"BREEDER OR SUCKER EP.3/10. CHARLOTTE is hungover on the way to the performance class meeting. She gets off to a bad start with new student YOUNG MAN, whom she mistakes for a homeless person. CHARLOTTE makes a new friend, another new member of the performance class, EYVONNE. EYVONNES's they/them pronouns causes unnecessary confusion when CHARLOTTE tries to get them to come to two parties in one night, so as not to have FOMO, which leads to FRIEND 6 getting upset, and CHARLOTTE and FRIEND 1 have their first big fight."
Episode 3 is a comment on the ignorance of queerness and queer culture, that it's a "new" trend, a zeitgeist, a new generations game, which can be flippantly altered depending on someones mood or how “cool” it might seem, not realising that for queer people, this isn’t a choice, and queerness has been around since the dawn of time.
Breeder or Sucker is a series of semi autobiographic, comedic, feminist episodes, centering around an art school based narrative, following the lives and failures of art school students in Vienna. The scripts satirise situations of privilege and failure within the art scene, whilst unapologetically commenting on female sexuality — humorously criticising "the restrictive and reductive definition of what part is assigned to each person, whether homosexual or heterosexual…breeders or suckers. We dreamed of breaking through these boundaries. We just wanted to be people, detached from gender, or be all genders at once"(Wojnarowicz, 2006)." The viewer watches a group of people who are struggling to secure an education; to be offered exhibitions; and to get laid.
Breeder or Sucker is written about the art world, acted by the art world, presented back, to the art world. Always using humour and satire (and cardboard), the shows witnesses protagonist CHARLOTTE and her consistent "failures," commenting on what failure means, and how failing can actually help you on the road to success. The series sheds light on living abroad, each episode beginning with CHARLOTTE discussing her current situation to her twin sister, PHOEBE, who lives back in London. Gash opens up conversations about stereotypical images of the artist, combining earnestness and irreverence to distinguish the impossibilities of administration and bureaucracy in which art institutions are embedded.