Just two days after she was announced as executive producer, Laverne Cox relies on Sarah Jones’ documentary Sell / Buy / Date.
The documentary will be based on Jones’ stage play of the same name, with Meryl Streep and Rashida Jones as executive producers.
However, as the news of the documentary began to spread, fans began to shout at her, with one claiming that the project ‘represents everything you are supposed to be against’, leading her to leave the project and the ‘outrage’ over her involvement named. and the need to protect her mental health.
Backing out: Just two days after being announced as executive producer, Laverne Cox supports Sarah Jones’ sex industry documentary Sell / Buy / Date
Cox took to Twitter on Wednesday night to post an official statement about why she was withdrawing, which she also used to respond individually to many fans who called her.
“When I agreed to go on to be the executive producer of Sell / Buy / Date, I did so because I was so deeply moved by Sarah Jones’ brilliant play and her incredible, unmistakable talent as an artist, as an actor,” Cox begins. .
“I signed up to support her incredible talent. I love her so much as a human being, ‘she added before revealing why she’s deteriorating.
Backing: Cox took to Twitter on Wednesday night to post an official statement on why she supported her, which she also used to respond individually to many fans who called her
‘But I’m not in an emotional place to deal with the outrage of some people around my participation in this project. So I decided to move on. To be clear, I am no longer involved in any capacity in [‘Sell/Buy/Date.’] I have to take care of my mental, physical and emotional health, ‘Cox concluded.
Fans also commented on Rashida Jones’ involvement in two Netflix projects about sex workers, a documentary titled Hot Girls Wanted and a documentary titled Hot Girls Wanted: Turned On.
During the premiere of the series, a number of sex workers came forward claiming that they were doctored for their profession without their consent and claiming that the filmmakers, Jill Bauer and Ronna Gradus, denied it, citing fair use.
Involvement: Fans also commented on Rashida Jones’ involvement in two Netflix projects about sex workers, a documentary entitled Hot Girls Wanted and a documentary series entitled Hot Girls Wanted: Turned On
Jones himself responded to the criticism on Twitter on Wednesday night with his own statement.
‘As a black feminist artist, I have always centered the stories of traditionally marginalized people, especially women and women struggling for liberation and self-determination. “My sisters in the sex industry are no exception,” Jones said.
“I am committed to listening deeply to people with a living experience, not only in my interviews, but also in those we hire behind the scenes,” she added.
Sarah’s response: Jones herself responded to the criticism on Twitter on Wednesday night with her own statement
She also responded to Cox’s statement on Twitter, saying: ‘I’m grateful to you Laverne for traveling with me so far, and I’m looking forward to continuing my work on the film and just asking everyone to give Laverne her space while keeping an open mind about the project before judging it. ‘
Sell / Buy / Date will investigate ‘inequality (criminal law, race, sexism, poverty) in the context of the sex industry debate.’
The film will explore the core question: ‘Is sex work exploitative or empowering?’ while investigating the sex industry that ‘hides’ and those who support sex work and who argue that commercial sex workers are ‘essential workers’.
Grateful: She also responded to Cox’s statement on Twitter, saying: ‘I’m very grateful to you Laverne for traveling with me so far, and I look forward to continuing my work on the film, and asking just that everyone gives Laverne her space while keeping an open mind about the project before judging it ‘
Documentary: Sale / Buy / Date will investigate ‘inequality (criminal law, race, sexism, poverty) in the context of the debate around the sex industry’
Exploitative or empowering: the film explores the core question: ‘Is sex work exploitative or empowering?’ while investigating the ‘hiding’ sex industry and those who support sex work and who argue that commercial sex workers are ‘essential workers’