Willow Catelyn Maclay

I love this 10,000 Maniacs album so much

thank you <333

luckily i remembered that i had this essay in my bookmarks and could read it now after having watched [safe] yeterday.
fantastic essay about an fantastic film!

Thank you <333

Kermit seems a little better today than he was yesterday. We're all exhausted, but I think we're going to get through this. Much love to all of y'all.

Need this jacket tbh. Shout out to Mariah

There won't be a horror essay on my patreon this week, because our cat has been sick. Kermit seems to be responding to the medication. and we are hoping that he will continue to improve.

will do <333

thank you <3333333333

thank you <33333

Kermit had a health scare this morning. We think he's going to be okay (fingers crossed), but please send him your best wishes. He's on some medication now which will hopefully help him.

The world was still very cruel to Showgirls when I became serious about movies in the early years of the 21st century. It had a reputation like Citizen Kane, but on the opposite end of distinctions about quality, and it still remains very difficult to engage with the picture beyond its reputation as an object of scorn, or, more recently, one of rehabilitation and rescue. Call it the last great cult object, the Moby Dick of bad taste, or the masterpiece of shit. The shadow of Showgirls’s history is so enormous that it seems nearly impossible to find any new revelations about the picture on the critical front, and one must look into the specificity of a personal reaction in order to contend with what it has to offer. Many critics before me have made good arguments that it doesn’t suck, or that it’s about mirrors, or All About Eve, or a critical text within the explicit carnival creepshow of Paul Verhoeven’s America. What seems doable to me as a critic and a viewer is to be completely honest about my fascination with the picture, and how I remain charmed by Nomi Malone, and by extension Elizabeth Berkley’s performance. She goes way out there, further than actors usually do, and paid mightily in the public sphere, and within the industry for the risks she took, but it’s a performance that I love. Its closest contemporary is Isabella Adjani in Possession, another performance that audiences routinely laugh at, and with, and I have such affection for actors who go beyond reason to show us whoever it is that they are playing.

a still from SHOWGIRLS of Elizabeth Berkley in close-up as Nomi Malone

I wrote about my beloved SHOWGIRLS for my reader's choice series. It's sort of funny that this is the longest essay I've written in a little bit, and it feels like I barely scratched the surface.

www.patreon.com/posts/patron...

💙💙💙

That's exactly right

The trick is that if I constantly talk every now and then I might say something worth remembering lmao

did I say this?? I was probably drunk, but I stand behind it

As always if you like what I do please consider subscribing. Love y'all. <33333

A review of Showgirls (1995) The world was still very cruel to Showgirls when I became serious about movies in the early years of the 21st century. It had a reputation like Citizen Kane, but on the opposite end of distinctions ab...

A slightly longer sample of this essay can be read over here:

letterboxd.com/catelyn/film...

The world was still very cruel to Showgirls when I became serious about movies in the early years of the 21st century. It had a reputation like Citizen Kane, but on the opposite end of distinctions about quality, and it still remains very difficult to engage with the picture beyond its reputation as an object of scorn, or, more recently, one of rehabilitation and rescue. Call it the last great cult object, the Moby Dick of bad taste, or the masterpiece of shit. The shadow of Showgirls’s history is so enormous that it seems nearly impossible to find any new revelations about the picture on the critical front, and one must look into the specificity of a personal reaction in order to contend with what it has to offer. Many critics before me have made good arguments that it doesn’t suck, or that it’s about mirrors, or All About Eve, or a critical text within the explicit carnival creepshow of Paul Verhoeven’s America. What seems doable to me as a critic and a viewer is to be completely honest about my fascination with the picture, and how I remain charmed by Nomi Malone, and by extension Elizabeth Berkley’s performance. She goes way out there, further than actors usually do, and paid mightily in the public sphere, and within the industry for the risks she took, but it’s a performance that I love. Its closest contemporary is Isabella Adjani in Possession, another performance that audiences routinely laugh at, and with, and I have such affection for actors who go beyond reason to show us whoever it is that they are playing.

a still from SHOWGIRLS of Elizabeth Berkley in close-up as Nomi Malone

I wrote about my beloved SHOWGIRLS for my reader's choice series. It's sort of funny that this is the longest essay I've written in a little bit, and it feels like I barely scratched the surface.

www.patreon.com/posts/patron...

Hope you enjoy the book! 💙

In general tho I think most musicians have a very broad taste of music that they like and sometimes it doesn't necessarily cohere with the type of music that they make. But I always like saying Kate Bush when I can.

Kate Bush

Literally

Cool cool. I shall see

And I am hoping that this movie I'm about to watch has a little bit in common with Troma's aptitude for crassness haha

ah the things they would allow in a 2003 mainstream studio picture lol

The plan is to watch TOGETHER this afternoon and review it later in the week. I still think the movie should be called STUCK ON YOU. I realize there's a Matt Damon movie with that title, but nobody has watched that movie in twenty years.

Stay tuned babes

Truly unstoppable

Is SHOWGIRLS the only movie in existence to feature both David Bowie and Prince songs on the soundtrack? That's another point in its favor.