Pop Culture Happy Hour — "Kiss of the Spider Woman"

Release Date: October 13, 2025
Panelists: Glen Weldon (host), Aisha Harris, Cristina Escobar (Latina Media co-founder), Cory Antonio Rose (NPR producer)

Episode Overview

This episode of Pop Culture Happy Hour dives into the newest adaptation of Kiss of the Spider Woman, a musical now in theaters starring Jennifer Lopez and Diego Luna. The team discusses the film’s striking visuals, all-Latin cast, thematic complexity, and notably uneven music. They break down both the challenges and triumphs of Bill Condon's ambitious adaptation, exploring questions of representation, artistry, and the enduring power of escapism.

Key Discussion Points & Insights

1. The Setting & Star Power

• The film is set in a 1983 Argentinian prison, centering on Valentin (Diego Luna), a revolutionary, and Molina (Tona Tiu), a queer window dresser.
• Molina idolizes old Hollywood star Aurora (played by Jennifer Lopez), spinning Technicolor fantasy musical numbers inside the grim reality of prison life.
• Kiss of the Spider Woman is based on the 1993 Broadway musical, marking its first all-Latin cast screen adaptation (Directed by Bill Condon).

Cristina Escobar:

“Going into this film with these huge Latino stars, knowing we don't get that many shots at this type of film, I was nervous.” (05:03)

2. Tonal Shifts and Visual Duality

• The film starkly contrasts gray, harrowing prison scenes with vivid, melodramatic fantasy sequences lifted straight from a classic MGM musical.
• Multiple panelists observe that these abrupt tonal shifts are initially jarring but ultimately effective in the third act.

Cristina:

“It's difficult to care about both places...But I want to say by the third act, they had gotten me emotionally.” (05:03)

Cory Antonio Rose:

"Taking out the singing prisoners and a lot of the campier elements...in favor of...darker, bleaker moments...really elevated the storytelling." (06:24)

3. Music: Memorable or Forgettable?

• Panelists agree the movie’s music, by Kander and Ebb, lacks a showstopping number and is less memorable than their previous works (Cabaret, Chicago).
• The consensus: the songs serve more as background than emotional drivers—unusual for a musical.

Aisha Harris:

“I'm...forgiving of the songs being not memorable...it is pure escapism.” (07:34)

Glen Weldon:

“Musicals live or die by the songs...and I think they're lacking here.” (10:09)
“If they never surprise you...you're always one step ahead of the lyrics, which isn't satisfying...” (15:13)

Cristina:

“I went and listened to the soundtrack...twice...it was rough. The songs are not standalone numbers.” (11:02)

4. Performances: Standouts and Shortcomings

• Tona Tiu’s performance as Molina is universally praised for nuance, charisma, and dance ability.
• Jennifer Lopez delivers dazzling visuals and dancing but is critiqued for her vocals.
• Diego Luna’s acting is celebrated, but his musical theatre skills are questioned.

Glen:

“Tona TIU is the real thing. They are a star...They move like a musical theater star, which is important.” (09:30)

“Diego Luna...he’s a naturalistic film actor...he lives in the close ups.” (10:08)

Cory:

“The vocal was never going to be there [for J.Lo].” (13:05)

“Janet Jackson could have did this.” (14:36)

5. Queer Representation and Thematic Depth

• Discussion of how the film deals with queer identity, stereotypes, and the relationship between political resistance and escapist art.
• The love story between Molina and Valentin is described as radical and affirming, still feeling “subversive in this moment.”

Cristina:

“There are some tropes about how LGBTQ folks are portrayed...But...the love story...is portrayed beautifully in a way that still feels radical.” (05:03)

Cory:

“Found it delicious...they found a way to tie...transition...to this idea of diva worship...She became a possibility model in this place...” (19:07)

Cristina:

“He is able to really embody something that feels fresh and beautiful. And his love story with Diego Luna...feels really subversive in this moment that we're in.” (21:04)

6. Old Hollywood Homage and Production Choices

• The film intentionally mimics low-budget, analog aesthetics of classic Latin film musicals, both to honor its influences and due to practical limitations.

Glen:

“That analog quality is necessary because that's what this movie's about...they're paying homage to a B movie...” (21:42) “And I think that's working so well that even though I couldn't hum a tune if you paid me, I still recommend this movie a lot.” (23:34)

Notable Quotes & Memorable Moments

• Cristina (On Emotional Resonance):
  “By the end, they just totally had me, and I walked away buzzing, thrilled.” (05:03)

• Aisha (On Escapism):
  “It appeals to me in the same way that I think it's supposed to appeal to the character of Melina, which is—it is pure escapism.” (07:34)

• Glen (On Lackluster Lyrics):
  “You're left with meet street, Miss Kiss, gloom room, hiss Kiss. You're always one step ahead of the lyrics, which isn't satisfying.” (15:13)

• Cory (Summary of Molina):
  “He doesn't just stand with Jennifer Lopez and Diego Luna. He owns this production.” (20:56)

• Cristina (Final Praise):
  “His love story with Diego Luna...feels wonderful and affirming and just really lovely. And I think that's where the power of this film is.” (21:04)

Timestamps for Key Segments

• 03:34 – Recap of Kiss of the Spider Woman’s premise and introduction of main cast/creative team
• 05:03 – Cristina’s initial impressions and emotional payoff
• 06:24 – Discussion of tonal shifts; visual and narrative structure
• 07:34 – The role of escapist fantasy and analysis of the music’s weakness
• 10:09 – Panel exchanges on the importance (or lack) of strong musical numbers
• 11:02 – Cristina’s critique of the soundtrack
• 13:00 – Further breakdown of individual performances
• 15:13 – Detailed critique of Kander & Ebb’s lyrical choices
• 16:31 – Comparison to other recent Latino musicals
• 19:07 – Exploration of queer identity and transformation through art
• 21:02 – Praises for Tona Tiu and the film’s queer love story
• 21:42 – Glen’s take on old Hollywood homage and visual choices

Tone & Final Recommendations

The episode’s tone is lively, thoughtful, and at times wry; panelists balance critique with appreciation. Despite deep reservations about the score, each finds substantial artistic value in representation, the emotional core, and the inventiveness of the adaptation.

Glen (Final Word):

“Even though I couldn't hum a tune if you paid me, I still recommend this movie a lot.” (23:34)

In Summary:
This Pop Culture Happy Hour episode provides an insightful and honest look at a daring new adaptation of Kiss of the Spider Woman. Despite musical misfires, it’s a film lauded for its performances, visuals, representation, and conceptual ambition—a recommendation for those interested in the evolution of movie musicals and Latinx storytelling.