Whoa!nus: BUTT OUT, BABY! - 4 - Peeping Johnny

We interrupt our regular programming to share a discussion on the BUTT OUT, BABY podcast with yr grls of Whoa!mance--on the introductory scene of no less a Prince of the City than JOHNNY CASTLE from Dirty Dancing. We had SO MUCH FUN. Just in time for summer.

Per Ellie of BOB:

Baby gets her first glimpse into the class structure at Kellerman's ft. Morgan & Isabeau of Whoa!mance + Johnny being attractive and gracefully insolent + The female gaze + The strange all-inclusive guest experience of Kellerman's + How bad boy romance leads are introduced and whether Dirty Dancing qualifies as a romance at all! Whoa!mance: a weekly podcast about Romance Novels and Ourselves

Butt Out, Baby! is a scene-by-scene study of Dirty Dancing: A film that gets a lot of love — but not enough respect. Follow on the podcaster of your choice and at IG @buttoutbabypod


Episode 153: Marry Italian - "Lord Of Scoundrels" By Loretta Chase

This ep yr grls visit the cultural rupture known as 1995 to (finally) discuss LORD OF SCOUNDRELS by Loretta Chase.

Scoundrel, rake, blight of his family name, Lord Dain has a lot of baggage, the least of which is some dumb guy named Bertie. But gorgeous, brilliant Jessica has accepted her lot as a spinster and developed an actual personality, so her dumb brother, Bertie, happens to be her biggest baggage. Little do Dain and Jessica know they are about the become each other's sexy, sexy baggage. Nothin' slaps like the hits, y'all!

What are the limits of "because it is a romance" as justification? How can novels show instead of tell the work of men deconstructing toxic masculinity? Who even is the main Main Character here?

For fans of romance deconstruction and materiality, this one's for YOU!

Whoa!mance is a part of Frolic Media.


Episode 152: Ren Faire Enough - "That Time I Got Drunk And Saved A Demon" by Kimberly Lemming

Don ye flower crowns - yr grls are going full ren fest with "The Time I Got Drunk and Saved a Demon" by Kimberly Lemming.

Cinnamon does the title with Fallon during a very auspicious time - a festivus when The Goddess's protection spells weaken and chosen heroes must pick up the slack. Cinnmaon is grateful she missed that particular calling, but Fallon is insistent she join him on an opposite quest - because The Goddess isn't really a goddess...

Why does the context of fictional violence change the experience of it so drastically? Will fantasy, and its progeny, ever really be cool?