“The Whipped Cream Is Adversity”: SNL Host Will Forte Goes All In
]
Will Forte, what a sunshine pro. Twelve years since leaving Saturday Night Live, the MacGruber star celebrated the chance to finally return as host—and he wasn’t going to miss a second of the action. Wigs and hairpieces? He wanted them all. Singing about sending toddlers to hell alongside Kristen Wiig, having sex with a pillow, dressing up as the “QAnon Shaman” Capitol rioter, gas-lighting Kate McKinnon while wearing a gentleman’s suit—the man came to play.
In his ace monologue, Forte recounted his many former cast members who’d been invited back to host while he waited all those years for the phone to ring. Wiig. Bill Hader. Andy Samberg. Fred Armisen. Seth Meyers, for God’s sake. And did Weekend Update even count as being a cast member? “John Mulaney was a writer when I was in the cast, and then he hosted. Four times!” As he reassured himself that his moment in the spotlight had finally come, Wiig, a vision in her Tippi Hedren haircut and disco ornament of a dress, waltzed on stage to scene-stealing applause. Adding to his indignities were a house band trying to play him off stage, then boss man Lorne Michaels standing alongside next week’s host Willem Dafoe in the audience, sighing over an inelegant snafu. In a poll showing who the audience wanted for a host, Forte pulled in numbers on par with the bloc who voted to: “Abandon show. Bring back Hanks.”
Content This content can also be viewed on the site it originates from.
These past few years have been hard on all of us, including dopey spy guy MacGruber. A series of sketches revealed his descent from casual mask burner to Ivermectin chugging anti-vaxxer to full-blown Capitol rioter ranting about Hollywood trash like Ellen Pompeo eating and having sex with babies. The bomb he must dismantle is coming from inside his brain.
Content This content can also be viewed on the site it originates from.
He was equally good as the seemingly blowsy host of Kid Klash, a stunt game show for kids. If Aidy Bryant’s little Tatum could find the flag in a vat of whipped cream, she could win one large cheese pizza that she could decide for herself if she wanted to hang onto for life. Alas, Bryant swam around in the giant pie but came up empty as her time ran out. “Where do you think you’re going?” Forte said, his tone suddenly threatening and wonderfully so. “The whipped cream is adversity, and the flag is your unfulfilled potential.”
Content This content can also be viewed on the site it originates from.
A booster shot and a bouquet of roses for the costume designer who outfitted Forte’s “experienced third.” In the sketch, properly set at a Radisson, Heidi Gardner’s birthday girl and her resistant husband, played by Mikey Day, were threesome first-timers. Forte, wearing a glossy gold shirt, a shiny meat cleaver charm hanging from a chain on his exposed chest, and a hot dog mustard-colored hair piece, popped three Cialis pills and set some ground rules: “If your wife and I have a good rhythm going, don’t crowbar your way in. Remember, it’s not a me-way, it’s a three-way.”
Content This content can also be viewed on the site it originates from.
In Weekend Update, Michael Che delivered news that the vaccine has been shown not to cause infertility in men or women (“Dammit, why did I get this?!”). Bowen Yang had an unusually lukewarm appearance as Chen Biao, there to comment on NBC’s decision not to send correspondents to the Beijing Olympics. And in her first on deck, featured player Sarah Sherman set up Colin Jost beautifully as the repeated punchline of her bit, which culminated in her asking for Jost and Che to make out and then promptly accusing Jost of being homophobic queer bait. She’s as weird as she is assured.
Content This content can also be viewed on the site it originates from.
Alex Moffat returned as most excellent douche: Guy Who Bought a Boat. Speaking in Brospearean language, he was soon joined by Pete Davidson, holding a roadie, who really did just buy a boat with Jost. The two went in on an old Staten Island ferry for no discernibly good reason, and it gave Moffat the opportunity to rhyme “my boy Koi Joy and an SNL boy toy.”
Content This content can also be viewed on the site it originates from.
Two questions linger: Does Kim Kardashian ever make Davidson laugh like Moffat did when he argued length doesn’t matter? (“It’s the width that counts. Mine is like a tuna can.”) And finally, is there a lead singer with as much chic and primal swagger as Måneskin’s lead singer Damiano David? Good grief, that man can wear a feather-cuffed suit. Ooh, we bet that Forte would love a chance to return and play him in a sketch.
Content This content can also be viewed on the site it originates from.
More Great Stories From Vanity Fair
— TV Star Sarah Wynter’s Battle With Postpartum Psychosis
— Caitríona Balfe’s Celtic Conquest, From Outlander to Belfast
— The Best Movies and Shows Streaming on Netflix This Month
— 21 Wardrobe Winners Inspired by And Just Like That…
— What Vivian Vance Didn’t Love About I Love Lucy
— The Life and Death of Rosanne Boyland, a Capitol Rioter
— Insecure’s Natasha Rothwell Can Do It All
— From the Archive: Joan Didion, Our Lady of L.A.
— Sign up for the “HWD Daily” newsletter for must-read industry and awards coverage—plus a special weekly edition of “Awards Insider.”
Dakota Johnson Says She Wants to ‘Make a Difference’ as a Producer: ‘I Have Such Big Dreams’
]
“I have so many ideas, and I just need to get them out,” Dakota Johnson says of producing in a new interview with the Los Angeles Times
Dakota Johnson Says She Wants to ‘Make a Difference’ as a Producer: ‘I Have Such Big Dreams’
Dakota Johnson is breaking into the world of film production with a bang.
The 32-year-actress both stars in and produces not one but two movies at this year’s Sundance Film Festival, which kicked off Thursday and runs through Jan. 30: Am I OK? and Cha Cha Real Smooth, both in association with her production company TeaTime Pictures.
Get push notifications with news, features and more.
In a new interview with the Los Angeles Times, published Thursday, Dakota says she “just want(s) to make a difference,” after a lifetime of “growing up on-set and experiencing so many conversations around this job and this industry and the people in it and then having my own career for the last 14 years.” (Her parents are actors Don Johnson and Melanie Griffith.)
“I want to make it better. I want to have a better experience,” she told the Times. “I want to give more opportunities to amazing people to make things. I want to make more.”
The Lost Daughter star added, “I have such big dreams, it’s out of control. And I have so many ideas, and I just need to get them out. Even if they’re horrible and [producing partner Ro Donnelly]’s like, ‘No, not that one.’ "
Never miss a story — sign up for PEOPLE’s free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human-interest stories.
Lost Daughter Venice premiere Dakota Johnson | Credit: Ernesto Ruscio/Getty
Donnelly raved to the Times of her “creative” partner, “I like to say she’s like the wind.”
“She’s just always moving and dreaming, and she’s pretty ethereal,” Donnelly shared of Dakota. “I definitely am the more realist of the two of us, but I love her big dreams. We definitely balance each other out.”
Dakota, whose role as protagonist Anastasia Steele in the Fifty Shades of Grey films rocketed her to stardom, told the outlet that the “opinions” people have about “other people, especially famous people, especially famous naked people” are “just like mosquito noise” to her.
In fact, “I think that I just want to do what is true to my heart, and I have done,” she said. “And though things don’t always turn out what they were supposed to be when I’m there as just an actor, the choices I’ve made have always been from my heart and not for any other reason.”
RELATED VIDEO: Dakota Johnson Brings Her Grandmother, The Birds Actress Tippi Hedren, to Horror Film Premiere
While Dakota has certainly made a name for herself in Hollywood separate from Don, 72, and Griffith, 64, she also understands why they didn’t want her following in their footsteps.
“They discouraged [me],” she recently told W Magazine of her parents’ attitude toward her acting dreams. “See how well that turned out? But I understood. They wanted me to have as much of a childhood as I could.”
When asked how old she was when she knew she wanted to act, Dakota said, “Nothing old. Zero old.”
A Celebration of Thierry Mugler’s Awe-inspiring Legacy
]
It’s been a sad week for the fashion industry. Just days after the passing of André Leon Talley, the world loses yet another fashion great: Thierry Mugler.
Thierry Mugler was an influential presence in Paris in the ’80s and the ’90s, where he shook up the world of haute couture with body-conscious silhouettes that owed as much to his idols Cristóbal Balenciaga and Christian Dior as to his professional dancing background. His emphasis on the hourglass figure through extravagant shoulders and cinched waists also defined power dressing, which ruled the ’80s.
Mugler’s runway shows were theatrical affairs where he would unveil fantastical creations inspired by sci-fi, nature and art. His presentations were also star-studded with his famous muses. For his 20th anniversary show, for example, the runway was graced by Hollywood icons Tippi Hedren and Julie Newmar, the world’s first supermodel Veruschka, as well as the supermodels of the ’90s, such as Naomi Campbell, Kate Moss and Linda Evangelista.
With his interests in sculpture, painting, photography, theatre and dance, Mugler didn’t consider himself a fashion designer. “I’ve always felt like a director, and the clothes I did were a direction of the every day,” he said in a rare interview in 2019. He added, “Why would anyone only want fashion? There are the costumes, but there’s also the environment, the lights, the moment,” he shared in a rare interview.
Mugler retired from fashion in 2002, after which he focused on creating costumes for ballet and theatre, as well as fragrances. But he wasn’t entirely divorced from fashion: his designs would inspire a new generation of fashion icons like Alexander McQueen and John Galliano, and he would continue to create custom looks for the likes of Beyoncé and Kim Kardashian.
To celebrate his legacy, we take a look at some of Mugler’s most compelling creations that have surprised, shocked and shaped the industry — and beyond.
Thierry Mugler’s Iconic Couture Designs:
The Butterfly Dress “I think nature is endless and beautiful, so I try to occupy nature and never contradict it,” once shared the designer. That statement rang especially true for his Spring/Summer 1997 collection, Les Insectes. The runway buzzed with models wearing bug-eyed sunglasses, headpieces resembling feelers and gowns woven with elements of spider webs and beetle shells. This dress, originally modelled by Jerry Hall, is embellished with sequins meant to mimic butterfly wings. It would later be worn by Jennifer Lopez, Beyoncé (see her Diva music video) and, most recently, Irina Shayk. (Photo by Michel Dufour / WireImage / Getty Images)
The Harley Davidson Corset Mugler was an avid motorcycle rider, even though he met with several accidents including one that prompted him to reconfigure his face. He was also fascinated by the edgy biker look; he created a suit resembling a motor vehicle with Cadillac ornaments almost a decade before his Spring/Summer 1992 collection, Les Cowboys, and this bustier hit the runway. As its name suggests, the corset was meant to mirror the front of a motorcycle. It was crafted from plastic, metal and Plexiglas, and even came with its own handlebars. It was a fierce design, and therefore fitting for Beyoncé to wear the vintage piece when promoting her I AM … Sasha Fierce album. The singer also hired Mugler himself to create custom several costumes for her album tour. (Photo by Pool ARNAL / GARCIA / Gamma-Rapho via Getty Images)
The Robot Suit As we mentioned, Beyoncé was big on Mugler. She wore him frequently on stage and in her music videos, including the one for Sweet Dreams. You might remember the look: the metallic gold bodysuit, fitted with matching gloves that looked like armour. It was inspired by an earlier design from Mugler’s 20th anniversary Fall/Winter 1995 collection, which was filled with sexy cyborg ensembles. According to Thierry-Maxime Loriot, curator of Mugler’s first major retrospective, “[Mugler] spent more than six months creating [the original robot suit] with specialists… It’s surprising and in terms of craftsmanship, it really pushes boundaries. It demonstrates Mugler’s interests in transhumanism, in modifying the body and creating new silhouettes. All the robot suits embody the savoir faire of the Mugler atelier.” In 2021, Kim Kardashian tapped on Mugler to create a Halloween outfit that crossed his robot suit with the cowboy look. (Photo by Eric Robert/Sygma/Sygma via Getty Images)
The Birth of Venus Dress There are very few red carpet looks that you could describe as truly unforgettable. One of them is Cardi B’s Mugler look for the Grammy Awards in 2019: a Swarovski-crystal satin sheath gown inspired by the Botticelli painting, Birth of Venus. The gown, like the robot suit, came from Mugler’s 20th anniversary collection in 1995. It made Cardi B a notable fashion force: besides Beyoncé, the rapper was the only other celebrity that Mugler had dressed and opened his archives to at the time. (Photo by Daniel SIMON/Gamma-Rapho via Getty Images)
The Wet Dress Today, most people know Mugler not through Beyoncé, Lady Gaga or Cardi B, but Kim Kardashian. The billionaire began dressing in his vintage creations shortly after Cardi B did, coinciding with the launch of the French designer’s first retrospective exhibition. But none of her Mugler looks were put in the spotlight quite like her “wet” dress for the Met Gala. Following the event’s campy theme, Kardashian arrived in a corseted nude dress, seemingly dripping with raindrop-like crystals, which took Mugler eight months to create. Kardashian shared: “[Mugler] envisioned me as this California girl stepping out of the ocean, wet, dripping.” Kardashian’s outfit would inspire several more “naked” dresses on the red carpet in the years to come. (Photo by Karwai Tang / Getty Images)
Header photo courtesy of Daniel Simon / Gamma-Rapho / Getty Images; Featured image courtesy of Pool ARNAL / GARCIA / Gamma-Rapho via Getty Images
See the original post here
Fashion designer Thierry Mugler dies aged 73
]
Share this article Whatsapp
Linkedin Agence France-Presse (AFP) Paris ● Mon, January 24, 2022 18:26 0 0c06e8ca436d6e21bba3a70856169480 2 Entertainment fashion,fashion-designer,Thierry-Mugler,french-designer,Paris,fashion-icon Free
French designer Thierry Mugler, who reigned over fashion in the 1980s and was as famous for his fantastical couture as for his blockbuster fashion shows, died on Sunday. He was 73.
Mugler’s daring collections came to define the decade’s “power dress”, his designs noted for their structured and sophisticated silhouettes, showcased by his extravagant shows.
“I always thought that fashion was not enough on its own and that it had to be shown in its musical and theatrical environment,” he once said.
In later years, he dressed Beyoncé and Lady Gaga, and came out of retirement in 2019 to create Kim Kardashian’s Met Gala look.
“We are devastated to announce the passing of Mr. Manfred Thierry Mugler on Sunday, January 23, 2022,” said a post on the designer’s official Facebook account.
His agent Jean-Baptiste Rougeot, who said the designer had died of “natural causes”, added that Mugler had been due to announce new collaborations early this week.
Showman at heart
Born in Strasbourg in December 1948, as a young teen Mugler joined the Opera national du Rhin’s ballet company before studying at the School of Decorative Arts.
From a young age he created his own clothes, adapting items bought at nearby flea markets. He moved to Paris aged 20, initially to work with another ballet company, but was more successful with his own wardrobe.
Mugler soon became a freelance stylist and worked for various fashion houses in Paris, London and Milan.
In 1973, he took the plunge and created his own label Café de Paris before founding Thierry Mugler a year later.
His designs exacerbated and celebrated women’s forms: shoulders accentuated by padding, plunging necklines, constricted waists and rounded hips.
“Dancing taught me a lot about posture, the organization of clothing, the importance of the shoulders, the head carriage, the play and rhythm of the legs,” said Mugler.
A showman at heart, he organized spectacular presentations of his creations pioneering the modern spectacle of the 21st century fashion show.
“Today’s fashion shows are a continuation of what Mugler invented. The collections were pretexts for fashion shows,” recalled Didier Grumbach, former CEO of Thierry Mugler.
He had showmanship in his blood. For the 10th anniversary of his label in 1984, he organized the first public fashion show in Europe, with 6,000 attending the rock concert-like show.
But nothing compared to the 20th anniversary celebration in 1995, staged at the Cirque d’Hiver.
Models including Jerry Hall, Naomi Campbell, Eva Herzigova and Kate Moss paraded alongside stars such as Tippi Hedren and Julie Newmar, with the spectacle culminating in a performance from James Brown.
Later years
The 1992 launch of his company’s first perfume, Angel, in collaboration with Clarins, which acquired a stake in the company before taking control in 1997, was a runaway success.
Clarins shuttered Thierry Mugler ready-to-wear in 2003, a year after the designer reportedly left the brand, but continued the scent business, with Angel rivaling Chanel’s No. 5 for the top spot in sales.
Renowned for his work with celebrities, he counted Grace Jones and Hall among his muses, and had a long-running creative collaboration with David Bowie, even dressing him for his wedding to Iman.
Despite seemingly retiring from fashion’s frontlines in the early 2000s, Mugler continued to impact culture and worked with Beyonce on her “I am…” world tour.
In later years, the designer suffered a series of accidents requiring facial surgery, and rebuilt his body with intensive bodybuilding while engaging in meditation and yoga.
Hitchcock and the #MeToo reckoning that never was
]
Robert Donat and Madeleine Carroll are handcuffed together and directed by Hitchcock on the set of The 39 Steps. Credit: Hulton Archive/Getty Images
Alfred Hitchcock would not have fared well in the MeToo age.
The master of suspense had famously strange attitudes to matters female: he seemed simultaneously terrified and mesmerised by young blonde girls, and was openly antagonistic towards womankind in general.
Were he still alive and working, one could imagine the inevitable first accusation of bullying, harassment or worse, and the steady avalanche of claims that would follow it.
That first accusation might easily have come from June Tripp, a young Lancashire actress who experienced the trials of purgatory on the set of Hitchcock’s 1927 silent movie, The Lodger. Her travails are described in detail in The First True Hitchcock, a new book by Henry K. Miller, which charts the director’s early years.
Based on a novel by Marie Belloc Lowndes, The Lodger has often been called the first true Hitchcock film. In it, familiar and recurring themes emerged: the blonde victim, wrongful accusations, mercurial authority figures, the madness of the mob.
Hitchcock’s first two films hadn’t made much impact: The Lodger did, and without it, we might never have heard of him.
The plot was typical Hitchcock fare: London is under siege as a killer stalks the streets at night, killing blonde women, but only on Tuesdays. The composer and songwriter Ivor Novello played ‘The Lodger’, a young man mistaken for the murderer, and Tripp was Daisy, a model who falls in love with him.
In her 1960 memoir, The Glass Ladder, Tripp described her treatment during the shoot. “All I had to do,” she wrote, “was carry an iron tray of breakfast dishes up a long flight of stairs, but by the time Hitch was satisfied with the expression of fear on my face… I must have made the trek 20 times, the tray seeming to grow heavier and heavier every passing minute.
“During that exhausting hour and a half, I felt a strange, sickening pain somewhere in the region of my appendix scar, but forbore to complain or ask for a rest because delicate actresses are a bore and a nuisance, and in any case, this scene ended my work on the film.”
It also effectively ended her film career. A few months before the shoot, Tripp had an appendectomy: the constant repetition of that stair scene caused a rupture, and she was lucky to survive a second operation.
Video of the Day
Tripp had been a great dancer, but the injury changed all that, and though she returned to the stage, she rarely acted in films again. And in the end, Hitchcock only used a fraction of the scene that had done all that damage.
This type of high-handed behaviour is of course not unusual in a film director, especially one who famously joked that all actors were “cattle”. But the big male stars who regularly worked with Hitchcock when he moved to Hollywood, like Cary Grant and James Stewart, would never be subjected to such bullying: it was the women who endured the director’s ire.
Though he worked within the studio system, and made genre pictures, commercial films, Hitchcock was also an auteur, an artist who used films as canvases on which to work out deep-seated obsessions, recurring themes.
Most of those obsessions stemmed from his austere London childhood. Born in Leytonstone in 1899, Alfred Joseph was the third child of William Hitchcock, a greengrocer, and his wife Nellie Whelan. Both his parents had Irish roots and were devout Roman Catholics who took a dim view of wrong-doing.
On the interview circuit, Hitchcock liked to tell the story of how his father had sent him to the police station with a note when he was five: the policeman read it and put the child in a cell for five minutes, telling him “this is what we do to naughty boys”.
This tale is often used to explain the recurring theme of wrongful accusation in Hitchcock’s work, but it was his mother who had the greatest influence on his developing personality. Austere, severe, obsessed with morality and the importance of sexual continence,
Nellie used to make her son stand at the end of her bed each evening and give an account of his day. This feeling of dread stuck with him and seems to have poisoned his attitude to women.
When he married in 1926, it was to a fellow professional, Alma Reville, a woman he respected, even feared. Alma was a mother figure, his screenwriting guru, a lifelong companion and constant help: but she was more of a mother than a romantic figure for the director, who consciously or otherwise tended to inflict his deeper sexual impulses on his leading ladies.
Expand Close Hitchcock with his wife Alma in 1955. Photo: Douglas Miller/Keystone/Hulton Archive/Getty Images / Facebook
Whatsapp Hitchcock with his wife Alma in 1955. Photo: Douglas Miller/Keystone/Hulton Archive/Getty Images
He certainly was hard on them, and June Tripp was the first of many actresses who came to rue their association with Hitchcock. Pre-war star Madeleine Carroll was given the full treatment on Hitchcock’s 1937 hit The 39 Steps.
At times, it almost seemed as though he was trying to ‘break’ his actresses, as if they were wild horses, and poor Carroll found herself handcuffed to co-star Robert Donat for hours on end during the shoot, being dragged through rivers, ditches and waterfalls. When calling for her, Hitchcock would shout, “Bring on the Birmingham tart!”.
Expand Close Robert Donat and Madeleine Carroll are handcuffed together and directed by Hitchcock on the set of The 39 Steps. Photo by Hulton Archive/Getty Images / Facebook
Whatsapp Robert Donat and Madeleine Carroll are handcuffed together and directed by Hitchcock on the set of The 39 Steps. Photo by Hulton Archive/Getty Images
Her portrayal of Pamela in The 39 Steps is often cited as the prototype for the blondes who would become such a distinctive motif in his work. And as the film critic Roger Ebert astutely remarked, these Hitchcock women were “blonde, icy, remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated”. Sometimes the actress was humiliated as well.
On the set of Rebecca, Joan Fontaine thought she was seeing things when she noticed something ominous protruding from the director’s fly. Happily, it turned out to be a champagne cork. At the time, Hitchcock was free to pass this kind of stuff off as ‘humour’; a different view would be taken now.
Mary Clare, a young actress who worked with him on two films, was given a fruit drink laced with gin to “loosen her up”. She was a teetotaller.
Stars like Ingrid Bergman and Grace Kelly were well able for Hitchcock’s nonsense, laughing at his dirty jokes and taking his romantic obsessiveness with a pinch of salt. But others were not so lucky.
On Vertigo, Kim Novak was pushed almost to breaking point by Hitchcock’s incessant remodelling of the actress’s appearance, which eerily mirrored the strange behaviour of Jimmy Stewart’s character in the film. But worst of all was the shameful treatment meted out to Tippi Hedren on The Birds.
Expand Close Hitchcock drove Kim Novak crazy by constantly remodelling her appearance in Vertigo. Photo: Getty Images / Facebook
Whatsapp Hitchcock drove Kim Novak crazy by constantly remodelling her appearance in Vertigo. Photo: Getty Images
Hedren was a successful model when Hitchcock cast her in The Birds, his high tempo adaptation of a Daphne Du Maurier story. At first, she relished the experience, then came the infamous scene where her character is attacked by birds in an attic.
Hitchcock had assured Hedren that only a few mechanical ravens would be involved in the scene, but he then realised that wouldn’t look realistic enough and decided to use real seagulls instead.
Hedren would spend five days on the floor of a set while prop men wearing thick protective gloves threw gulls at the actress’s head. “It was brutal and ugly and relentless,” she would later recall, and by the end of the week, she was an emotional wreck.
Meanwhile, an unrepentant Hitchcock was growing more and more obsessed with her. According to Donald Spoto’s book The Dark Side Of Genius, the director paid two crew members to follow Hedren everywhere and monitor how she spent her free time.
Things got worse when they started shooting Marnie together: he now claimed he had invented her, would not let others touch her on set and badgered her into spending time alone with him. “He was really isolating me from everyone,” she said later.
Expand Close Tippi Hedren had to endure five days of being attacked by real seagulls in The Birds / Facebook
Whatsapp Tippi Hedren had to endure five days of being attacked by real seagulls in The Birds
Things came to a head when Hitchcock, according to Hedren, threw himself at her in the back of a limo, then cornered her in his office and made an overt sexual proposition. “He stared at me,” she recalled, “and simply said, as if it was the most natural thing in the world, that from this time on, he expected me to make myself sexually available to him — however and whenever he wanted.”
Speaking truth to power, she told him where to shove his proposal and never worked with him again.
There have been other accusations — of strange arrangements with studio secretaries — that paint a picture of a man who shamelessly abused his power, though of course he would have been one of hundreds at the time.
Standing 5ft 8in, and weighing more than 300lbs, Hitchcock was nobody’s idea of a matinee idol, and seems to have bitterly resented the flawless beauty that nature had denied him. He was a mess of suppressed complexes and insecurities, and had a disturbing tendency to treat women as playthings.
Of course, the sad truth is that if Alfred Hitchcock hadn’t been such a psychological basket case, he never would have made those perverse and gripping thrillers we all love so much. But pity the poor women who had to work with him.