Similar to Anne of the Indies in its blatant artifice and parade of individuals trying on false, performative identities under the shadow of capital, though here Minnelli explicitly argues for a knowing embrace of camp fantasy as a means of escape in the final musical number. Intentionally, satirically, and earnestly ridiculous. In no way the failure it's often dismissed as.
Minnelli "worked like a homosexual" — in a way that we've largely abandoned in the ongoing soulless transition to respectability…
