A new survey suggests that a strong majority of American adults, including most parents of school-aged children, don’t believe ‘Drag Queen Story Hour’ events featuring men dressed as women are appropriate. for a young audience.

About 60% of American adults consider events such as Drag Queen Story Hour to be inappropriate for children, according to a nationwide telephone and online report by Rasmussen Reports. investigation.

The survey of 1,000 US American adults was conducted October 26-27 with a sampling error of +/- 3 percentage points.

The survey asked respondents “how appropriate are Drag Queen Story Hour events for children” held at many libraries across the United States, in which “men dressed as women perform for young children”.

About half (51%) of parents of school-aged children said they thought Drag Queen Story Hour was “not at all” appropriate for children, compared to 44% of all US adult respondents who said the same thing.

Only 29% of all respondents said it was appropriate, with 11% saying they considered the events “very appropriate”.

One in 10 respondents (10%) said they weren’t sure Drag Queen Story Hour was appropriate for children.

According to the official to place for the now-renamed Drag Story Hour, the chapter network seeks to use “the art of drag to read books to children in libraries, schools and bookstores” and help them “see people who defy rigid restrictions of gender and imagine a world where everyone can be authentic.”

The survey also found that 71% of respondents believe Drag Queen Story Hour should receive no taxpayer funding, compared to 14% of adults who support such funding. About 15% of respondents were unsure.

In New York alone, since 2018 taxpayers have paid more than $200,000 to fund the program, where drag queens interact with school kids as young as 3, according to the New York Post. reported in June, citing city records.

Jonathan Hamilt, executive director of Drag Story Hour, declined a request for comment from the Christian Post, calling the investigation “grossly biased.”

Founded in 2015 by authors Michelle Tea and Juli Delgado Lopera in San Francisco, Drag Story Hour is a nonprofit organization made up of several local chapters across the United States, each independently run and funded, according to its site. website.

The new survey finds Democrats (47%) are much more likely than Republicans (17%) to say Drag Queen Story Hour events are “at least somewhat appropriate for kids.” Twenty-two percent of respondents not affiliated with either political party said the same.

Majorities in both major political parties — 89% of Republicans and 56% of Democrats — oppose taxpayer funding for Drag Queen Story Hour.

Young adults under 40 (47%) are more likely than adults ages 40-64 (20%) and adults 65+ (17%) to say Drag Queen Story Hour is at least somewhat appropriate.

Married respondents are more likely than unmarried respondents to think Drag Queen Story Hour is inappropriate for children.

Despite opposition from parents and Christian organizations, Drag Story Hour insists on a statement that any suggestion that the movement has “an agenda to indoctrinate children misunderstands [LGBT] experiences and is rooted in homophobia and transphobia.”

“It’s really beautiful to have drag queens painting children’s faces and telling stories,” Lopera said in a testimonial. “It’s a kid’s world to be very imaginative. If kids were allowed, they’d dress up every day. I don’t think they think about gender assumptions. They just see drag queens as other people who show imagination.”

That’s not how Rich Penkoski sees it.

Penkoski is a street preacher and pastor in Bartlesville, Oklahoma, where he is part of an effort to get the city to limit drag shows in public spaces after one took place in September in a public place.

To date, Penkoski said more than 2,000 people have signed a petition calling for a ban on drag shows in public places in Bartlesville.

According to Penkoski, the city hosted a “family-friendly” drag show sponsored by Oklahomans For Equality. This group says it “seeks equal rights for LGBTQ+ individuals and families,” according to its mission statement.

Penkoski said the performers for this event were not Oklahomans but were brought in from Texas and Arkansas. He argues that these events are not family friendly but “graphic and sexually suggestive”.

“From undressing to grabbing their genitals and men in women’s lingerie shaking their half-naked buttocks in children’s faces while children hand them dollar bills is akin to a striptease,” said he declared.

Penkoski shared images and video footage with the city council and lobbied state officials.

Penkoski quoted a video of what he says is an 11-year-old girl at a local pride event shouting the phrase “little d—energy” as Penkoski and others arrived to protest the event.

“You don’t see kids behaving or talking like that except at Pride events because Pride is about sex and promoting sex to kids,” he said.

For him, fighting drag shows and other similar events requires understanding what he says is a kind of “code” language.

“[Drag Story Hour] is ‘family’ in the sense of ‘family’ as an old-school queer code for identifying and connecting with other queers on the street,” Penkoski said. “The goal is not to strengthen family biological but to facilitate the child’s transition into the ideological family.”

As drag shows remain a national trend, a Texas state legislator is calling for a state ban on drag shows and other sexually inappropriate displays for children following reports of minors attending an event featuring drag queens at a Dallas gay bar.

Invoice as a “family pride experience”, Mr. Mister Bar hosted a “Drag The Kids To Pride” show on June 4 as a “spin-off” of the bar’s Champagne Drag Brunch.

The event – which offered “limited seating for young performers to take the stage solo or with a queen of their choice” – offered mimosas for adults and special “mocktails” for guests under 21, according to the description on Eventbrite.

A bill introduced in the Louisiana legislature would criminalize drag shows in the presence of children. If passed, the bill would require any establishment that hosts an adult cabaret show to require patrons to show identification proving they are 18 years old.

In 2020, a bill was introduced in Missouri aimed at preventing drag performers from reading to young children in public libraries.

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Robert Siegel’s latest series is coming to Hulu this week.

On Tuesday, November 22, the streaming service will release the first two episodes of Welcome to Chippendales, a drama series starring Kumail Nanjiani as Chippendales founder Steve Banerjee. The show will follow the story of the male stripper group known as the Chippendales. Welcome to Chippendales is produced by Siegel and Jenni Konner, who both serve as showrunners. Joining Nanjiani are Murray Bartlett, Juliette Lewis and Annaleigh Ashford. It will also star Quentin Plair, Robin de Jesús, Andrew Rannells, Spencer Boldman, Nicola Peltz Beckham and Dan Stevens.

“A sprawling saga of true crime, the film tells the scandalous story of Somen ‘Steve’ Banerjee, an Indian immigrant who became the unlikely founder of the world’s largest male stripping empire – and let nothing happen. get in his way.” read the synopsis.

Executive producers are Nanjiani, Dylan Sellers, Jenni Konner, Matt Shakman, Emily V. Gordon, as well as Jacqui Rivera, Nora Silver and Rajiv Joseph, with Annie Wyman serving as producer. Shakman is also expected to direct.

RELATED: Andor: The First 2 Episodes Of The Star Wars Series Air On TV And Hulu

Hulu New TV and Movie Additions | November 21-27

What to watch on Hulu on Monday, November 21

• Death in the dorms: Complete limited series

What to watch on Hulu on Tuesday, November 22

• Welcome to Chippendales: Premiere of the series in two episodes

What to watch on Hulu on Thursday, November 24

• A winter Christmas song (2021)
• A Unicorn for Christmas (2021)
• Happy cam kiss (2022)

What to watch on Hulu on Friday, November 25

• The Croods: family tree: Complete Season 5
• A snow white Christmas (2018)
• Four Cousins ​​and a Christmas (2021)
• The Immaculate Room (2022)
• Wrong place (2022)

What to watch on Hulu on Saturday, November 26

• A banquet (2021)
• alone together (2022)
• How to please a woman (2022)

Adams has also used this great platform to discuss his recovery from addiction and bring attention to his two mental health charities: Sporting Chance and SIX MHS. Unlike some politician whose motives for joining a reality show are clearly dubious, Adams has turned his prime-time fame into an opportunity to help others. What a good egg.

And though he trained in earnest, working hard with his partner (and genius-mad choreographer) Katya Jones, he wasn’t afraid to laugh at himself — and give us all a well-deserved laugh, too. That’s why the manner of his exit is so bittersweet: It would have been wonderful to see Adams speak one last time, proving that anyone can have a shot.

Praises from the judges

The panel was quick to criticize Adams: Craig Revel Horwood called Saturday night’s jive a “technical disahhhster.” But Chief Justice Shirley Ballas had very kind words for him as he left, congratulating him for giving us “100% [his] heart.”

She added, “You grew week after week after week, becoming one of the nation’s favorite entertainers. On behalf of the judges, we enjoyed watching every second, you really are what this show is all about. We can only wish you the best for the future. Please keep dancing, keep entertaining people, because you are a star.

Earlier in the show, when Adams learned he was into dancing, even acid-tongued Revel Horwood admitted that he admired the hours Adams put into training and secretly loved his dancing – “I just have to judge him!”

At a meeting of the French bishops’ conference, a letter from Cardinal Jean-Pierre Ricard was read aloud, in which the cardinal admitted he had ‘behaved in a reprehensible manner’ with a young girl of 14 years, adding: “My behavior necessarily caused in this person serious and lasting consequences.

On “Inside the Vatican” this week, host Colleen Dulle and veteran Vatican correspondent Gerard O’Connell explain what is known about the case. Cardinal Ricard was until now a member of the Vatican’s Dicastery for the Doctrine of the Faith, the Vatican office responsible for investigating cases of abuse, although it is not clear whether Cardinal Ricard himself never investigated a case.

The French church is currently reeling from a series of major abuse revelations. First, a report released last fall looked at the sexual abuse of minors in Catholic institutions and estimated that up to 330,000 minors had been abused since 1950. More recently, it was revealed that Bishop Michel Santier , who retired as Bishop of Créteil in 2020, citing health reasons, was actually removed from his post by the Vatican for “using his influence on two young adult men for sexual purposes. and abused the sacrament of confession by taking “strip confessions”. Colleen and Gerry discuss the lack of transparency in all of these cases.

In the second half of the show, Gerry and Colleen discuss Pope Francis’ trip to Bahrain over the weekend, where he attended an interfaith gathering, the “Bahrain Forum for Dialogue: East and West for human coexistence”. The hosts see the trip in the context of Pope Francis’ relationship with the Sunni Grand Imam of Al-Azhar, who also attended the meeting and with whom the pope wrote a landmark 2019 document on human brotherhood.

Show links:

French cardinal admits abusing teenage girl 35 years ago

Pope Francis in Bahrain: What to know and what to expect

Pope Francis denounces ‘childish’ whims of the powerful who start wars as Putin’s invasion of Ukraine rages

In Bahrain, Pope Francis calls for full religious freedom and an end to the death penalty

Pope: ‘Every time a woman comes to do work in the Vatican, things get better’

Pope Francis: “Three world wars in one century: be pacifists! (Full text of the press conference)

The Empire undresses – the unauthorized Star Wars slapstick parody will have a limited engagement at the Montalbán Theatre, 1615 Vine Street, Hollywood from November 19 (press opening November 30). Tickets are available at empirestripsback.com.

Featuring all the classic Star Wars characters, The Empire Strips Back, created by Russall S. Beattie, takes audiences to a galaxy far, far away, creating one of the most unforgettable (and unauthorized) theatrical versions ever. from the beloved franchise.

Combining striptease, song and dance, troupe routines and plenty of humor, audiences are transported into the world of burlesque to see a menacing troupe of seriously sexy Stormtroopers, a dangerously handsome Boba Fett, tantalizing Twi’leks, a Deliciously warm Taun Taun, a Skywalker, and of course, scantily clad and bold droids. Even Darth Vader will explore his feminine side with a fantasy twist.

The Empire Strips Back celebrates the resurgence of burlesque, while providing a powerful experience for fans of this art form as well as the classic film series. Ariana Bindman of SF Gate said, “Popularized in the United States in the 19th century, burlesque blurs the line between comedy and adult entertainment, incorporating camp and drama into playful strip routines.”

Bindman continued, “Dark and sexy…with each draw of the curtain, we saw a series of visually decadent and tonally unique acts…a captive Princess Leia twirling in a bikini to Nine Inch Nails’ ‘Closer’ or stormtroopers sexy stomp towards the relentless “Seven Nation Army”… or a resident space pimp, R2D2 making it rain by ejecting wads of cash into the air while a swaggering Han Solo rippled on “Smooth Criminal” doing every goth and nerd in the audience screaming like animals.”

She concludes: “I saw the Star Wars striptease and now I’m forever changed. A huge hit…one of the most memorable and impressive live performances I’ve ever seen. I know The Force is already with them.”

Australian creator Russall S. Beattie says producing “Strips Back” was inevitable. “I’m Peter Pan. I never really grew up,” he said. “It takes all the best things about being a kid and all the best things about being an adult and putting them together.” Asked about his knuckle tattoos, which spell “Sexy Boss” – a nickname he earned while working in the burlesque circuit – he said. “I was drunk in Texas one night and I got it and I could tell I was drunk because the ‘x’ isn’t in the middle.”

First imagined in 2011 by Beattie, the original production was booked into a small 150-seat venue in Sydney for a unique three-night run. Fast-forward to seven sold-out Australian National Tours, an enthusiastic audience of over 100,000+ and a Huffington Post Video Feature with over 20 million viral views.

Last touring the United States, The Empire Strips Back was a sold-out success at prestigious venues, from the Warfield Theater in San Francisco, the Wiltern in Los Angeles and the PlayStation Theater in New York, with standing ovations. and rave reviews. Los Angeles’ 2022 engagement follows San Francisco’s successful run at the Great Star Theater in Chinatown, shaking the walls of the 97-year-old venue. Roger Pincombe, Executive Director of The Great Star, said: “The Empire Strips Back was one of the most important and thrilling productions the theater has seen in decades, and it marks the start of a new era for our venerable room.

Beattie and her producing business partner, Craig Ridgwell, made a name for themselves on the Australian and London theater circuits; clients include HBO/Foxtel, Warner Bros, EB Games, Sydney Film Festival and Oz ComicCon. The two worked side by side for 10 years as creators and producers of live shows, achieving cult stardom for developing and promoting other internationally acclaimed slapstick parodies such as Dames of Throne, Biba Wizard of Oz, Batman Follies and Hail to The. King, all seen by thousands in sold-out cinemas across Australia.

The Empire Strips Back Hollywood Engagement is produced by Promote entertainment and Neil Gooding Productions, presented with Fever and Secret Los Angeles.

The closing of the Trocadero Theater more than three years ago was a dark day for live music in Philadelphia, which lost a venue treasured for its lackluster character and storied past.

The building at 1003 Arch St. in Chinatown, built in 1870, has stood unused since, with no apparent signs of life indicating its future use. It now appears to be on track for a full renovation in the coming years, according to documents from the Pennsylvania Redevelopment Assistance Program.

The list of 2022 recipients of the state grant program includes an entry for Northwest Arch LLC, a legal entity run by Trocadero owner Joanna Pang. The RACP document shows that a $2.5 million grant was awarded for a site restoration project. Northwest Arch LLC had requested $5 million. The news was first reported by Philly Mag.

Here is the description of the project included in the RACP document:

This project will involve a complete renovation of the exterior and interior of the Trocadéro building. The end product will be a fully renovated first-class concert hall, entertainment space and full-service restaurant. Renovations will include woodwork, paint, flooring, doors and windows, roofing, lighting, signage, staging, bathrooms, domed ceiling, elevator, electrical, plumbing and HVAC upgrades. Careful attention will be given to preserving the historic features and unique architectural elements of the building, including the original gallery benches, the double plaster garland that frames the proscenium, the plaster lions flanking the stage and the ornamental cast iron columns of the auditorium. .

The Trocadero Theater was listed on the Philadelphia Register of Historic Places in 1973, then on the National Register of Historic Places in 1978. It was designed by Edwin Forrest Durang, a prominent Philadelphia architect who primarily planned churches in the area , including Fishtown’s St Laurentius Church, currently being demolished.

Originally called the Arch Street Opera House, the Trocadero was a popular venue for burlesque and vaudeville shows, as well as opera concerts, musicals and stripteases. After Pang’s father bought the building in the late 1970s, it became a Chinese-themed arthouse cinema before becoming a premier downtown venue for rock and punk shows in the 1990s, with a comfortable capacity of around 1,200 people. .

In its heyday, Barter hosted titans like Bob Dylan, Pearl Jam, Beck, Foo Fighters, Guns N’ Roses, Neil Young and Radiohead. In recent years, before its closure, the venue hosted stars like Kendrick Lamar and Kacey Musgraves. Music fans could count on Barter for just about everything in between, from Pavement, Elliott Smith and Guided By Voices to Rancid, Lamb of God and Titus Andronicus.

Over the past decade, the emergence of larger, more modern venues in Philadelphia, from the Union Transfer to World Cafe Live and the Theater of Living Arts, has reduced the Trocodero’s ability to book shows. The more recent openings of the remodeled Met, Fillmore and Brooklyn Bowl also seemed to point to a rocky road for Troc as a concert venue.

Tightness filed for bankruptcy in 2011, but managed to restructure the Trocadero the following year and keep it afloat for another seven years. Devoted fans tried to stop it from closing in 2019, but those attempts failed and Pang admitted she couldn’t keep up.

“It was my home,” Pang said Variety when the Barter closes. “But the business landscape has changed over the last five years. It’s harder now to be an independently run venue – it’s a different world. There are bigger venues run by more major concert companies.”

Since the site was closed, Pang has not spoken publicly about the road ahead for the building.

The RACP grant is a positive sign that something is afoot to restore Troc to its former glory, with a restaurant that can help anchor the location. A timeline for the project was not specified in the project description.

All signs point to Philadelphia reclaiming one of its most intimate concert halls, one whose history may attract larger acts than the small capacity suggests. It’s going to be tough to score tickets when Barter makes its eventual return.

There was no respite from the Strictly costume box on Saturday night, but at least this week’s Halloween special was mostly gory in all the right ways – unlike the sheer horror that was the BBC 100 Celebration.

New National Treasure Tony Adams played straight and wowed the jury, with her devilishly quick step, while Ellie Taylor topped the leaderboard for the first time with her Hocus Pocus Couple’s choice number. But it was also a night of confusion and drama as the judges continued to argue over scores – and Anton Du Beke went completely rogue, handing out a bizarre 10 to Tyler West, even though the DJ had next to no content cha cha cha in his routine. .

Last week’s shock participant Molly Rainford found redemption through Kate Bush, and Helen Skelton charmed by a foxtrot from Red Riding Hood. But will beekeeper James Bye be buzzing after his lackluster dance, which left him bottom of the leaderboard? Or maybe Ellie Simmonds, whose Scooby-Doo foxtrot also disappointed? Or will we see yet another surprise dance? Join us again for the results are broadcast on BBC One at 7.20pm on Sunday evening.

Tony Adams stuns the judges

I’m not sure why Tony Adams’ Devil was in his dressing gown for this Wild West number – he looked ready for a good session with a cup of hot chocolate rather than a soul-sucking seduction . That aside, it was great to see our resident joker deliver a serious and really good fast step, albeit with some timing issues and awkward transitions. But irrefutable proof that he can entertain without resorting to striptease.

“I’m absolutely in shock,” exclaimed Shirley Ballas, praising her improved footwork and frame. “You are a good dancer,” agreed Anton Du Beke. “Keep it up.” Craig Revel Horwood drawled, “Welcome, Tony, to the ballroom. Style, story, technique: I think you have found your dance. Three 8s for a whopping 31 – his highest by far.

It is disconcerting to realize that Hanya Yanagihara’s best-selling novel A little life came out over seven years ago, given the ironclad grip it maintains on the culture. A 750-page epic about pain, friendship, the evolution of homosexuality, exploitation and shame following the lives of four college friends, its operatic ups and downs inspired a constant discourse, fueled as much by praise for its astonishing prose and scope as by condemnation of its graphic depictions of childhood sexual abuse and self-harm. Atlantic called him “the great gay novel”; The New York Book Review the judge “a striptease” pejoratively.

Love it or hate it, the 2015 tome left an immediate and indelible mark. “Not a contemporary classic [but] an instant classic,” as director Ivo van Hove points out. “It was never a new novel. He instantly became like a mythical figure, which is strange when you think about it. It’s about horrific things – the structural violence and sexual abuse of a seven-year-old boy through the age of 50 and the brutal and lifelong consequences of that trauma. How can it attract so many people?

Known in the United States for his divisive Broadway adaptations of landmarks like the crucible, West Side Storyand Network, the Dutch theater maker has now brought his take on Yanagihara’s novel to BAM for a limited release. First premiered in 2018 with his company Toneelgroep Amsterdam in the Netherlands before a brief stint in Edinburgh, the production, which lasts just over four hours, had to overcome a number of hurdles before coming together. The first: getting van Hove and her husband and longtime collaborator, set designer Jan Versweyveld, to believe the hype.

“I thought, Well, another gay story…why?” jokes van Hove. “I did not care.” But after enough friends convinced him to read it, his opinion changed overnight, as did that of Versweyveld, who wondered how his story, which spans decades and continents, could possibly be translated into the minimalist, lively aesthetic they are now known for.

“The book gets under your skin, and what I knew was that a central piece of the set design should be something that relates to Jude as a character,” says Versweyveld, zoning in on the main character of the book. and the bearer of much of his trauma. “At a very early stage, we decided that the central part of the scene would be the skin – a large piece of human-colored skin that conveys [Jude’s] vulnerability.”

OWhen Jane Fonda was preparing for the galactic striptease that opens the 1968 sci-fi fantasy Barbarelle, she satisfied herself with vodka. She was so terrified that she made sure she was completely drunk before the cameras started rolling. A bat flew past the lens, spoiling the shot, and the director, her then-husband Roger Vadim, insisted she shoot it again the next day.

“The hold that was actually used, I wasn’t just drunk. I was hungover too,” Fonda recalled in the 2018 documentary about her, Jane Fonda in five acts.

It’s one of the most memorable sequences from an otherwise uneven and eccentric film that barely deserves its cult reputation. Fonda appears to be floating as she pulls off her outfit. In fact, she was lying on a window pane with the rest of the spacecraft behind her for the shot. As she takes off her helmet, gloves, and eventually everything else, a bland pop song with crazy rhyming lyrics plays over the soundtrack. “Barbarella, psychedelia/Never a guy can name you or clone you” or, even worse, “Barbarella, psychedelia/There’s some kind of shell in you.”

Last week, Sydney Sweeney, the brilliant young TV star Euphoria and The White Lotus, was announced as the new Barbarella, in a remake planned by Sony Pictures. Details about the project are almost as skimpy as the outfits she’ll have to wear in the movie. Commercial publishing Deadline reported that there was no writer or director attached yet, but that Sweeney was to serve as executive producer.

“He’s such an iconic and fun character. And I want to keep that fun alive through Barbarella. So I’m excited for everyone to see him,” Sweeney said. entertainment tonight earlier this week.

The announcement of the new space adventure, however vague, prompted an immediate question: why on earth would Sweeney want such a thankless role? Pleasure was definitely not what Fonda considered doing Barbarelle. She patiently accepted the film because Vadim suggested it. “I was not a questioner. The superficial can be quite easy for me,” she later said of the docile manner in which she did what Vadim said.

The American had not wanted to do the “weightless striptease”. “Again, I just didn’t think I could say ‘no,'” she admitted in her autobiography, My life so far, about how, during this period, she always relied on her French husband. “He promised that the letters in the film’s credits would be placed thoughtfully to cover what needed to be covered – and they were.”

Fonda was in the movie mostly to admire. Vadim was a Svengali who turned his female partners into international sex symbols. He did it for Brigitte Bardot in her St Tropez set And God created the woman (1956) and was now going to do the same trick with his wife. He loved science fiction, comedy and erotica. best selling Barbarelle the cartoons, written and illustrated by Jean-Claude Forest, brought together the three.

The film has a certain kitsch charm. It is shot in dazzling color by Claude Renoir, the grandson of painter Pierre-Auguste Renoir and the nephew of filmmaker Jean Renoir. In its best moments, Barbarelle has that blend of whimsy and gentle menace you find in Tim Burton movies. There may be frequent references to sex, but the film never feels dirty. Fonda is funny and engaging in the title role because she plays it in such a primal and earnest way.

Barbarella comes from a world in which intercourse is conducted by partners who take pills (“elation transfer pellets”) and push their palms together until full intercourse is achieved. When the hirsute handyman Mark Hand, played by Ugo Tognazzi, suggests that they go to bed together, she dismissively replies: “But no one has done that for centuries. Nobody except the very poor who can’t afford the pills and the cardiogram readings…”

However, once she is told about old-fashioned sex, she discovers that she not only likes it, but is very good at it. At some point, late, she is tied up in an orgasmatron machine playing music in which she is supposed to die of extreme pleasure. The corpses of previous victims lie nearby but Fonda’s love power short-circuits and breaks the machine. The film includes several close-ups of the star’s face and eyes, which are even bluer than those of her famous father, screen legend Henry Fonda.

Sometimes Vadim includes horror movie elements and even references to Alfred Hitchcock. Early on, after her spaceship crashes on a distant planet, Barbarella is accosted by two young girls. They turn out to be little sadists, dropping dolls with razor sharp teeth on her. Later, she’s locked in a cage with equally voracious birds, “pecking and pooping in my hair” as she later recalled.

Other sequences, however, wouldn’t seem out of place in a Carry On comedy. For example, in the underground headquarters of revolutionary leader Dildano (David Hemmings), none of the gadgets seem to work. He will pull a lever and it will return to his hand. If certain special effects have the same naive charm as those of old silent films like that of Georges Méliès A trip to the moon (1902) in which rockets crash into sticky lunar surfaces like sponge fingers landing in custard.

The outer space imagined by Vadim resembles the psychedelic nightclubs of the 1960s. It is full of strange characters played by actors like Anita Pallenberg, in the role of the “Great Tyrant” à la Dominatrix, and the mime Marcel Marceau, incongruously cast in a speaking role as the white-bearded, pixie-like Professor Ping. Plinky-plonky music adds to the overall feeling of frivolity.

The plot is a hokum about the President of the Earth Republic sending Barbarella to hunt down Durand Durand, who has invented a weapon of mass destruction – “a positronic ray”. She spends much of the film in the presence of Pygar, a tan angel resembling Adonis (John Phillip Law) who is blind and reluctant to fly.

At the time of its release, no one confused the film with a masterpiece. Nonetheless, it had a far greater and more lasting influence than many other much better films of the time. Everyone was fascinated by the idea of ​​Fonda in a risque intergalactic sex comedy. She has been featured on magazine covers in the United States and Europe. Vadim succeeded in his goal of making Fonda an international movie star in his own right. He also inspired fashion designers and new romantic pop groups.

Like Bardot, Fonda quickly moved from Vadim, the high priest of voyeuristic kitsch, to working with Jean-Luc Godard, the most radical and provocative French director of the time. In 1972, his transformation was complete. The pin-up of Barbarelle“The scantily clad – sometimes naked – sex heroine,” as Fonda called the role, had morphed into “Hanoi Jane.”

She was back on the covers but no longer the object of voyeuristic male fascination. Thanks to her trip to North Vietnam in the midst of the Vietnam War to draw attention to American bombings of the country, she was now seen as a subversive and a traitor. Furious right-wing commentators were so busy condemning her as un-American that they stopped eyeing her.

Since Barbarelle days, Fonda has also been a tireless campaigner for women’s rights. She appears in Camille Hardman’s new documentary, Always working from 9 a.m. to 5 p.m. – it was released in the US last month. This looks back at the 1980 comedy 9 to 5in which Fonda and her co-stars Lily Tomlin and Dolly Parton played office workers suffering the slingshots and darts of outrageous sexism at work.

Forty years later, the documentary concludes, little has changed in office culture – gender inequality still reigns, and harassment and bullying remain rampant. Fonda, however, continues the fight. The idea of ​​doing 9 to 5 grew out of his friendship with activist Karen Nussbaum, who in the early 1970s co-founded the 9 to 5 National Association of Working Women.

“Jane Fonda, as we all know, is a women’s rights stalwart and has been for a very long time,” director Hardman said admiringly of the actor during a women in cinema event at the Doclisboa Festival in Lisbon last week.

Barbarelle represented precisely the jingoism against which Fonda would later react so strongly. It was an extremely goofy film, based on a French comic book, about a space traveler who travels the galaxies on romantic adventures – and is humiliated along the way. Nevertheless, Fonda has learned to live with her space sex adventure and no longer sees it as “gender betrayal”. In Jane Fonda in five actsshe describes it almost fondly as “just a camp romp. Really…I don’t think that’s particularly sexy.” After several decades, she observed, she’s reached “a place where I can . .. share the enjoyment of the film’s unique charms”.

Fonda’s galactic gallops transformed his career, but it’s hard to see Sweeney benefiting from it in the same way. Surely Sweeney is far better advised to stay on Earth than strip naked in space. Barbarella is a 60s screen heroine who should be left alone. Turning a fantastical male figure into a feminist icon is a near impossible task – and that old orgasmatron machine is surely way beyond rebooting now.

Demi Moore has been an actress for over four decades now. Over a highly decorated career, she enjoyed a mixed bag of great roles, as well as some that weren’t as notable.

Some of his less distinguished gigs include movies like Parasite, Corporate animals and Striptease. For the latter, she even received a Golden Raspberry Award nomination for “Worst Actress” and many fans believe her career never quite recovered.

On the plus side, Moore has been highly regarded for her work in films like St. Elmo’s Fire, some good men and Indecent Proposal. The actress has spent most of her career as a big-screen star, with few television roles in her portfolio.

Her biggest TV jobs lately have been on HBO. Animals and Empire on Fox, where she appeared in a total of five and seven episodes respectively. She has also featured in six episodes of the podcast series, Dirty Diana.

RELATED: Here’s What Most People Forget About Demi Moore

However, the biggest TV role of Moore’s career was also his first: on the ABC daytime soap opera, general hospital. His work on the series spanned 85 episodes.

What role did Demi Moore play on General Hospital?

general hospital is one of the longest-running television shows in history, having premiered in April 1963 and continues to air today. During this period, the soap opera had 15,000 episodes in total, making it actually the the longest race ever of its kind.

Demi Moore played a character known as Jackie Templeton on the show. She was the first actress to debut the role. Jackie is described as “a tough, no-nonsense investigative reporter from New York”. Moore first stepped into these shoes in the GH episode aired on January 4, 1982 and continued in part until its final episode in April 1985.

Jackie was not seen on the show for another three and a half decades or so. In October 2020, however, Blue NYPD Star Kim Delaney took up the mantle and continued to portray the character for 45 episodes.

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One of the people who played alongside Moore during his time at GH was John Stamos, in what was also his acting role as an actor in Hollywood.

Demi Moore ‘had no idea what she was doing’ on General Hospital

Demi Moore had no intention of becoming an actress. She only started following the path thanks to the influence of one of her neighbors while growing up in West Hollywood.

“I met a young actress who I thought was the most incredible creature I had ever met. Her name is Nastasja Kinski. She spoke English well, but she didn’t read it well, and we all lived the two in a building in West Hollywood with our single mothers. Moore told Interview Magazine in February last year.

“She was so in control, so comfortable in her own skin,” she continued. “I was like, ‘I don’t know what you got, but I want it.’ She was pursuing her acting career and I was like, ‘What do I have to lose?’ And so I went to figure out how f****** to make it work.

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The Roswell-born star found her way to general hospital, but still, she knew she wanted something more. “The soap opera wasn’t where I wanted to be. It was just a starting point,” Moore added. “I was completely faking it until I did. what I was doing.

Demi Moore still worries she’s not good enough

It was after his move to general hospital that Demi Moore joined the famous Brat Pack, a group of young actors who collaborated on various film projects in the 1980s.

His work in St. Elmo’s Fire (1985), About last night and Wisdom (both from 1986) fit into this context. The Brat Pack also included Emilio Estevez, Anthony Michael Hall, and Rob Lowe, among others.

In 1990, Moore joined Patrick Swayze, Whoopi Goldberg, Tony Goldwyn and other stars in the cast of Jerry Zucker’s romantic fantasy film, Phantom. The film was produced on a budget of around $22 million, but grossed $505 million at the box office. By doing so, Phantom Has become the best performing movie of this year in a business sense.

Moore was also nominated for a Golden Globe Award for her performance. Despite this and many other successes that followed, the actress told Interview that she still remained somewhat uncertain. “If you really knew me, the real Demi, you would know that I’m afraid I’m not good enough,” she said.