, and now she is navigating a committed relationship with Opal as they celebrate 18 months together. Cute.

SPEAKER_00 9:10

That's it. That's just cute. So we see Nola and Opal clinking champagne. Now they're having sex on the bed. They're both facing each other. Nola is straddling Opal. It's a little montage. So now they're in a different position where they're holding each other. We've got candlelight. We've got daylight now between day and night. Oh my god, epic song. Yes, Madonna. Nola leaning back as Opal moves her way down Nola's torso. And now we're simulating oral sex. Nola's leading her head all the way back and arching her back. Now she's in a similar position at night. Opal grabs her. This is the best. Yeah, where it looks like an altar. So good. Holding her braids. I love that. Holding her long braids all the way out on either side of her is gorgeous. And now Nola is simulating oral sex on Opal. Flicking that long hair back. It goes past her butt. It's so long. And now Nola is behind her with Opal facing towards camera. Just can't get over the altar bet. It's so good. The sequence is so much longer than any of the sequences we got with the men she was seeing in season one. Correct. Okay. Iconic. Nice, soft, slow kisses.

SPEAKER_03 10:37

Just Madonna everywhere, every day. Saying I love you. Oh yeah. Great use of the song.

SPEAKER_01 10:44

You have just been opal gill strapped.

SPEAKER_00 10:47

You have just been opal gill strapped, yes. And that's about it. I'm so glad you chose this one. It's one of my favorite simulated sex scenes in television. The moment where Nola grabs her braids, kind of like at the nape of her neck, and then traces her hand down to the end. So it's like her full wingspan as she's simulating oral sex on Opal at her bed that looks like an altar because of the way the headboard looks and has candles on it. Like, uh the imagery Spike uses on this show is so gorgeous.

SPEAKER_04 11:27

Angelic. It's like you see these wings. Oh my God, the most gorgeous shot I've ever seen. Are they trying to portray this as being an all-day-long activity? Like this has been happening for 12 straight hours. I pause it. The idea that Nola is trying to find varying degrees of softness and sensuality, and trying to like find different pieces of herself and different pieces of her partner in this monogamous relationship.

SPEAKER_00 12:01

Do you feel like that feels true to you? They're in two different locations at two different times of the day. So they're switching between Nola's bedroom and Opal's bedroom. Opal's bedroom is being seen during the day. Nola's is being seen at nighttime. They both have pink sheets. So I think that helps it feel a little more seamless.

SPEAKER_04 12:21

What do you think Spike Lee is trying to tell us with the fact that it's in two separate bedrooms, one's at night, one's during the day? Because I don't think it's literally that they went from one place to another and had the same exact sexual experience twice in a day. I feel like, is it just time passing? Is it that when they're at Nola's house, she feels more herself and it's more like this worshiping vibe?

SPEAKER_00 12:50

There is a worship relationship to sex that's already established in season one, and by the way they design her bed. Nola seems really comfortable in both places, and they even mirror a lot of the same positions. So I don't know if they're trying to say like two very different stories. Could also be that Nola's in this big open space, whereas it looks like Opal's in a smaller bedroom. That's kind of hard to get wider angles in. It's a much more intimate portrayal of sex than we saw in the previous season, where she had some emotional distance between herself and the three different men that she was seeing. And she was exploring different parts of herself. And here it seems like she's really giving her full self to Opal, and they're really connecting in a way that we didn't see her do in the previous scene or this season.

SPEAKER_04 13:47

So we're in two separate places. We have very similar scenes going on. One thing that I would look into is Scripte taking pictures to keep continuity, to keep a fluid set of movements between one scene and the other, but also the fact that on closed sets, Scripties really can't take photos of anything unless under very particular circumstances, such as they will delete the photos at the end of the shoot day, or that there is a dedicated camera specifically for the film that is no one's phone, kind of thing. So how would one keep continuity in a situation such as this and keep it seamless?

SPEAKER_00 14:30

I mean, you can always just have playback at the ready when you're shooting at the second location and then be able to get to that moment that you're trying to recreate. It needs a lot of time. It takes time. Looks like they did it effectively because they switch between the two different versions when they're matching the action really well.

SPEAKER_04 14:52

I also wanted to bring up the original film in 1986, it was told from the male perspective. You know, it was it was Spike Lee. He was 28, wrote, directed, and produced and starred in it. And while Nola Darling is the protagonist, it's really about a man telling her what to say and how to act. And while he could get away with that in 1986, it's not something that would fly in 2017. So this is all from Nylon, a website online. Season one, they tried to change it a little bit by having more female writers in the room, which yay, female writers. They did try to update it a little bit, but it really is based on the original movie. Season two is not really based on anything. So they finally were kind of able to showcase what it would look like for someone like Nola Darling to exist in the world. And they start off with a literal bang of her having this fantastically beautiful, worshipful sexual encounter with her monogamous partner of 18 months.

SPEAKER_00 15:59

I think it's so interesting to see Spikely's growth between the two projects. Why did he choose to make this show based on this film after so many years? Why did he choose to bring back this story? And the original movie was really controversial because it showed a fully sexually liberated woman. And for that time, she was much more empowered than especially black women had been portrayed at the time. Yeah, it's interesting, giving it a more updated lens. And she definitely has a lot of agency in season one, even though she's only interacting with men.

SPEAKER_04 16:34

I did think they prioritize that in this new version. I think that's what they were trying to fix. There still aren't that many stories about sexually liberated black women.

SPEAKER_00 16:44

We have even fewer stories about sexually liberated, queer black women.

SPEAKER_04 16:48

Oh my god. Let alone anyone who is polyamorous. I feel like every portrayal of polyamorous people shows a bunch of sort of listless living in a garage hippies. There's a lot of like it's very strange to me because the polyamorous community is enormous. And people love to poke fun at like polycules, particularly in TV and media, but it doesn't need to be this millennial-focused, financially driven thing. I think that people are exploring sexuality. She's gotta have it, particularly season one really showcases it very well and very realistically. And I say this is the non-polyamorous person.

SPEAKER_00 17:31

Yeah. Get into some spice scale. I think we should get into a spicy spice scale. Our spicy spice scale. It's our not-so scientific way of reading intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, heat factor. Each category gets a score from one to five, with five being the highest. Then we add it all up to give the scene a final letter grade. Start with consent and power dynamics, how the scene depicts consent and power in the story, and if known behind the scenes.

SPEAKER_04 18:11

I was reading an article on WBUR, which is sort of an offshoot of NPR. Initially, Wise turned down the role because her husband was uncomfortable with her filming sex scenes. She said she she taped an audition for it anyway. And then when it became a thing, she found herself in New York in the director's session with Spike. And he was like, Do you want to do this? And at first she told him no. But after some back and forth and reading all the scripts, she changed her answer and accepted. And her husband, their boundary has been that they haven't seen a single frame of the show. It may be within your boundaries to do action like this, but in being in a relationship, there are external factors that you have to take into account and may shift your boundaries beyond just the internal and the individual. So as far as consent and power dynamics, she is willing. She has stated, yes, it is within boundaries. They didn't have an intimacy coordinator, so I don't really know exactly what went on. And there's very little information about it, to be honest, that I could find about the literal filming of this. But the actor definitely has in the back of their head this internal struggle if their partner is not 100% okay with these things. Even if the partner is, let's say, a feminist as she described her own partner.

SPEAKER_00 19:35

What would you rate the consent and power dynamics for the scene then?

SPEAKER_04 19:39

Great. So for this scene, definitely consent. 100% consent in the room.

SPEAKER_02 19:46

Totally.

SPEAKER_04 19:47

Power dynamics shift back and forth in a pretty seamless way. I think uh five.

SPEAKER_00 19:54

Yeah, no, I I totally agree. I think the power dynamics are really clear. They seem to be very equal partners, both within the intimate scenes and outside of it, from what I remember. And it all seems very consensual. Technical craft, coordination, excellence, the staging, film coverage, modesty protection, choreography, and overall execution of the scene. I loved it, honestly. Like, this is a five for me. I have a still of Dawanda like pulling her braids out to her full wingspan. I just think that's like such an iconic moment. I thought the choreography was really gorgeous. They showed a lot of different positions that female body people do when they're having sex with each other that we don't see a lot of on screen, which I thought was great and especially impressive because they didn't have an intimacy coordinator. So I'd be curious to know like how they came to all of that choreography.

SPEAKER_04 20:50

I would love to know. I could not find anything. And usually, even you in the older projects, you can find something. I found nothing. They were very tight-lipped about it, which is okay. That's their prerogative to do to keep what happened in the space in the space. Totally fine. But I wish I knew. I'm so desperate to know. Um, beautiful coverage. I agree. Wingspan moment is so stunningly gorgeous. It's so like angelic, sacred moment, and showing black bodies in this very spiritual environment in and seeing the shape of the bodies, not even just the hair, but the shape of the bodies, like literal worshiping at an altar. I was just blown away. And I don't know if modesty garments were used or not. I don't know what barriers were used or not, but it looks stunning. And I'm on board, so five for me.

SPEAKER_00 21:47

Five five. And then heat factor, the level of erotic charge or sexual tension in the scene. I mean, a erotic charge, yes.

SPEAKER_04 21:57

Sexual tension, maybe not a lot of sexual. Because it's immediately resolved, but five for me.

SPEAKER_00 22:03

Yeah. I give it a five for sure. Even if nothing else happened but the braid pull in the scene, that to me is like it's reminiscent of Kate Blanchette doing that robe pull where it's just one of those things that stands out. Like doing both of those, I'm like, I die every time. And this, like, obviously, is a very different vibe because it's less, it's a different kind of power move. Like you're saying, it is something that feels sacred and celebrating herself and her partner at the same time. Whereas a Kate Blanchett one is more just like, hey, I'm here.

SPEAKER_04 22:40

I feel like we need to create not a segment, the single most iconic moments, like our top five best list so far. Yeah. Kate Blanchett robe pull and wingspan moment here, top five. They're the top of the tower for me. Yeah.

SPEAKER_00 23:01

Oh, and also the this moment in the hill. Oh my god, and okay.

SPEAKER_04 23:05

And I love that the top of this tower is all seven moments, but I am on board for each and every single one.

SPEAKER_00 23:12

Yeah. Yeah. There's definitely, there's definitely one from heated rivalry as well.

SPEAKER_04 23:19

Oh, you're so right. Oh my God. Well, you guys stay tuned for that because we have some potential interesting things coming. Regardless, this obviously got an A. I mean, of course. For sure. And we have our new segment here, which is ruin it.

SPEAKER_00 23:43

Ruin it, Morgan. I'm so glad this is becoming a thing on its own. Now, when we have A plus scenes, we're going to talk about what would be done that wouldn't make it great. Like mistakes that we normally see a lot of times in simulated sex scenes that this had nut up. So if I was going to ruin this scene, ruin it, obviously take out the braid pull. That's too good. I would have a lot more scenes where we're seeing the bodies upright. There's a lot more emphasis on the chest and the buttocks, mostly tribbing, colloquially known as scissoring. I think this was like sweet, loving, and passionate. And I feel like with a lot of sapphic scenes, it is too soft and sweet and tepid. And there's so much more hesitancy. And it feels like they're not totally comfortable with each other's bodies or they are exploring it, but it's like they're both made of glass. So real. So I guess more of that. Yeah. I'd be like, Dwanda, get your hair out of your face. Like, get just throw it out. Get it out of the way. Let's ruin that part of the scene, too. I love that. Um, blow out the candles on the altar. They're distracting. They're distracting us from the bodies. Yeah. Kind of like what you were saying with handmade. It would be a lot more stuff that's to camera and for the benefit of the camera, as opposed to feeling like we're peeking in on a private moment between these two characters.

SPEAKER_04 25:17

I would love to add much jerkier motions, very staccato, just staccato motions, particularly. Add in fingering, because why not? No moving into that straight up, right away, having a great time.

SPEAKER_00 25:32

Oh, yeah. No warm-up whatsoever. We're just like going right for it. No lubrication. We assume she's ready to go. Over-the-top moans, light it terribly. Like this is a thing that happens with people with darker tone skin. Is there are so many people who don't know how to light black people gorgeously, and they make it seem like it's an impossible task and it's not. But if I was gonna ruin the scene, I'd be like, all right, let's cut some of the lights, let's fuck this shit up. No one's gonna look right on camera. We're not gonna see like the light behind their eyes, their skin's not gonna be glowing, we're not gonna get all the different tones of their skin. Throw that out.

SPEAKER_04 26:16

Also, a small film history moment. Film, for those who don't know, was created to look at white bodies, which is why when you watch slightly older films, any person of color just looks like significantly darker than the rest of the frame. Nobody has any highlights, nobody looks three-dimensional in the space. But Spike Lee here is using cameras that are more adept at filming this as well as lighting it in a particular way to showcase the body, is and it's beautiful and stunning. But also, I want to add in what would make this worse, and I think this could be divisive, okay? Throw in a strap-on, make it more of like a phallic-driven scene. Now, don't get me wrong, lots and lots of queer people use strap-ons. It wouldn't ruin the scene by itself, but it would ruin this scene. Because this scene is so much about sapphic beauty and women's bodies and beautiful shapes there. Adding in a phallic object, I think would ruin it. Like I think it would make it so. Oh, we have two women here in the space. Where's the penetration, my dude? How do you have sex without a penis? Exactly. I'm so confused. Yeah, that's how I would ruin this. So why it matters? Because I never see things like this. Yeah. I never see people of color being portrayed in a divine way and giving it the time it needs. It is a two-minute-long simulated sex scene, and I just have no notes.

SPEAKER_00 27:58

No, I I agree completely. We touched on this earlier when we were talking about how rare it is to see queer black poly women having so much agency in their sexuality and being able to express it in such a gorgeous way that really doesn't feel like it's for the male gaze at all, which is a huge testament to Spike Lee and the work he does because obviously he's an excellent filmmaker and storyteller. And to be able to pull this off as well without any feeling of a male gaze is so insanely impressive.

SPEAKER_04 28:32

Great job, but you killed it.

SPEAKER_00 28:35

We love a spikely joint.

SPEAKER_04 28:40

I almost think that we should react to this in conjunction with reacting to the original. I actually haven't seen the original film, so. So if you'd like to follow along, we're gonna watch the movie She's Gotta Have It starting at 3927 and going until about 3027.

SPEAKER_00 29:02

Oh, and we open on breasts. Wait, what's coming down on top of the breast?

SPEAKER_04 29:07

So it's very hard to see, but this is a person who's putting their mouth on a nipple.

SPEAKER_00 29:12

Oh, okay. I couldn't tell. So we're in profile, it's black and white. Oh, I see it now. I see it now. Okay. Mouth is making contact with nipple and latching on. It's in slow motion. Pretty significant moaning. The lighting is really gorgeous. It's just hitting very small specific parts of his face. Is that spikely? Oh no. Oh. Okay. Of the man's face. And then he moves away. Now we see just her stomach as she laughs. And it twitches in the light. Oh. And now he's putting his tongue in her belly button. We see a foot going down a leg. I think that's the woman's foot going down the man's leg. And now she's putting her foot into his sneaker and is tickling his ankle. And now they're laying together. Yeah, so that is Spike.

SPEAKER_04 30:08

That celebrates black bodies and is lit stunningly. Yeah. Yeah.

SPEAKER_00 30:14

It's much more art house than I would have expected. I really enjoyed it. And similarly iconic. He's really good at creating these images that really stick with you. I love the different ways that he's isolating specific parts of the body and is using that to tell the story of them having sex and the face coming in slowly, even the tongue coming in slowly. There's still like very much a sense of play in what's happening, even though it kind of looks like a very serious arthouse film. There's still a sense of worship of the body and of sex in both of them and just shown in very different ways.

SPEAKER_04 30:49

Uh great job, Spikely. All right, great. Do you have anything to plug?

SPEAKER_00 30:55

Nothing to plug. I'm I will down the pipeline once I film all these projects. Yeah, what about you, girl?

SPEAKER_04 31:02

I'll probably have some stuff to plug in the next couple months, but like right now, nothing. Nothing is up. Nobody does anything during the holidays. So anyway, let's get into this credit business. Well, thanks so much for listening to Faking It. This episode's research and context was done by me, Ariel.

SPEAKER_00 31:19

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SPEAKER_04 31:26

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SPEAKER_00 31:36

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SPEAKER_04 31:50

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SPEAKER_00 32:11

This episode was produced by Ariel Lee Cohen. Social media and branding by Morgan Smith. Our theme song is Faking It by Suno AI until we get monetized. So feel free to send us a new one. Credits for the film or show we reacted to are in the episode caption. Stay real, fakers.