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They saw me behind the bar, and they asked Jim McMullen about me. Steve and Ian, the owners of Studio 54, came in looking for another doorman, a preppy doorman, to help out Marc. I was trying to get acting work, doing the occasional Off Broadway play. I was tending bar at Jim McMullen’s on Third Avenue, a very hot restaurant owned by the male model. Okay, yes, incredible - how do I get in? (This interview has been edited and condensed for length and clarity.) “It wasn’t a barroom, it wasn’t a discotheque, it was a cultural moment.” “Last call for a very wild and open time in New York City,” he explains. And where it was okay, where it was welcomed.” It was a short window of excess, wedged in just before the AIDS epidemic took hold.
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“54 was just electric,” he told me, “this carnival atmosphere where people felt free to just be absolutely who they wanted to be inside.
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Now 39 years sober, Sheridan is in private practice as a psychotherapist in Providence, Rhode Island he is also the father of one of my best friends, which is how I know about his past life as a “disco lounge lizard,” as he put it in our recent interview. To underscore the Studio 54 doormen’s influence: Andy Warhol once described their reign over the entrance as a “dictatorship,” while Benecke says the New York Times once called him “the most socially powerful person” in the city. I brought these questions to Robert “Bobby” Sheridan, who worked the door at Studio 54, alongside Marc Benecke, from just after its opening to around the time of the bust, in 1979.
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I can only wonder, as I ogle all the reproductions from my dumb little couch: Is this sufficiently swinging? Are we getting it? Or maybe because it really was that good, though as a person who will only ever experience Studio 54 in facsimile, I don’t have any idea about that. Perhaps Studio 54’s aura of fascination remains because it didn’t last very long (the golden-age version closing due to tax evasion after about three years), or maybe because of the legions of slinky celebs who passed through its doors ( Liz Taylor seated on the dance floor, eating a cake with her face on it Bianca Jagger riding that horse Grace Jones all the time everywhere), or maybe because of a ’70s revival pushing people back to flares and curtain bangs. (“Synonymous with wealth, style, power,” to borrow from Gaga.) Still, the impact of Gaga’s sequined going-out top endures, a little disco lure to reel butts into seats. This scene somehow did not make it into the movie’s 157-minute early press screening - too bad, considering how well the setting would match Patrizia’s own preference for extravagance and luxury. It serves as a hook for House of Gucci, Lady Gaga–as–Patrizia Reggiani shimmying under the club’s strobing lights in the trailers. It caught the eye of FX guy Ryan Murphy, who plans to spotlight its demise in the next season of American Crime Story. In 2021 alone, it reared its glittery head in Halston, as the site where the eponymous designer (allegedly) railed cocaine in a booth and lit a fur coat on fire.
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For a nightclub that only lasted a few years and closed more than four decades ago, the strength of Studio 54’s sustained cultural influence astonishes me.