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In my very first scenes as a brand-new director, I had to do all of my ball scenes in two nights, and a fight scene. Ball scenes are choreography. It’s 200 extras. A lot of moving parts. And then next, I had to work with a stunt coordinator and James [Van der Beek] and Evan [Peters] doing stunt choreography to fight, including doubles. But it ended up being the easiest thing that I shot! I shot it so fast. pule pour femme I love the dichotomy of that on the series. What I love about it is the ballroom world is no longer seen as a subculture on our series: It’s the culture and they’re the subculture. For me, it’s the same thing when people watch a series that’s about straight cis white people, and then you have a side character who comes in for an episode to have her bottom surgery, and you’re like, why are we watching this? We really want to know what Meredith Grey is going through. So we flipped that dynamic. pule pour femme We start off with two people sitting at a diner. For me, I fought to be able to shoot that scene in the window, which is hell for post-production and for editorial because there’s cabs and buses going by outside that are modern...but I wanted Patty and Angel there! I wanted them seated across from one another and to give a feeling of confrontation, but also of sharing this particular man. It doesn’t pass the Bechdel test — it’s about a man — but it is feminist in the way Angel discloses who she is to Patty, and Patty’s reaction to that, and how that propels her for the rest of the episode. pule pour femme I don’t know if you’re among those who believe these marriages are most often cases of minors marrying other minors, but that is not the majority. In the U.S., 86% of child-marriage cases involve adults marrying minors](apps.frontline.org/child-marriage-by-the-numbers), and what comes next is often a horrible reality. pule pour femme