Molly McGlynn: Fitting In

Mary Anne Ivison (Voiceover)  0:02  
The Women Of Ill Repute with your hosts Wendy Mesley and Maureen Holloway. 

Maureen Holloway  0:07  
Wendy, I do not know where to start with this one and I mean, in a good way. It's just there's too much to talk about.

Wendy Mesley  0:15  
I know where you're going with this because our guest is Molly McGlinn, he's born in Canada, she's a writer, she's a director, she now lives in LA and is quasi famous like all the Canadians there. She's made a number of films. She's written for some big TV shows, like Grace and Frankie, Jane Fonda, Lily Tomlin that they're going to be on the podcast someday, maybe, maybe not. She wrote for The Wonder Years, she's won all sorts of prizes. Her first feature, Mary Goes 'Round was about substance abuse and an esstranged dad, but you know, it was funny.

Maureen Holloway  0:54  
But in a funny way. So Molly's latest feature fitting in it was originally called Bloody hell. It's about a teenage girl is played by dance phenom Maddie Ziegler, who goes through or actually would like to go through the usual teen trauma of growing up and and Saxon boys, but she discovers that she has a rare disorder where she has no uterus, and an undeveloped vagina.

Wendy Mesley  1:18  
Wow. I mean, it's so amazing. It is it's based on Molly's own experience, we might talk about that. And it's called, as you mentioned, Fitting In, get it, get it premiered at TIFF. Last fall went on to win all sorts of awards and it's going to be released in February.

Maureen Holloway  1:38  
Yeah, well, she also has a podcast called Hello, My Mom Is Dead. 

Wendy Mesley  1:41  
Oh. Which there's that dark humor again.

Maureen Holloway  1:45  
Is about losing your mom. We've all lost her mom's but Molly lost hers when she was 21 Which brings with it some additional burdens, I guess. 

Wendy Mesley  1:54  
Yeah, so mom's there's a few stories there. We have some few topics today though, could include but not be restricted to gender loss growing up obviously sexuality, addiction, motherhood, creativity and having a few laughs because that's what it's all about. 

Maureen Holloway  2:12  
You gotta see the humour of it all, you got it. As you can see where it'd be hard to start, but apparently we already have. So let's continue and welcome Molly McGlinn. Hi, Molly. 

Wendy Mesley  2:28  
Hi Molly.

Molly McGlynn  2:29  
Hello. I'm so excited to talk to you both. 

Maureen Holloway  2:32  
Well, okay, so you you have said that you try to tell stories about women who face uncomfortable truths about their own lives and identity. So first of all, this must be uncomfortable for you or are you over it through telling your story? 

Molly McGlynn  2:50  
Oh, that's such a funny question because we just released the trailer yesterday for the Canadian market and I think I'm over it and then I get ready to post a trailer widely and I definitely feel a little bit of vulnerability surging through my body so it comes and goes but mostly I'm, I'm comfortable in in the place of vulnerability. And just two tiny factual things the TV credits I directed I wish I wrote but I directed. 

Maureen Holloway  3:27  
I find that really interesting right there that it's I like you wish you'd written it, but you directed it. Well, maybe I don't most writers want to direct or apparently it's the other way around with you.

Molly McGlynn  3:41  
You know what, I value writing and directing probably equally. But some of those shows are just so great. Like, you know, Grace and Frankie. Yeah, sure. I wish I could have written them but I had just as much fun directing those.

Maureen Holloway  3:55  
They are our dream guests like they're our biggest guests from the get go. So it's kind of funny that you've been close to them. 

Wendy Mesley  4:01  
Yeah. Well working with Lily Tomlin and Jane Fonda. I mean, they're not coming on the podcast. I wish they were. So you got to meet them. You got to like, did you just like stare at them? 

Molly McGlynn  4:12  
No, but it you know, certainly was interesting, like my first day on set. First up in the morning was the scene between the two of them, and we blocked it and started shooting it and then I think the writer had given me a note. And I was gonna give a note to Jane and it was kind of this moment where it's like, well thought, you know, when it's like, you know, I can't show that. That sort of sense of nerves, but I walked from video village over to her. I said, Jane, and she looked at me and she's got obviously those, like piercing blue eyes, and I said, really liked that and then gave her whatever note, and she just stared at me for like 20 seconds and then she said, good note thank you. Okay. 

Maureen Holloway  5:06  
She's not the least bit intimidating.

Molly McGlynn  5:10  
So it's interesting, like she's a little more reserved at first. But as I got to know her, she is absolutely incredible speaks her mind, but it was a period where she was sort of like, okay, let's see what this directors got.

Wendy Mesley  5:28  
So that's, I mean, that's a few years back. That's how one of the ways that you started out now you made a couple of movies fitting in is about to be released. And, and we said that it's a it's about, I mean, it's a movie about a vagina. I can't believe that somebody made a movie. So no wonder you're feeling vulnerable about it going out there. It's your story.

Maureen Holloway  5:51  
Can you tell us about it's called MKRH syndrome, a longer name than that, but can you tell us what this is? 

Molly McGlynn  5:58  
Yeah, it's called actually, it's MRKH  syndrome. It's officially called Mayer-Rokitansky-Küster-Hauser syndrome, which is made gynecological reproductive condition named after the four male doctors who, quote unquote, discovered it, which says a lot about the medical system and reproductive health and how the patriarchy intersects with that, but it's actually about one in 5000 births so it's not actually as rare as people think. 

Maureen Holloway  6:30  
It's not that uncommon. 

Molly McGlynn  6:31  
No, those numbers are sort of akin to naturally having red hair so it's so interesting, like, you know, and it could actually be more frequent than that. But if you think globally, you know, these numbers may not be reported. So yeah, I was diagnosed with that, when I was 16 and it was the first time I heard about it when I was diagnosed, but essentially, the long and short of it was I hadn't gotten my period at 16 and sort of, you know, had boobs and had gone through puberty and felt like something was up. And it was that journey was my leap from my New Jersey Italian basement pediatrician named Dr. Frenda. I was thrust out of his doctor's office and was referred to a gynecologist and a series of tests, etc so, yeah, it's a condition basically, that affects your reproductive organs. So I was born without a uterus cervix, a shortened vaginal canal, which means that I will never have my period, although I do ovulate and have functioning eggs, I won't carry a child, which is also developing because they're starting to do uterine transplants. And then having penetrative sex was something that was a whole a whole bag of worms and required, quote, unquote, medical intervention. So there's a few ways of going about it, you can sort of use manual therapy, which is using these dilators, which are basically medical dildos.

Wendy Mesley  8:02  
What to make you bigger? 

Maureen Holloway  8:06  
It's my band name, Medical dildos.

Molly McGlynn  8:14  
And then some people can go a surgical route as well and then there's also the option of not, you know, doing anything, which is totally fine as well. But it's interesting, like I used dilators, quite soon when I was 16, but I didn't know at that point, what kind of sex I wanted to be having or with who, and you're basically just handed a box of these medical dealt dildos and being told to make a vagina. And that was such a dangerous point in my adolescence development, because I internalized that I was a problem to be fixed. I was basically told that my main function was to be a vessel for presumably a man or a penis, and how that becomes internalized and basically affected how I operated in the world, thinking that I was this broken woman, and my main job was to accommodate presumably a man, and then I would feel normal. So men also became vessels to confirm my normalcy versus being men.

Wendy Mesley  9:22  
And this is all when you're 16 like life isn't complicated enough when you're 16 oh, my God. 

Molly McGlynn  9:28  
Yeah and my parents had split up and, you know, my mom was recovering from breast cancer, which she later passed away from. So you know, I always say like, prior to this diagnosis, when I was starting to go through puberty, my mom was losing her breast and I, you know, a woman's body was always a bomb waiting to go off as spot and then I felt that way about my own diagnosis.

Maureen Holloway  9:53  
Wow, that is, but both Wendy and I are breast cancer survivors, and I couldn't and lost her mother's but later are actually within two weeks of each other, but so much, so much that I mean, the fact that you're looking at your body and I do too, is a bomb waiting to go off our bodies are not ourselves. They really aren't. I'm so sorry. You went through all this and yet you have managed to make this a fascinating story. 

Molly McGlynn  10:19  
What else are you gonna do with it?

Wendy Mesley  10:23  
Did you have to make it funny? Because I mean, the movie that you made before was about alcoholism and the strange dad and but it was also funny, like, is that you or is that us?

Molly McGlynn  10:35  
No, I think that's me. I mean, I have a very dark sense of humor. I'm, I was raised in a large Irish Catholic family. I'm the youngest of five girls, my parents and my sisters were all born in Ireland, I spent a lot of time there growing up. And that's, you know, the Irish say, the best party of your life you won't be at because it's your wake, you know, and like, that's kind of the tone that I was raised in and they're the approach to dealing with suffering and tragedy is through, I would say art and also humor. And I, yeah, I personally have survived through humor, my friend, Marnie VanDyke, who's in our industry as well, she always, you know, says that, like humor is a life raft, and you just have to cling on to it, but even though that's my natural leaning, in terms of my work with this film fitting in, because it's about reproductive conditions, and vaginas, and we're going to the gynecologist and all this stuff, like, those are terrifying words, to sort of pitch tried to get financing, you know, put in front of audiences. So humor was a way for me to draw people in and sort of disarm them. I'm also aware of like the immense amount of privilege, I have and have, through my experience being diagnosed as an upper middle class white girl in New Jersey at the time, there is just so much privilege to my story. And while it was an is emotionally devastating, I'm still a healthy person and I don't take that lightly. It's just we're all in these little meat sacks we drag around, and somebody's do this and some do that and like, honestly, in the grand scheme of things, I don't know, you just have to have a sense of humor about it. At least from my perspective, there's just so so much pain and suffering and just horrifically dark things going on that I just felt like a touch of humor felt appropriate here.

Wendy Mesley  12:36  
It's funny because we wanted to ask you the question, which is quite fraught these days, which is what is a woman? That is an interesting topic, obviously, but-

Maureen Holloway  12:46  
Well, gender had gender and gender had to play into the way you decided to approach this. I mean, people must ask you, are you intersex or now we know a little bit more, sorry, Wendy, I'm just grabbing the steering wheel, but we know a lot more I think most of us are a little more enlightened about gender, but it does this has to factor in if you don't have the, what is considered the correct equipment, then you have to fix it. That becomes a really loaded proposition.

Molly McGlynn  13:19  
That's such an interesting question and I will point out to listeners who may not know, intersex is a term that historically really used to be associated with hermaphroditeism, which, you know, we all have these images on our heads about like the bearded woman and sort of monstrous genitalia and all these sort of terrifying things. But the first time I heard that MRKH, to some falls under that umbrella was when I was writing the script in my 30s, I'm in a well educated woman and somehow, I miss this information about how MRKH may be intersex or not. It's very contentious within the community, some people feel fiercely protective of their identity as a female and that this is strictly a physiological problem. Other people would identify as intersex, which means simply non normative reproductive parts. That is a very, very loose term and once I understood what that was, I looked at it a lot differently. I had to unpack my own internalized phobias as it relates to sort of the strict binary system of gender. You know, having MRKH and I explore this in the film really sort of tries to ask the questions like, if a woman doesn't lead if she can't be a mother in a sort of traditional way, and if sex does not come with As a potential pregnancy, therefore may only be for pleasure. What is that? You know, where does that fit into this idea of being a woman which is so heavily affected by cultural and societal norms, in terms of the intersex label, I am still working that out. It's so interesting like I, what I am is just this thing, that's a both and it's this and it's that and it's not that I am not offended if someone wants to categorize me as intersex, I'm not offended if they say I'm not for me, because I'm okay, just like I am, what I am, I think there's an obsession, especially now and the age of social media with identifying as this, that and the other. And while I will say that development is so positive for so many people, I think we should be careful with overly clinging to labels that we give ourselves or society or culture puts on ourselves. There's a flexibility with all of our identities. It's a lot messier than checking boxes, or saying clear, concise statements about ourselves. So I'm more interested in the gray messy space than I am the binary.

Wendy Mesley  16:21  
I love the gray and I love that you've been able to make this movie and and I love that. I mean, there's so much talk these days about media and polarization and hate and how everybody hate but but then there's also this freedom to make the kind of movie that you've made and to say, I am not just a body part, I am not just this. So it's I think it's kind of cool. I don't have all the answers. Nobody, nobody does. But it's I think it's really interesting. I mean, you say that body parts are given way too much significance, but then there's a joke in there.

Maureen Holloway  16:58  
Some people think they do.

Mary Anne Ivison (Voiceover)  17:03  
The Women Of Ill Repute.

Maureen Holloway  17:06  
What happens when people well meaning and I might be one of them go oh, well. I mean, it's clear here you're so feminine, and you're so pretty, you must be a woman. And I'm sure you get that I'm sure you hear that and and not just for me awkwardly saying it right. But there is that need. It's not like people are deciding it's like that need to say but I don't understand, you know, even understanding what cisgendered I mean, I'm still explaining that to my husband bless him. What does that mean and that's a very good quote, what does it mean? Well, it means you were born. But then my son, both Wendy and I have 25 year olds who are know everything. So it's really helpful, you know, explains much of what you just said and and maybe if we just stopped trying to categorize according to gender, it would be all a lot easier. And yet we have to and medically I guess you have to.

Molly McGlynn  18:05  
You know, it's so interesting sort of presenting the feminine to other people and I certainly do but unrelated to MRKH or any of this like, I kind of feel the most attractive and in my skin when I'm like in one stones and baggy jeans and like a hoodie and I'm doing what I love, and I'm on set or I'm you know, that's where I feel comfortable. And that's not an overly, quote unquote feminine presenting way to be. There's an amazing book that just came out by There's a woman named Alicia Weigel. She's an intersex activist from Texas, and she testified in the Texas Capitol years ago and she came out as intersex when Texas was trying to it was all that sort of bathroom legislation. It's just incredible. Alicia is a very attractive blond blue eyed person and you can almost see the luck on the these men's faces when they realized someone who they probably weren't attracted to was saying I actually am other I am intersex. And I was born with undescended testes, and sort of just the shock to their system, like, you know how someone presents is, you know, it's all performance. It's all drag. Like it's we're signifying something to the world, but I just I love Alicia his book, I really encouraged anyone to read it.

Maureen Holloway  19:45  
What's it called?

Molly McGlynn  19:46  
It's called Inverse Cowgirl, which is incredible.

Wendy Mesley  19:50  
Cowgirl that's Maureen's favorite.

Maureen Holloway  19:55  
What not my favorite position necessarily.

Molly McGlynn  20:01  
He's just this interesting shapeshifter who can jump between spaces in a way that really surprises people.

Wendy Mesley  20:08  
And why not? I mean, that's I mean, I, I know someone who was intersex was born many, many years ago. And before this person was born, he identifies as a sheet, but intersex and before that I didn't really have an understanding of what intersex was, and I certainly had never heard of, I'm hoping I'm getting this right MRKH syndrome, and that it's one in 5000. Like that's, there's a lot of people who are, there's a lot of people and you're making a movie and you're saying, hey, let's not be shamed of this. I think it's kind of cool. 

Maureen Holloway  20:44  
Yeah, let's see it is tell us about so Maddie Ziegler who is a phenom in her own right so if you don't know if you're not familiar with her, I knew her from the sea of videos. She's a child dancer and, and and now apparently accomplished actress. I have not seen her we have not seen the film. By the way we should mention that.

Molly McGlynn  21:03  
It's comes out. February 2.

Maureen Holloway  21:07  
Okay. All right, we'll be there for that and this will coincide with the with the the the release. Tell tell us about finding Maddie and and casting her because I know that you were delighted with her.

Molly McGlynn  21:21  
I absolutely was. She actually William Morris, my agency called me one day and said, we thought about Maddie Ziegler and I was like, you know, Sia, like, I had the same sort of associations and my first thought was, she's far too beautiful I was like, I was not looking like that as a teenager, you know, looking on her Instagram, but he said just me for I think you'll be really surprised. And we had coffee and she had like wet hair and converse on in order to cookie and I found that really endearing and an unexpected from sort of this young, beautiful woman in Hollywood. And man, she's got soul like, she is grounded. She is in her body. She tells 1000 stories in her eyes and for me, that's it like it was her first leading role. She was in a film called The fallout about a school shooting that Canadian director Megan Park directed that is a great film and I watched her and there she was kind of a co lead supporting character. So it was like a big kind of leap of faith to give this young woman who I just met my life story and I'm gonna do it once.

Wendy Mesley  22:32  
About my vagina oh, my God. Yeah, just a small commitment. 

Molly McGlynn  22:37  
Yeah, but the thing that really got me is, you know, she grew up on this reality show called Dance Moms. I never really seen it. But she is someone who understands a complex relationship with your body as a dancer, she knows what it's like to push yourself to the brink. She has been a performer her whole life, and sort of how that psychology has influenced her identity and the world was really interesting to me because I thought of my own performance as trying to be a woman who fits in normally and I needed someone who could convey intense conflicting emotions, with little dialog in parts imparts and who better than a dancer to do that. And if you look up any of her dancing, it's just breathtaking. And she is brave, she is fearless. She jumped in, she was not scared. I cannot express how difficult it is for I think she was 18 when we shot this film, for her to put herself in that position. vulnerably both emotionally, physically and sort of how we shot it. It is not an easy thing to do. But watching her in this role has healed parts of myself I didn't know needed to be healed. She is professional, polite kind. I mean, I cannot say enough good things about her. I think she will have a long career and she's just a dear friend of mine.

Wendy Mesley  24:12  
Speaking about things that that need to be fixed, or are you need to come to terms with I was really struck out. Maybe I'm changing the topic, because I'm talking about your podcast, which is about your mom, but your mom was with you when you got the diagnosis. It's at 16 and you say that she burst into tears was that, was that because she had an idea of women or how like, how did how did you? How did you come to terms with with all that? 

Molly McGlynn  24:41  
Yeah, so my mom was raised in like, lower middle class family and sort of working class outskirts of Dublin. And, you know, she was raised in a culture and a time where a nun from her high school called my grandparents and said breeding is is very, very smart, and she needs to go to college and- 

Wendy Mesley  25:03  
Breading. 

Molly McGlynn  25:05  
Breading yeah, it's Gaelic for dead. But my grandparents who were wonderful people said, we can't do that we're sending our oldest son to seminary school. So all the money in Ireland was like having a priest was the ultimate symbol of sort of success. And so my mom did not go to college, she went on a boat to London, in the 60s to become a secretary was sending part of her paycheck back to her parents to pay for her brother seminary school. So this is the context of my mother's identity as a young woman in the world, she, you know, then had five daughters with my father emigrated, had breast cancer, obviously. But when I was diagnosed, I didn't understand any of these words, or what was going on. It was so much so fast, and I could barely speak, but she burst into tears and that was such a crucial moment, because her grief in the moment said everything I needed to know which was this is a devastating loss. And it was in ways that I couldn't comprehend. Emily Hampshire plays the role of the mother in the film, who is different from my mother in a lot of ways and not my mom only had a high school education until after her divorce, she went to night school, she got her undergrad, she got her Master's, she became a therapist. And, you know, Emily's character is sort of like this very bad therapist, my mom was certainly not a bad therapist, but it drove me up the wall, I have to ask, my mother was always asking me like how it felt. And I just wanted to punch a wall. Like I didn't want to talk about any of this and in the scene of the diagnosis in the film, Emily is sort of over the top kind of unraveling, and Maddie is saying nothing and so many times with the script, I got notes of this is not believable. Why is this mother making it all about herself? Why is the teenager not talking? It's like, I don't know who your moms were, but like, it's not unfathomable to think that a mother would take on this emotional bomb for her daughter in a way that she can't comprehend. So I was very strong in my ways, if this is how the scene had to be shot.

Wendy Mesley  27:27  
Well maybe you'll get a uterus made for you. Maybe you'll carry a baby, but you've made a couple of films. It's kind of great.

Maureen Holloway  27:34  
I mean, is that first of all? Is that something that you want? 

Molly McGlynn  27:38  
Well, first of all, I had heard a few years ago that sort of, I don't know when what woowoo practice but-

Wendy Mesley  27:45  
That's official word, right?

Molly McGlynn  27:49  
The uterus is where a woman's sort of creative lifeforce come from and I remember hearing that and being like, well, if that's true, I have replaced it with my my work, you know, I'm not sure where I stand on wanting to have children. I froze my eggs in the pandemic, I had so many of them, which is tragically ironic, like the doctor was like, for someone your age, you have the eggs of like a 19 year old, I'm like, nowhere to put them.

Wendy Mesley  28:17  
Wow. So you got lots of time to figure it out. 

Maureen Holloway  28:20  
But again, you know, it's not for everybody. I would say probably half of my friends and family do not have children, for whatever reasons. It's not. It's not for everybody. I mean, I have to I'm really glad I did. And do but you're not defined by your uterus, as you are such an example of your you know, either we are not our bodies were so much more than that. So, unless and if you want it apparently it's not out of the question. True,

Molly McGlynn  28:48  
True, true. There's many ways to be a mother mother is a verb in my eyes and I feel like I tried to bring that energy to many sectors of my life and it's so funny, even with directing, people are like, oh, it's a very, like, traditionally masculine role. You're a leader, you're you're the boss, bah, blah, but I'm like, you're just a mother to this project to the script to all these people. I have to when I'm shooting a film, not only do I have to take care of the actors, I have to I like to take care of the crew make sure that their needs are being met, they have what they need. That is my version of directing think people think it's yelling and pointing at things very likely.

Wendy Mesley  29:30  
And doing that thing with your camera.

Molly McGlynn  29:37  
Sure, certainly, I'd probably point to things and ask for something loudly but there's just a different softer way in my opinion to get respect and trust from people.

Maureen Holloway  29:50  
The the movie, you change the name Bloody Hell was just what was too graphic or too messy or?

Molly McGlynn  29:57  
It had to do with the frickin algorithm. then send the robot computer when it's on streaming it can get lumped in with horror films and then I'm going to have hangry people. 

Maureen Holloway  30:08  
You don't want it being pitched as a horror film was a good decision.

Molly McGlynn  30:14  
There was a test screening in September, Pax Cineflex, like hundreds of people seeing a rough cut of the film. I think that I mean, there was these two guys leaving with hunting jackets on. I don't know what they were watching and I just found that so funny, because maybe they thought it was a horror film.

Maureen Holloway  30:33  
They probably did. I love that. 

Molly McGlynn  30:35  
They got an education, let me tell you. 

Maureen Holloway  30:38  
They sure did. It is out in February, and geez, normally Wendy says this, but we are at a time. Molly, what a what a pleasure is spared to talk to you and we wish you well. What are you doing next? What are you doing now? Can you tell us?

Molly McGlynn  30:55  
I'm working on a rom com in quotes, called Feck The Wedding. An American couple trying to get married in Ireland.

Wendy Mesley  31:08  
There's a link, I was wondering what the personal aspect was, but there's a link.

Molly McGlynn  31:13  
My fiance was like, can I read the first 10 pages and I'm like, sure, in my mind, I was like, I'm gonna write a kind of big budget studio comedy. And he read it and goes, oh, it's about a sad woman again.

Wendy Mesley  31:25  
But it's funny. 

Maureen Holloway  31:27  
But with funny parts.

Molly McGlynn  31:29  
You just need to get it on paper, and then I'll punch it up. But yeah, they're, you know, dead mother and Ireland and you know, all that. So, there's a bit of me in there, but I'm working on that. I'm going back to direct a TV show for Fox in Vancouver in January now that the strike is over. So getting back to work.

Maureen Holloway  31:49  
When you get married. Or is that just who knows?

Molly McGlynn  31:55  
Who knows, you know, we're doing in Ireland. Then we're eloping, then we're gonna go to Mexico. We're all over the place. 

Maureen Holloway  32:01  
Well, congratulations. 

Molly McGlynn  32:03  
Thank you.

Wendy Mesley  32:04  
I think all over the place is the title of a new movie. And I think it's great that you've made a movie about a vagina. So I it's great lack thereof, are like, well, she has fun. It's just yeah, anyway, it's not it's not. It's not about that. Yeah. Lovely to talk to you.

Molly McGlynn  32:24  
Thank you so much.

Maureen Holloway  32:26  
Thank you, Molly.

Wendy Mesley  32:27  
Thank you. Thank you. 

Molly McGlynn  32:29  
Can't wait to hear it.

Wendy Mesley  32:32  
So are you gonna get all woowoo?

Maureen Holloway  32:34  
What do you mean?

Wendy Mesley  32:36  
That's what she said it's all yeah, well, I don't want to get too woowoo.

Maureen Holloway  32:40  
You know what that's funny about names for vaginas, right, whoo is one of them. 

Wendy Mesley  32:45  
Oh I thought it was a hoo hoo. 

Maureen Holloway  32:47  
No that's a hoo ha. 

Wendy Mesley  32:48  
I don't think we should be making vagina jokes. You know, we've just had this very serious conversation.

Maureen Holloway  32:56  
It wasn't that serious. It's funny, the names that people come up and like, you know, clam burger or-

Wendy Mesley  33:03  
Yeah, it's called a vulva.

Maureen Holloway  33:06  
Like the actual names that vagina and vulva and all that are the most unsexy names there are. It's I don't know, maybe it's me, but it's just not something you hear shout out in the moment.

Wendy Mesley  33:18  
I had to consider getting a hysterectomy or an oophorectomy when I had the breasts and I was like, who came up with all these words? These are ridiculous. 

Maureen Holloway  33:26  
Well, it's interesting. historize Latin for uterus so when a woman or anybody is hysterical, it means that they're, you know, responding from their uterus. 

Wendy Mesley  33:36  
Well, that explains everything. 

Maureen Holloway  33:38  
Well, it's so patriarchal, it's like, oh, don't be hysterical, don't be so womanly, you know, equating the two. But anyway, that was really really interesting. One of the things that I found so what would the word be as shocking, I guess is how common this one in 5000, MRKH, one and five like, same thing, same number of possibilities of being mentioned effing Pope.

Wendy Mesley  34:03  
What are you suggesting that a vagina? 

Maureen Holloway  34:09  
Don't I have enough to deal with it.

Wendy Mesley  34:14  
There must be something anyway, I just, I love that she has been able to make a funny movie about an undeveloped vagina and it's, you know-

Maureen Holloway  34:26  
Well, it's not just about it's about the person who has it.

Wendy Mesley  34:34  
No, she's great. I'm so thrilled. So how do you feel being a mom?

Maureen Holloway  34:40  
I feel I feel that Molly McGlynn can do whatever she wants and I'm a fan and I'm just going to mention once again, the movie is called Fitting In not Bloody Hell. Or it says I think the poster says Fitting Is Bloody Hell. So you know- 

Wendy Mesley  34:55  
Not a horror movie. 

Maureen Holloway  34:56  
Not a horror, well in its own way. And it's being released in February. We'll have the details on our website if you want to check that out. Okay. 

Wendy Mesley  35:05  
Okay. Bye.

Mary Anne Ivison (Voiceover)  35:08  
Women Of Ill Repute was written and produced by Maureen Holloway and Wendy Mesley with the help from the team at the Sound Off Media Company and producer Jet Belgraver.