Teen Rape Scenes

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‘The Tale’ depicts a grown woman (Laura Dern) working through the realization that she was sexually abused at age 13, graphically depicting those horrifying sexual-assault scenes.
Updated Jan. 20, 2018 7:08PM ET / Published Jan. 20, 2018 7:00PM ET 
In many respects, The Tale has been in the making for the last 35 years. But its Sundance Film Festival premiere Saturday afternoon—the first of this year’s festival to receive a standing ovation that we witnessed—is so timely it could very well have been called: #MeToo, The Movie.
The Tale is a memoir film in which writer-director Jennifer Fox confronts the sexual abuse she suffered when she was a 13-year-old girl, having spent the next three-and-a-half decades of her life convincing herself that she was engaged in a “special” relationship with a 40-year-old man, facilitated by a woman she trusted.
Both were people in her life she loved: “Mrs. G” (names were changed from Fox’s own life) was her equestrian trainer, and “Bill” was her running coach. Thirteen-year-old Jennifer is intoxicated by the regal, beautiful Mrs. G, and trusts Bill because of it. When Bill starts to coax Jennifer into a sexual relationship, she convinces herself that they’re in love. But she was just a girl. It was child rape.
Immediately following the post-screening Q&A, in which stars Ellen Burstyn and Jason Ritter broke down in tears talking about the movie, it became clear that this is the film everyone at Sundance will be talking about.
Its resonance—a woman realizing that what she had thought was a consensual sexual relationship was actually child rape—is one thing. That it shows, with purposeful unflinching detail, Jennifer’s rape at age 13 is another. (We witnessed multiple people walk out after this.) But that it doesn’t direct you how to feel about it, or moralize, or redeem, or reassure is its greatest power.
The Tale is relentlessly uncomfortable, and sometimes even aggravating. It wades into the murky waters of a complicated debate currently consuming culture, but doesn’t seek to satisfy or conclude it—which can be infuriating but is also necessary. It lacerates right through that conversation, letting the full range of opinions spill out. Yet it doesn’t seek to stitch it back up again and heal. Because that’s not it’s job.
“Eventually she pieces together an explicit, clear-eyed recollection of the relationship with Bill, and we watch it play out on screen. It’s sickening.”
But The Tale isn’t a linear narrative about a child who was raped. It’s an adult woman’s journey to the horrifying realization that her innocence was preyed on; that she was abused in a way that impacted the rest of her life. It’s her struggle through frustrating notes of denial, rationalization, misremembrance, and anger as she tries to piece together what really happened to her—not what her memory of it was—and why. How she feels about it now is almost an afterthought, until, at a major climax, it isn’t.
Throughout the film, Fox plays with form, storytelling structure, and the truth in jarring ways here—at one point Laura Dern, who plays Jennifer as an adult, is actually in conversation with Isabelle Nelisse, who plays her at age 13—to illustrate the myriad ways in which a person needs to communicate, with others and themselves, past and present, to reckon fully with an event like this.
When we meet Dern’s Jennifer, her mother (Burstyn) is leaving her a litany of emotionally charged voicemails, having just discovered an essay Jennifer wrote when she was 13 titled “The Tale,” which discussed the loving relationship she had with two adults: Bill (Jason Ritter) and Mrs. G (Elizabeth Debicki.) Her mother is beside herself. Suspicions she had 35 years before were true: these adults had taken advantage of her daughter.
“This is why I didn’t tell you,” Jennifer says, dismissing her mother’s concerns. “Can’t I just sit with my own memories?” she pleads, preferring to remember the relationship fondly instead relitigate it as assault. Nearly every line of dialogue hits you like a cannonball, its relevance to the stories and confessions that have been chronicled in the #MeToo movement these last months uncanny. “No,” her mother says. “I want you to nail them.”
She starts to visit people she hadn’t seen in decades, attempting to get a more detailed picture of that time that the years have blurred—part of her desperate search for a reason this happened to her. Or even to answer if anything happened to her.
“You were raped,” she’s told multiple times. “It’s complicated,” she instinctively retorts. She rages at the word “victim,” an indictment of the inherent lack of sensitivity in imposing a victim narrative on anyone who comes forward with a traumatizing story.
Eventually she pieces together an explicit, clear-eyed recollection of the relationship with Bill, and we watch it play out on screen. It’s sickening.
Bill baits her with lines like, “You’re not afraid of life, right, Jenny? You’re not afraid of living?” He and Mrs. G flatter her by telling her that she’s special, that they think of her as an equal, that they think they can trust her with secrets. Then we start to see the rape happen.
Would the film be as powerful if the acts were implied, instead of shown to wincing eyes on screen? Perhaps. But arguably, too, the impact is in bearing witness to the things Bill says and does and their brutal reality.
It starts with Bill getting Jenny to cuddle with him under a blanket. He says she deserves better than silly young boys; that he wants to “save” her from them. He phrases things in a way to make her think it’s her idea, like to take her top off, giving her the false comfort of an agency she doesn’t have.
We see them make out and it is grotesque. We see him, over multiple scenes that take place over a series of weeks, attempt to penetrate her. “We have to keep stretching you open, slowly,” he says. And then again: “No young boy would do this for you.” We see her give him a blowjob when it doesn’t “fit.” Eventually it happens, the camera switching between her face and his as it does.
The film ends with a disclaimer that the sex scenes were shot using an adult body double. Nelisse, who was 11 at the time of filming, only shot the dialogue parts of the scene, which are graphic in their own right. Fox would coach her on how to react properly to the pain of losing one’s virginity: ”Act like you’ve been stung by a bee.”
It would be impossible to list the myriad tenets of the conversation surrounding abuse and victimhood that the film explores. Should there be guilt or shame? Is she emotionally scarred? We wouldn’t purport to answer any of those questions, and maybe the film doesn’t intend to either. And that’s the prickly part of it, the thing that will keep us and anyone who sees it itching long after it ends.
While watching it, you’re not exactly sure what Jennifer wants the outcome of this whole journey to be, and you’re especially not sure what you want it to be either. What are you rooting for, if anything at all? It all builds up to a confrontation between Jennifer and Bill. Is it satisfying? Could it possibly be?
Casting Jason Ritter as Bill was a crucial decision. His image, based on the characters he’s played in Parenthood, Girls, Kevin (Probably) Saves the World, is that of the consummate nice guy—the adorable, safe, all-around “good” guy. “The whole idea was to take out of the closet the idea that perpetrators aren’t monsters that we can pick out,” Fox said after the film. Mission accomplished.
There was an air of speechlessness as the standing ovation died down. How does someone talk about this film? What do we even say? It’s something that Burstyn herself acknowledged, before beginning the dialogue in an impassioned, immediate way: “The exploitation of innocence is a deep, criminal crime, and it’s time now, right now, in this moment in our history, to change it.”
But she wasn’t done. “And I want to thank Donald Trump for that disgusting tape that he made that we all heard that was the final straw that broke the camel’s back,” she said to rousing applause. “And we can now at last deal with this problem that has gone on for centuries all over the world. This film is giving voice to it.”
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The high-flying lawyer also faces future criminal trials for allegedly stealing from Stormy Daniels and embezzling funds from clients.
Updated Jul. 08, 2021 2:56PM ET / Published Jul. 08, 2021 2:49PM ET 
Disgraced lawyer Michael Avenatti, who skyrocketed to fame for representing adult film star Stormy Daniels in her hush money suit against former President Trump, was sentenced Thursday to two-and-a-half years in prison for trying to extort Nike for millions of dollars.
Judge Paul G. Gardephe called Avenatti’s conduct “outrageous” and a betrayal of his clients.
“Mr Avenatti had become drunk on the power of his platform or what he perceived the power of his platform to be,” he said. “He had become someone who operated as if the laws and rules which apply to everyone else didn’t apply to him.”
Prosecutors sought an eight-year sentence on the recommendation of federal probation officials, while Avenatti's lawyers suggested a six-month prison term and a year of home confinement. The defense argued Avenatti’s “public shaming” and “cataclysmic fall” amounts to enough of a punishment and deterrent for what they described as nonviolent crimes with no financial losses to any victims in the case.
Prosecutors disagreed. “The defendant, a prominent attorney and media personality with a large public following, betrayed his client and sought to enrich himself by weaponizing his public profile in an attempt to extort a publicly traded company out of tens of millions of dollars,” the Manhattan U.S. Attorney’s office noted in a filing last month. “This was an egregious abuse of trust, and it warrants real and serious punishment.”
In a letter to the court, Nike indicated it was seeking $1 million in restitution from Avenatti “to be paid after Mr. Avenatti’s individual victims.”
Last year, a Manhattan federal jury convicted Avenatti of extortion, wire fraud and transmission of interstate communications with intent to extort, in a scheme which prosecutors called “a good old-fashioned shakedown” of the shoe giant and a “betrayal” of his client Gary Franklin, a youth basketball coach in Los Angeles.
His sentencing in the Nike case—and trials in two other criminal matters on both coasts—was delayed by the COVID-19 pandemic.
The brash 50-year-old litigator, who fancied himself a Democratic contender to run against Trump in the last presidential election, will soon head to trial in Santa Ana, California. There, Avenatti is accused of embezzling millions of funds from a handful of clients and defrauding a bank to obtain more than $4 million in loans. Opening statements are expected to begin on July 20.
“A few million dollars doesn’t move the needle for me.”
Avenatti will also face a New York jury sometime in 2022 for allegedly stealing $300,000 of the advance for Daniels’ book Full Disclosure. According to the indictment, “He did so by, among other things, sending a fraudulent and unauthorized letter purporting to contain [Daniels’] signature to [her] literary agent…”
The Nike case stems from Avenatti’s representation of Franklin, who asked the lawyer for help in 2019 after Nike ended a $72,000 sponsorship of his amateur basketball league. At the time, Franklin also mentioned that Nike employees allegedly directed illicit payments to high-school players and their families. Avenatti promised Franklin he’d secure a $1 million settlement from the sportswear behemoth, but didn’t tell Franklin he planned to demand up to $25 million for himself.
In March 2019, during meetings with Nike attorneys in New York, Avenatti threatened to go public about the alleged payouts to youth players unless Nike retained him for millions of dollars to do an internal investigation for the company.
“I’m not fucking around with this, and I’m not continuing to play games,” Avenatti warned in a recorded conversation with Nike lawyers. “You guys know enough now to know you’ve got a serious problem. And it’s worth more in exposure to me to just blow the lid on this thing. A few million dollars doesn’t move the needle for me.”
On July 5, Avenatti's lawyer Benjamin Silverman asked Gardephe for a new trial “based on the government’s failure to produce certain witness statements that are both material and favorable to the defense.”
In a letter to the judge, Silverman said prosecutors didn't produce material for Judy Regnier, Avenatti’s office manager who testified against him at trial, including an email to a special agent indicating she feared Avenatti might have her killed. “It establishes a clear bias and also evidences a motive to have Mr. Avenatti convicted and incarcerated,” Silverman wrote.
Regnier had read a tweet that stated, “She better be careful, she might end like a Clinton witness,” Silverman added, referring to the conspiracy theory that former President Clinton and his wife arranged to bump off people with damaging intel on them.
But Gardephe rejected Silverman's request, saying in a court filing that Regnier “was an inconsequential witness” who “had no direct knowledge of, and did not testify concerning, Avenatti's alleged crimes.”
Before Avenatti's arrest in 2019, his financial misdeeds were beginning to catch up to his high-flying lifestyle and recurring spot in the cable news limelight.
In fall of 2018, The Daily Beast revealed Avenatti, his law firm and coffee company owed millions in unpaid taxes and judgments, including one $1.2 million federal tax bill in Orange County, and that the landlord of his Newport Beach office had begun eviction proceedings. Avenatti also owed a former law partner at Eagan Avenatti a $10 million judgment.
As he left a trail of debts, Avenatti and his ex-wife Lisa Storie enjoyed a luxe lifestyle, replete with a private jet, fast cars, an art collection and regular trips to Cabo. Storie and Avenatti were embroiled in divorce proceedings just as the lawyer's star began to rise because of Daniels.
“I had unfettered use of credit cards that were in my name,” Storie said in one court filing. “My American Express bill was historically on average of $60,000 to $70,000 per month, and was paid in full each month.”
Meanwhile, Avenatti's first ex-wife, Christine, recently wrote to Judge Gardephe asking for leniency in his sentencing. She said Avenatti was a fighter for the underdog and “worked full-time to educate himself after a family hardship,” all while helping to secure care for her mother's terminal heart condition.
“The last few years have been traumatic, as I have watched who Michael Avenatti is… be condensed into a short, tragic story that is unrecognizable, versus the complete and complex novel that deserves to be told.”
Got a tip? Send it to The Daily Beast here.
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We made a list of the best teen movie v-card scenes – good, bad and ugly. Because virginity... who needs it?
By Kate Wertheimer and Phil de Semlyen Posted: Thursday June 24 2021
Losing one’s virginity – be it romantically, awkwardly or otherwise – is a teenage rite of passage (perhaps the teenage rite of passage). While it pops up in a miscellany of adult-oriented movies, like The 40-Year-Old Virgin and Call Me By Your Name, it’s an absolute fixture in teen flicks. The motivation behind most teens' actions can be boiled down to one thing: sex, without which we wouldn’t have the following great scenes. 
This sweaty, sun-dappled sex scene is pretty magical, we have to admit. Sebastian, ever the gentleman, asks if Annette is okay (um, she seems great) while Counting Crows' "Colorblind" plays in the background... but it was 1999, okay? Don't lie and say the whole thing didn't stir your loins.
Poor McLovin. He only got in one thrust before being rudely interrupted by his cockblocking cop friends, scaring away his lady friend and driving him to his inhaler. But oh, what a thrust.
Lux Lisbon is living the Platonic Ideal of the American teen experience: she’s a beautiful suburban blonde who is crowned homecoming queen before losing her virginity to her king under the lights of her high school’s football field. Unfortunately for Lux, she’s in a Sofia Coppola movie, which means that she’s going to wake up the next morning near the 50-yard line, that teen dream quickly replaced by the cold light of day.
When Di accidentally drives on the freeway, the fear of death drives her and Murray into one another's arms (beds). Like Cher says, "Boy, getting off the freeway makes you realize how important love is."
"I think if we fuck, you would love it." So says Telly, the self-proclaimed "virgin surgeon," as he prepares to relieve another barely-teenage victim of her innocence. This is cherry-popping as an act of unthinking existential desperation, a way for the unloved Telly to leave his mark on the world. How the girl in question feels about it is, rather cruelly, left unexplored.
Unless you also lost your virginity in a seedy baseball dugout while Jackson Browne crooned "Somebody's Baby" on the soundtrack of your mind, you can't even begin to understand the psychic trauma endured by Jennifer Jason Leigh's Stacy. Also, that bench has got to hurt. But it's the poolhouse sex (pictured above) that everyone remembers... we wonder why?
Ben and McKinley's romance is by far our favorite subplot in Wet Hot American Summer. And while the hippie wedding scene is magical, it just doesn't beat sweaty man sex in a sports shed, complete with tube socks and loose balls (we mean soccer balls, perv).
Loathing turns to lust when former childhood friends Denise and Kenny are locked in
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Teen Rape Scenes