#goosebarbi

I don’t believe for a goddamn second that Phyllis is the first female performer with violent tendencies/unstable mental health/a pre-existing abusive male figure in her life who Franco had to compete with, that caused him to fall deeply in love. There’s gotta be something maddening for both parties about the fact that he’d be a Byronic sex symbol if he weren’t so warped, emotionally and physically. Any woman with any amount of insecurity can relate to that, especially if it’s one she believes isn’t any fault of her own. I’m sure when the inevitable escaped Reagent autobiography is released there will be an interview with Big Mama Yolanda Brown who followed him from New Orleans to Miami and sang B-A-B-Y so beautifully it brought him to horny tears.

Coyle makes fun of Franco for how down bad he is for Phyllis as if that pig didn’t stuff his crotch in Franco’s face the second he let slip that he even had a father

“Big city little shits got another thing coming if he thinks he’s gonna be taking what’s mine!” from Coyle was about Gooseberry, wasn’t it? I mean what else does Franco take that Coyle cares about? Gooseberry seems a touch more interested in Franco than she was in Coyle, and Franco is certainly more interested in her than Leland was. This is a reflection of the dynamic at work when an abusive woman and an abusive man have a son, an idea that was always at the center of Franco’s development. The mother becomes sexually and emotionally enmeshed with him, while the father gets jealous that his offspring has captured her attention. The father might also sexually imprint on his son, a complex on display when Coyle wonders aloud what Franco’s dick looks like. Franco, too, seems vaguely aware of that dynamic, what happens when a mlm like Coyle gets a son unlike his own heterosexual abusive father: he comments on the phallic-ness of Coyle’s cattle prod, which he’s always sexually assaulting people with, and directly implies Coyle would be jealous of his own weapon/phallic symbol.