Podcast: Talking fetus scene in 'Blonde' has created another media storm about abortion

Ask any pastor about times when Americans tend to take stock of their religious commitments and it’s likely you will hear something like the following.

For most people, but especially for those who are married or/or have children, there are obvious gateways from one stage of life to another and, frequently, there are religious teachings and rites that go with them. Think birth, baptism, marriage, children, aging and, finally, death. In many lives, there are moments of conversion or doubt, as well as life-threatening illnesses and tragedies. Divorce? Broken relationships with children? Yes, more symbolic gates.

Clergy know they will have to help women and men deal with these gates. I have always argued, in discussions with editors, that these gateways are often linked to important trends and news events. Changing a prayerbook or hymnal, for example, may threaten doctrines and symbols that, for the devout, are linked to rites that frame these life events.

This brings us to this week’s “Crossroads” podcast (CLICK HERE to tune that in), which focuses on some news and commentary about the life of one of Hollywood’s greatest superstars — Marilyn Monroe. The problem is that the controversial, lurid new movie “Blonde” includes events and images that clearly link abortion to other life-defining events, especially horrors such as rape and other forms of sexual and emotional abuse.

Abortion can lead to grief and may be viewed as a form of violence against women? That pushes several hot buttons at the same time, and not just for right-wing Christians in the Bible Belt. Consider the symbolism of mourners visiting the famous Garden of Unborn Children in Japan.

As always, let me stress that abortion is a topic that, for many, raises religious issues — as well as moral, legal and political questions. This raises challenges for journalists and artists alike.

First, let’s look at the obvious news hook — that Planned Parenthood officials needed to react to this brutal NC-17 movie, a flick that is creating Oscar buzz surrounding the work of actress Ana de Armas.

The headline at The Hollywood Reporter proclaims, “Planned Parenthood: ‘Blonde’ Is “Anti-Abortion Propaganda.”

I’ve written 15 stories for either the Washington Post Magazine or the newspaper’s Style section, most of which have been lengthy features highlighting an interesting individual. I know a little bit of what goes into choosing a topic for such prominent placement.

Let’s just say that a lot of thought goes into it.

So, I’m not complaining about the magazine featuring Planned Parenthood’s arts and entertainment director and her huge influence on how abortion is portrayed in Hollywood. What I gripe about is the absence of a similar several-thousand-word piece featuring an articulate woman on the opposite side of the issue.

Where’s the magazine piece on Abby Johnson, the heroine of the recent movie “Unplanned” and the Texas activist who left Planned Parenthood to now work against them? It’s not there.

Or Kristan Hawkins, an evangelical-turned-Catholic convert who turned Students for Life from a tiny group into an organization with 1,200 chapters in 50 states; who has four kids, two of whom have cystic fibrosis? She lives in DC’s Virginia suburbs, probably a mere hour’s drive from the Post’s downtown office.

So, let’s delve into this paean to Planned Parenthood’s “woman in Hollywood.”

It’s 10 a.m. on a Tuesday at Planned Parenthood’s New York headquarters, and I’m watching TV. Specifically, I’m watching a series of scenes clipped from movies and TV shows, all of which have two things in common: The woman beside me, Caren Spruch, had a hand in them, and each one features an abortion…
Spruch is the rare person in the abortion rights movement for whom the past few years represent a long-awaited breakthrough in addition to a series of terrifying setbacks. She’s Planned Parenthood’s woman in Hollywood — or, in official terms, its director of arts and entertainment engagement. She encourages screenwriters to tell stories about abortion and works as a script doctor for those who do (as well as those who write about any other area of Planned Parenthood’s expertise, such as birth control or sexually transmitted infections). It’s a role she slipped into sideways, but one that now seems to be increasingly welcome in Hollywood.
In the past year or two, word of Spruch’s services has started to filter through the film industry. “Nobody used to call me,” she says. “I would be watching TV and going to the movies and figuring out who I thought might be open to including these story lines. Now I have a couple of repeat clients. Now people call me.” She estimates that Planned Parenthood has advised on more than 150 movies and shows since that first effort with “Obvious Child.” Writers who have relied on her advice tell me they feel a secret kinship with one another. “We could see hints of her in all the TV shows coming out, from ‘Shrill’ to ‘Jane the Virgin,’ ” says Gillian Robespierre, writer-director of “Obvious Child.” “It’s really wonderful. She’s like Planned Parenthood’s secret weapon.”

In case you’re not familiar with “Obvious Child,” a trailer is included atop this post.

Spruch is a behind-the-scenes kind of person, so much so that I couldn’t find her listed on Planned Parenthood’s main site. Her LInkedIn profile tells nothing of her past. I’m curious what Spruch gets paid for all this work, but the article doesn’t say. There’s very little bio about the woman herself.