Agent Seduction: Part 1: The Initiation (lesbian, hypnotism, force, military, erotica, adult)

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What is required,” Knight wrote, “is a clever woman who can use her personal attractions wisely.” And there you have it—the conventional wisdom about women and spycraft. Intelligence officers had long presumed that women’s special assets for spying were limited to strategically deployed female abilities: batting eyelashes, soliciting pillow talk, and of course maintaining files and typing reports. Overseeing operations? Not so much. I also love the way Sebastián chose to shoot it. It was storyboarded. All the wetness, the spitting in the mouth, the pubic hair, the vaginas, but also leaving some of it to the audience to imagine. Where is the other woman’s mouth, where are her fingers? It was important for him to focus on our faces to really capture that desire. There’s something very spiritual about their sex. I’m really proud of it." Gershon: I just thought I'd be inspired. I certainly was inspired with tattoos and stuff. I ended up choosing my own tattoos and where I wanted them and all that stuff. Ever since Director Sebastián Lelio's Disobedience premiered at TIFF in 2017, it's been the talk of the town among the five queer women who care about this kind of stuff. The film tells story of Orthodox Jewish lesbians in London: Esti (Rachel McAdams) caught in a loveless relationship with a Rabbi, and Ronit (Rachel Weisz) trapped in a series of meaningless heterosexual hookups.

Lynch worked closely on the character with Phoebe Waller-Bridge, the creator of Fleabag, who was brought in by Craig to punch up the script. “When I told Phoebe who I wanted Nomi to be, it wasn’t a conversation,” says Lynch. “She just said, ‘That’s exactly what I thought, fab, OK, let’s do it.’” Tilly: [The rating board] said, "It looks like they're really doing it." And the [Wachowskis] go, "Let me get this straight. If the girls weren't such good actresses, you wouldn't have a problem?" They were embarrassed, and they said, "Yes." The SOE’s leaders were readier than the old boys of MI5 and MI6, the foreign-intelligence agency, to grant that women enjoyed certain advantages. Many French men had been sent to labor camps in Germany, so women operatives were better able to blend in with a mostly female population. As Sarah Rose writes in D-Day Girls: The Spies Who Armed the Resistance, Sabotaged the Nazis, and Helped Win World War II, a British captain who recruited three female SOE agents, Selwyn Jepson, believed that women were psychologically suited to behind-enemy-lines work—“secretive, accustomed to isolation, possessed of a ‘cool and lonely courage.’ ” Some officers thought women had greater empathy and caretaking instincts, which equipped them to recruit and support ordinary citizens as agents. Women were considered good couriers—a high-risk role—because they could rely on ingratiation and seeming naïveté as tools in tight spots. The war also provided openings for women to show that they could execute operations, making strategic life-and-death decisions.

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Tilly: I never met her. She was pretty much advising Gina. And the thing is, Gina's character is a lot more hardcore lesbian than Violet. Tilly: That was my dress. Those are my earrings. That's my watch. I wore pretty much all my own clothes…After the movie, I gave some of the clothes to my sister. The dress, in the last scene, she shows up wearing it [one time] and I'm like, "You know how many lesbians would love to get their hands on that dress. That's an artifact! It should be in a museum!" She's like, "It's my favorite dress!" Gershon: There was one take that all four of us were like, "That's the one." It was like a real love scene. You didn't see a boob. You didn't see anything; it was all suggested. It really played on our face more than anything.

This seems like it shouldn't be a victory. And yet, the list of movies who've accomplished the same feat is painfully abbreviated. Don't talk to me about Blue is the Warmest Color, a movie made famous for its extended, impractical sex scenes and allegations of harassment by its director, Abdellatif Kechiche. Kechiche reportedly bullied the two female protagonists as well as his staff, forcing them to work 16-hour workdays under extreme pressure. Critics further accused the director of creating "voyeuristic" sex scenes intended to solicit the male gaze. Gershon: I knew I had to curl [my toes] on cue. I think it could have been a little bit more connected to an orgasm or to a sexual feeling. I felt it was more a mechanical thing. [But] it was very fluid. No pun intended. Tilly: You've got to really adore your costar and have a good relationship and a trusting relationship because it's a really violent scene…[Gina] sprained her wrist or finger or something like that. But you got to go for broke. You can't be precious, you know? You're doing fight scenes. You kind of have to go for it. In some cases, women had their own blinkered views of female leadership to overcome. Barely 30 when she was recruited in 1940, Fourcade had lived abroad, and relished the liberated environment of 1930s Paris. Still, she was astonished when “Navarre,” the code name for Georges Loustaunau-Lacau, asked her to be his deputy. Being a woman surely ruled her out, she protested to the World War I hero, who was secretly mobilizing citizens worried by Nazi aggression in Europe. That was precisely why she would be above suspicion, he told her. “Good God—it’s a woman!” cried another recruit, who became one of her most trusted aides. After Navarre was arrested in Algiers in 1941, Fourcade became the undisputed leader of Alliance.Gershon: I was pushing Sinatra, "The Best Is Yet to Come". I was hearing that in my head, and I think they were toying with that, but then this is what they went with which was great. I mean you can't go wrong with Tom Jones. Tilly: Gina is like the coolest person to ever do a love scene with. She was playful. I would be like, "Can you put your hand here so my cellulite doesn't show? Can you prop my breast to make it look a little more plump?" Tilly: We had to reshoot the last scene too because, when they were driving away, you could see palm trees reflected in the windshield.

Besides being a genuinely considerate movie with some thoughtful meditations on religion and culture, it has the added thrill of having super erotic sex scenes, made possible because:I’d come out when I was 17 and been disowned by my parents. I’d moved to London and been in and out relationships and casual flings. She was 40 and had been married for 10 years, with three children under the age of 10. The agency we worked for also represented her husband, an esteemed writer, so I knew I absolutely couldn’t go there. Tilly: This scene here it was all [advisor and feminist sex writer] Susie Bright's friends. That's why the bar scene is so authentic—it's all lesbians.