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Killer Queen

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Hartford HealthCare Amphitheater | Bridgeport, CT

Killer queen a tribute to queen with special guest voyage.

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Broadview Stage at SPAC | Saratoga Springs, NY

Killer queen with special guest voyage.

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The Paramount | Huntington, NY

Killer queen - a tribute to queen, aria ballroom at mgm springfield | springfield, ma, killer queen- a tribute to queen featuring patrick myers, citizens house of blues boston | boston, ma.

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UB Center for the Arts - Mainstage Theatre | Buffalo, NY

Akron civic theatre | akron, oh, brown county music center | nashville, in, five flags center | dubuque, ia, mu health care capital region amphitheater | jefferson city, mo, rialto square theatre | joliet, il, killer queen- a tribute to queen feat patrick myers as freddie mercury, belterra casino resort and spa | florence, in, township auditorium | columbia, sc, killer queen - a tribute to queen feat. patrick myers, bell auditorium | augusta, ga.

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Pensacola Saenger Theatre | Pensacola, FL

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Peabody Auditorium | Daytona Beach, FL

Buckhead theatre | atlanta, ga, killer queen - a tribute to queen ft. patrick myers as freddie mercury.

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Balboa Theatre | San Diego, CA

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Peoria Civic Center Theatre, Peoria, Illinois

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Killer Queen: A Tribute to Queen

• June 28 | Friday , 2024 8:00 PM Buy Tickets

About the Event

Killer Queen: A Tribute To Queen, featuring Patrick Myers as Freddie Mercury, will take the stage with its thrilling, adventurous, and electrifying performance in Richmond, VA.

Killer Queen have been performing their tribute to Queen’s concert since 1993. Their expert musicianship, extraordinary energy and accurate portrayal of the world’s greatest live band have rightfully earned them the title of Queen tribute royalty. Thrilling sell-out audiences across the globe from the UK to the US, Killer Queen recreates the high energy, powerful phenomenon that was Queen live.

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Killer Queen: A Tribute to Queen

September 27, 2023 | 7:30 pm - 9:30 pm   |.

KILLER QUEEN: A TRIBUTE TO QUEEN

Featuring Patrick Myers as Freddie Mercury

Killer Queen has been performing their tribute to Queen’s concert since 1993. Their expert musicianship, extraordinary energy and accurate portrayal of the world’s greatest live band have rightfully earned Killer Queen the title of Queen tribute royalty. Thrilling sell-out audiences across the globe from the United Kingdom to Moscow and the United States, Killer Queen recreates the high energy, powerful phenomenon of Queen live.

ADDITIONAL PROGRAM INFORMATION

About the artist.

Killer Queen’s UK popularity grew to such an extent they soon secured a residency in London’s Strand Theatre attracting nationwide BBC coverage – the first tribute to have a show in the West End.

The band’s reputation continued to grow both in the UK and abroad leading to an awards ceremony in Leicester Square, hosted by Suggs from Madness who presented them with the award for “Worldwide Best Tribute Band”. They also scored a number one hit when they they were asked to recreate Queen’s harmonies for “The Real Life” with Fatboy Slim.

By now, they were in demand in European arenas playing Ahoy, where the now reformed Queen would be performing only a few months later. They were delighted to sell out Forest National Arena where Queen filmed the concert set piece videos such as Hammer To Fall and Don’t Stop Me Now.

Killer Queen then joined forces with Bjorn Again and The Bootleg Beatles for a Waverley Stadium show in Edinburgh. It was this performance that led to the band being selected to represent Queen in a re-staged tribute LiveAid concert held by Sir Bob Geldof. They performed with him at his arena charity concert to raise funds for the homeless.

Killer Queen set their sights on America including the awe inspiring Red Rocks Arena in Colorado – one of the countries most prestigious venues. The Beatles, Springsteen, U2 have all played there and the band are delighted it’s become a regular sell out fixture on Killer Queen’s tour sheet.

During 2020 the band released a single in the style of Queen written by Patrick. “We’ll Fight Again”delighted Queen fans all over the world.

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Thank you to our 2023/2024 Season Partner G&J Pepsi .

Please note that the Norton Center is a historic venue with limited accessible seating. Special reserved wheelchair and companion seating is available for all shows. Interpretive services and large print programs are available upon request at least 20 days in advance of the performance. Please call the Box Office at 859-236-4692 to request assistance with your accommodations.

Ticket sales are non-refundable. Tickets purchased through a subscription package may be exchanged for another show in the same season. Tickets are transferable to friends or family. Donations for the value of tickets are appreciated.

Tickets to Norton Center performances are sold exclusively through the Box Office in person, by phone at 859-236-4692 or online at www.nortoncenter.com. If you purchase tickets from any other source, including Ticketmaster, StubHub or an individual we cannot guarantee your seat. The prices of tickets obtained from unauthorized sources are often greatly inflated. The Norton Center is not responsible for tickets purchased from other sources. Tickets purchased from secondary sellers are not eligible for replacement if tickets are lost or stolen, or if the event is canceled or rescheduled.

For more information, please call the Box Office at 859-236-4692 or visit our Frequently Asked Questions page.

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PBS12  is thrilled to announce KILLER QUEEN live at Red Rocks Amphitheatre on Tuesday, July 19th, 2022.

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Killer Queen: A Tribute to Queen

Lead singer Patrick Myers said “It's been an amazing journey. That first show changed my life. We thought our band would last maybe a summer at the most but it's a very addictive thing performing these songs. The concerts grew and grew and we've ended up playing and selling out the same arenas that Queen played at their peak. It's been quite a surreal ride. Becoming regular performers Red Rocks Arena in America is another highlight . The Beatles, U2, Springsteen, Dylan all played on that stage. It's really got it's own kind of magic going on there”.

Killer Queen's first public shows were at London University, following in the footsteps of the real Queen who had played their first shows there decades earlier.

Killer Queen's UK popularity grew to such an extent they soon secured a residency in London's Strand Theatre attracting nationwide BBC coverage - the first tribute to have a show in the West End .

The band's reputation continued to grow both in the UK and abroad leading to an awards ceremony in Leicester Square, hosted by Suggs from Madness who presented them with the award for “Worldwide Best Tribute Band”. They also scored a number one hit when they they were asked to recreate Queen's harmonies for “The Real Life” with Fatboy Slim.

By now they were in demand in European arenas playing Ahoy, where the now reformed Queen would be performing only a few months later. They were delighted to sell out Forest National Arena where Queen filmed the concert set piece videos such as Hammer To Fall and Don't Stop Me Now.

Killer Queen then joined forces with Bjorn Again and The Bootleg Beatles for a Waverley Stadium show in Edinburgh. It was this performance that led to the band being selected to represent Queen in a re-staged tribute LiveAid concert held by Sir Bob Geldof. They performed with him at his arena charity concert to raise funds for the homeless.

In 2016 Killer Queen set their sights on America including the awe inspiring Red Rocks Arena in Colorado – one of the country’s most prestigious venues. The Beatles, Springsteen, U2 have all played there and the band are delighted it's become a regular fixture on Killer Queen's tour sheet.

By 2020 the band were pulling huge arena audiences in Cardiff Motorpoint, Liverpool and Nottingham and they continue to tour and delight huge audiences the world over.

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Killer Queen - A Tribute To Queen

• Date Tuesday March 5 , 2024 8:00 PM
• On Sale On Sale Now
• Ticket Pricing $30.00 - $55.00

Lead singer Patrick Myers said “It's been an amazing journey. That first show changed my life. We thought our band would last maybe a summer at the most but it's a very addictive thing performing these songs. The concerts grew and grew and we've ended up playing and selling out the same arenas that Queen played at their peak. It's been quite a surreal ride. Becoming regular performers Red Rocks Arena in America is another highlight . The Beatles, U2, Springsteen, Dylan all played on that stage. It's really got it's own kind of magic going on there” Killer Queen's first public shows were at London University, following in the footsteps of the real Queen who had played their first shows there decades earlier. Killer Queen's UK popularity grew to such an extent they soon secured a residency in London's Strand Theatre attracting nationwide BBC coverage - the first tribute to have a show in the West End . The band's reputation continued to grow both in the UK and abroad leading to an awards ceremony in Leicester Square, hosted by Suggs from Madness who presented them with the award for “Worldwide Best Tribute Band”. They also scored a number one hit when they they were asked to recreate Queen's harmonies for “The Real Life” with Fatboy Slim. By now they were in demand in European arenas playing Ahoy, where the now reformed Queen would be performing only a few months later. They were delighted to sell out Forest National Arena where Queen filmed the concert set piece videos such as Hammer To Fall and Don't Stop Me Now. Killer Queen then joined forces with Bjorn Again and The Bootleg Beatles for a Waverley Stadium show in Edinburgh. It was this performance that led to the band being selected to represent Queen in a re-staged tribute LiveAid concert held by Sir Bob Geldof. They performed with him at his arena charity concert to raise funds for the homeless. Killer Queen set their sights on America including the awe inspiring Red Rocks Arena in Colorado – one of the countries most prestigious venues. The Beatles, Springsteen, U2 have all played there and the band are delighted it's become a regular sell out fixture on Killer Queen's tour sheet. During 2020 the band released a single in the style of Queen written by Patrick. “We'll Fight Again” delighted Queen fans all over the world. 2023 sees the band pull in huge arena audiences in Cardiff, Glasgow, Aberdeen, Leeds and Nottingham as we as more sell out shows in Red Rocks, Austin City Limits.

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For the latest safety guidelines, please review our enhanced venue protocols at here .

For all ticketed events, please note the following updated policies:

In accordance with local guidelines: Until further notice, masks are required to be worn at all times for attendees, regardless of vaccination status, except while actively eating or drinking.

To reduce staff contact with guest belongings, note our Clear Bag Policy

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Killer Queen 

July 6, 2024 @ 8:00 pm - 11:00 pm.

On Sale Date : January 26, 2024 Online at www.ticketmaster.com or in person at the Huntington Center Box Office (500 Jefferson Ave. Toledo, Ohio 43604)

Ticket prices: • Golden Circle : $79.50 (rows 1-5) • Premium Reserved : $59.50 (rows 6-12) • Reserved : $34.50 (rows 13-27) • General Admission : Advance $24 / General Admission day of show $30

Buy Tickets Online: Click here!

Additional Show Info : Doors @ 6:30pm / No outside food or beverage / Small folding chairs allowed (General Admission area) / Rain or Shine event / Umbrellas not permitted / Parking $10 (Centennial Lot) / Smoking allowed in designated areas only

Lead singer Patrick Myers said “It’s been an amazing journey. That first show changed my life. We thought our band would last maybe a summer at the most but it’s a very addictive thing performing these songs. The concerts grew and grew, and we’ve ended up playing and selling out the same arenas that Queen played at their peak. It’s been quite surreal.” The band’s reputation continued to grow both in the UK and abroad leading to an awards ceremony in Leicester Square, hosted by Suggs from Madness who presented them with the award for “Worldwide Best Tribute Band”.

Quotes: “Concerts as near to the real thing as you’re likely to get. A real-life Bohemian Rhapsody. Freddie Lives! A Pop Legend Is back” – The People

“The fabulous Killer Queen came on stage. What an impact! Mirage or Resurrection? The group voted best tribute in the world entirely succeeded in resurrecting Freddie Mercury both physically and vocally. You almost believe you were at Wembley Stadium back in 1986.” – Voix Du Nord

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Killer Queen

The arena show.

• Date 7 Dec , 2023
• Event Starts 8:00 PM
• Doors Open 7.00PM
• On Sale On Sale Now

Event Details

A Tribute to Queen

Killer Queen have been performing their tribute to Queen’s concert since 1993. Their expert musicianship, extraordinary energy and accurate portrayal of the world’s greatest live band have rightfully earned them the title of Queen tribute royalty. Thrilling sell-out audiences across the globe from the UK to Moscow and in 2016/17 their first tours of the USA. Killer Queen recreates the high energy, powerful phenomenon that was Queen live.

Our awesome Suite Experiences gives up to 16 people an unforgettable time. Welcome drink. Suite host to look after your every whim. Pre-show drinks and dining. Private seats and dancing area.  More on Suites here.

Elevate your evening with our Luxury Experience. Access the arena via our VIP entrance. Sip a flute of the finest Champagne. Savour three courses of fine dining. Luxury all the way.  More on Luxury Experiences here.

Already got your ticket?   Beat the queues  and enter via our Black & White Lounge.  Enjoy a  welcome drink  before tucking in to a delicious 2  course meal  in our  private bar .   More on Upgrades here.

Already got your ticket?   Beat the queues  and enter via our Black & White Lounge.  Enjoy a  welcome drink  and chill out in our  private bar  until the main acts takes to the stage.  More on Upgrades here.  

" LIVE IN CONCERT 2024"

Welcome to 2024 and 21 years of The Killer Queen Experience! It's been an amazing journey so far and 2024 is once again taking the show to new destinations and venues across Australia and abroad. It's all about keeping the experience exciting and evolving the show whether it be a new song, a new costume or collaborating with special guest artists such a Look out for John's brand new custom made Freddie Jackets arriving from the UK too!

Hope to see you all for another Killer year!

( click here for dates ).

About the Show

Our signature 2-hour live show The Killer Queen Experience has toured to sold out shows in the UK, Norway, Singapore, Russia, and India, and every city in Australia, and shared billing with the likes of Jeff Beck ( RIP ) , Foreigner, Journey, Twisted Sister, Thin Lizzie, and Kelly Rowland.

This show features Queen’s greatest hits, including – Bohemian Rhapsody, We Will Rock You, We Are The Champions, Somebody To Love, Radio Ga Ga, Another One Bites The Dust, and more songs that will bring a smile (or a tear) to any Queen fan.

Our NEW 3-hour show The Ultimate Experience is an extravagant tribute to Queen,David Bowie And Elton John, that we’ve toured in Australia to rave reviews . Worldwide Acclaim

John Blunt is renowned worldwide for his uncanny resemblance to Freddie Mercury, and played Mercury in the 2016 UK biopic “ The Freddie Mercury Story - Who Wants To Live Forever ”. John has once again been cast as Freddie Mercury in the upcoming Australian movie Seriously Red (2021), starring Rose Byrne. He has appeared regularly on shows like Studio 10 and The Today Show ( watch the interviews ), and is even mentioned on Freddie Mercury’s Wikipedia page . Made in Australia

Despite the demand for Killer Queen overseas, it all started for us here in Brisbane. Our career was built on Leagues Club and RSL Club shows around Australia. We continue to play affordable shows for smaller venues around Australia, and our strongest endorsement is the clubs who book us over and over. The Experience If you’re thinking of booking or seeing us for the first time, nothing can prepare you for it. John’s eerie resemblance of Freddie Mercury will transport you back in time, and there’s something about the meticulous attention to detail – the instruments, the costumes, the mannerisms, and true musicians – that stirs an emotional response in the people who see our shows ( see what they say ).

John Blunt aka Freddie Mercury Wayne Evan aka John Deacon Kevin Shilling aka Roger Taylor Andrew Edwards aka Brian May Randall Terrens aka Spike Edney​

Bookings For bookings or enquiries, please contact Wayne at [email protected]  

Killer Queen

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Reserved seating, kwik trip pit pass, wine & beer garden, cutwater balcony tables, groups of 20+.

About Killer Queen

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Killer Queen - A Tribute to Queen

Featuring patrick myers as freddie mercury, ubcfa presents.

Sept. 28, 2024 8 p.m.

Center for the Arts Mainstage Theatre

Tickets: $43, $53, $63

Killer Queen - A Tribute to Queen, featuring Patrick Myers as Freddie Mercury , will take the stage with its thrilling, adventurous, and electrifying performance at the University at Buffalo Center for the Arts on Saturday, September 28 at 8:00 p.m.

Killer Queen have been performing their tribute to Queen’s concert since 1993. Their expert musicianship, extraordinary energy and accurate portrayal of the world’s greatest live band have rightfully earned them the title of Queen tribute royalty. Thrilling sell-out audiences across the globe from the UK to the US, Killer Queen recreates the high energy, powerful phenomenon that was Queen live.

Lead singer Patrick Myers said “It's been an amazing journey. That first show changed my life. We thought our band would last maybe a summer at the most but it's a very addictive thing performing these songs. The concerts grew and grew and we've ended up playing and selling out the same arenas that Queen played at their peak. It's been quite a surreal ride. Becoming regular performers at Red Rocks Arena in America is another highlight. The Beatles, U2, Springsteen, Dylan all played on that stage. It's really got it's own kind of magic going on there.”

MAGIC YEARS

Killer Queen's first public shows were at London University, following in the footsteps of the real Queen who had played their first shows there decades earlier.

Killer Queen's UK popularity grew to such an extent they soon secured a residency in London's Strand Theatre attracting nationwide BBC coverage - the first tribute to have a show in the West End.

The band's reputation continued to grow both in the UK and abroad leading to an awards ceremony in Leicester Square, hosted by Suggs from Madness who presented them with the award for “Worldwide Best Tribute Band”. They also scored a number one hit when they they were asked to recreate Queen's harmonies for “The Real Life” with Fatboy Slim.

By now they were in demand in European arenas playing Ahoy, where the now reformed Queen would be performing only a few months later. They were delighted to sell out Forest National Arena where Queen filmed the concert set piece videos such as Hammer To Fall and Don't Stop Me Now.

Killer Queen then joined forces with Bjorn Again and The Bootleg Beatles for a Waverley Stadium show in Edinburgh. It was this performance that led to the band being selected to represent Queen in a re-staged tribute LiveAid concert held by Sir Bob Geldof. They performed with him at his arena charity concert to raise funds for the homeless.

In 2016 Killer Queen set their sights on America including the awe inspiring Red Rocks Arena in Colorado – one of the country’s most prestigious venues. The Beatles, Springsteen, U2 have all played there and the band are delighted it's become a regular fixture on Killer Queen's tour sheet.

2023 saw the band play packed arenas across Europe: Stavangar in Norway and Cardiff, Nottingham, Aberdeen, Glasgow and Leeds in the UK.

2024 includes an arena tour of Lithuania, UK arena shows in Liverpool, Newcastle and Liverpool as we as more sell out shows in Red Rocks and Austin City Limits.

Connect with Killer Queen - A Tribute to Queen Twitter  |  Instagram  |  Facebook  |  Youtube

Thursday, September 5, 2024 88° Today's Paper

‘Ketamine queen,’ doctor to face trial in Matthew Perry’s death

By Lisa Richwine / Reuters

Sept. 3, 2024

Entertainment

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REUTERS/MIKE SEGAR

A makeshift memorial for actor Matthew Perry is pictured on Oct. 23 in New York.

LOS ANGELES >> A California doctor and a woman charged with illegally supplying the drug ketamine to “Friends” star Matthew Perry before his overdose death will face trial in March, according to court documents released on Tuesday.

Dr. Salvador Plasencia, and Jasveen Sangha, whom authorities said was a drug dealer known to customers as the “ketamine queen,” have pleaded not guilty to charges related to the October 2023 death of Perry.

An autopsy determined that the 54-year-old died from “acute effects” of ketamine and other factors that caused him to lose consciousness and drown in his hot tub.

Ketamine is a short-acting anesthetic with hallucinogenic properties, sometimes prescribed to treat depression and anxiety but also abused by recreational users.

Perry had publicly acknowledged decades of substance abuse, including during the years he starred as Chandler Bing on the hit 1990s television sitcom “Friends.”

Plasencia and Sangha are scheduled to be tried together in federal court in Los Angeles starting on March 4.

Three other defendants have agreed to plead guilty in connection with Perry’s death.

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The Cheap Tricks of Me Too Thrillers

One night at a party, a woman meets a charismatic man. She’s smitten; he is too. Their attraction is exhilarating, but just as they get more deeply involved, our heroine realizes that her paramour is actually evil — an abuser, possibly a killer. Newly aware — and filled with righteous rage — she decides to escape, enacting retribution against the monstrous man on her way out. This is the plot of Zoë Kravitz’s directorial debut, Blink Twice , which follows a struggling caterer, Frida (Naomi Ackie), who absconds with a toxic tech billionaire named Slater King (Channing Tatum) to his private island, where he repeatedly assaults her; in time, she gets her revenge.

But let’s be honest, we’ve seen this film before. By that I mean the Me Too social thriller, now a veritable 2020s subgenre, which also includes Emerald Fennell’s 2020 rape-revenge flick Promising Young Woman and Olivia Wilde’s dark take on domesticity, 2022’s Don’t Worry Darling . And by now, we’ve heard what the genre has to say about feminism. It’s a simple message: Rape culture hides in plain sight. Of course, any conscientious consumer of these movies already knows that. So, by simply reiterating that truth with no other insights, these films leave on the table many other complex and urgent emotional questions that face those of us who have experienced sexual trauma, not to mention our culture at large. On a personal level, how can survivors of sexual violence reclaim ourselves in its aftermath? And on a societal level, now that we have been awakened to the omnipresence of sexual abuse, what should we do with this knowledge?

Part of the reason Me Too thrillers cannot begin to answer these pressing questions is that their high-concept premises turn their characters — especially their women — into modern mythic archetypes rather than people. Blink Twice ’s Frida, a working-class Black woman wooed by a hard-partying tech CEO, stands in for women who are exploited by powerful men; Promising Young Woman ’s Cassie (Cary Mulligan), a med-school dropout obsessed with the rape and subsequent suicide of her friend, is the Ur-traumatized woman who can’t just “move on”; Don’t Worry Darling ’s Alice (Florence Pugh), a surgeon whose husband traps her in a computer simulation that makes her believe she’s a 1950s housewife, represents careerwomen saddled with unsupportive partners.

But in making their characters so nonspecific as to appear universally relatable, Me Too thrillers shortchange the women whose stories they’re ostensibly telling. We never know these women before they are sucked into the Rube Goldberg plots of the Me Too movie. The filmmakers, of course, have justifications for why their female characters are so hollow. In Blink Twice , Frida’s abuser repeatedly wipes her memory after assaulting her — a plot point designed to demonstrate cycles of abuse, but which has the knock-on effect of making it impossible for the viewer to understand who Frida is. Similarly, Alice in Don’t Worry Darling spends most of the film unaware that she’s in a simulation; she doesn’t know who she is, so we don’t either. Cassie in Promising Young Woman has the opposite problem: Her sole defining characteristic is that she remembers one thing too well — her friend’s rape — which erases the rest of her personality. A deft film might linger on what’s most compelling in these premises: their commentary on the way trauma renders selfhood slippery, making it hard for us to know who we are in the throes of abuse, and difficult to understand ourselves long after.

But Me Too social thrillers are not deft, nor are they interested in the specifics of anything their characters have been through. These are parables with one goal: to get us to the epiphanic moment in which their heroines become aware of patriarchy, in painful and reality-disrupting fashion. In Don’t Worry Darling , Alice presses herself against a glass wall to exit the Matrix -esque simulation in which she’s imprisoned. In Blink Twice , Frida drinks snake venom to snap out of her haze (like Eve in the Garden!). As a rule, these thrillers do not venture past such moments of consciousness-raising. Instead, after the heroines discover the truth of their oppression, they enjoy a few cheap thrills of boss-bitch revenge (which stand in for actual self-knowledge): Our protagonists psychologically torture sleazebags, kill their husbands with whiskey glasses, stab rapists with corkscrews.

Then, having pointed out injustice, Me Too social thrillers refuse to engage with what follows a given revelation of abuse or assault, for either their characters or for society at large. Instead, they substitute rushed, pandering empowerment for self-realization. “I loved working!” shouts Don’t Worry Darling ’s Alice, when she discovers that she’s not a housewife but a surgeon. (The viewer has no idea what Alice likes about medicine.) Moments later, Alice’s fellow imprisoned wives turn on their husbands spontaneously, one of them declaring, “ You stupid, stupid man. It’s my turn now ,” as she knifes her spouse. (Her turn … for what? The Me Too thriller doesn’t seem to think that’s a worthwhile question.) “Success is the best revenge,” says Frida, who by the end of Blink Twice has become the queen of a tech empire, fulfilling an unironic arc from victim to CEO that neatly summarizes the moral of these stories: The body keeps the score, but Girlbossing will set you free.

It is extraordinarily difficult to say anything original about sexual abuse. Groomers and rapists and their colluders are fundamentally unoriginal. They follow patterns: They love-bomb, they gaslight, they victim-blame. It can be illuminating to articulate these repeatable patterns — to identify them as patterns at all. But good art should do more than just faithfully render the real world. It should surprise us, even as it shows us what we may already suspect. The power of genre conceits, in particular, is that they can reintroduce us to the known in startling ways.

The capacity to say something wonderfully revelatory about something horribly familiar was the great achievement of the second-wave ancestor of many of these Me Too movies: The Stepford Wives , the 1975 satire-horror flick (not to be confused with the tonally confused 2004 remake) about men who kill their spouses and replace them with housework-loving robots, which also influenced Get Out . The brilliance of Stepford and Get Out is that, rather than trying to lay out a case proving why sexism or racism are real and evil, they assume we already got the memo about injustice. They then satirize their respective subjects — fatally boring men in Connecticut, hypocritical white liberals in upstate New York — before making a horror turn.

Unfortunately, there is rarely anything approaching comedy in Me Too social thrillers, nothing like The Stepford Wives scene when the robots join a consciousness-raising circle but can only discuss cleaning products, or that Get Out shot of Rose (Allison Williams) malevolently sipping milk as she hunts for her next victim. Instead, the more sophomoric Me Too thrillers seem hung up on convincing us that patriarchy exists instead of commenting on the lived experience of patriarchy. Promising Young Woman is a case in point: As Cassie systematically torments everyone complicit in her friend Nina’s death — the university dean who dismisses Nina’s accusations; the frenemy who slut-shames Nina; the lawyer who badgers her into dropping her case — one gets the sense that Fennell wants us to take notes at home.

To be fair, Blink Twice tries to acknowledge the fact that, six years after the Me Too movement began, no one is shocked to learn about men’s misbehavior. We meet Frida as she sits on the toilet, watching a video that’s meant to refer to our “post”–Me Too Zeitgeist — an interview with the disgraced yet apparently contrite tech CEO, Slater, who is recovering his public reputation after committing some kind of impropriety. Minutes later, we witness Frida chastising her friend for continually going back to a shitty guy; shortly after that , when Frida finagles a meeting with Slater, she jokingly asks the man Slater introduces as his therapist to “blink twice if I’m in danger.” The therapist blinks twice. It’s all out in the open: We know Slater is Bad, and Frida knows Slater is Bad, and yet — for reasons Kravitz and her co-writer, E.T. Feigenbaum, neglect to elucidate — Frida and her friend still accept an invitation to Slater’s Jeffrey Epstein–esque island. The plot demands of the Me Too thriller leave no space for the film to get hung up on why .

It’s a disappointing omission, because what’s most interesting here is precisely these gaps in the storytelling: What did Slater do, and how does Frida explain his misconduct away? Why do we trust powerful, obviously Bad Men when we know better? What exactly is Frida drawn to about Slater? How does her inner life change as she comes to suspect something’s wrong? How does she relate to herself, her friends, other men, other women? We never learn, because the genre is pathologically allergic to specificity, and because the Me Too social thriller’s job is not to render a portrait of how one woman gets entrapped by one man; it’s to show us all women, trapped by all men. Why spoil the thrill of revealing the patriarchy with the messy details of an actual woman’s life?

One recent movie that does actually take a sincere interest in a specific woman’s life after trauma is Yorgos Lanthimos’s 2023 film Poor Things , about a young woman named Bella (Emma Stone) who embarks on a sexual awakening. Perhaps more than any of the women in Me Too thrillers, Bella could be nothing but a traumatized body: Though she appears to be a 30-something young woman, she actually has the brain of a fetus, which a Dr. Frankenstein–style mad scientist implanted into her as part of an experiment in reanimation. To make matters worse, when Bella seems roughly adolescent-brained, and with the partial blessing of her semi-paternal figure, she absconds on a world tour with a known womanizer, Duncan (Mark Ruffalo).

What follows is a surprisingly complex portrait of agency, consent, and curiosity, not to mention an example of a richer path forward for Me Too storytelling. Where the Me Too social thriller hollows out its women, refusing to let us know them beyond their experiences of abuse, Poor Things takes a genuine interest in Bella’s becoming: Her defining characteristic is not her traumatic genesis, but rather a thirst for knowledge. Poor Things also carries on the semi-satirical traditions of Stepford and Get Out better than the straightforward Me Too thriller can, because it mocks its villains even as it critiques their social power. When Bella, whose brain is evolving at a rapid clip, grows out of Duncan, he goes comically mad, unable to respond to her rational arguments with anything except repeated howls of “Cunt!” before ending up in an asylum.

Like Me Too thrillers, Poor Things indulges in escapism; but instead of having its heroine physically attack men in justice- and adrenaline-fueled rages, it offers a more emotional hypothetical: What might happen if disempowered girls and women could face down their groomers and abusers with the advantage of rapidly evolving brains and a grown-up body that knows its own desires? The answer is that we might see terrible men as, ultimately, buffoons. A little-discussed truth about abusers is that they are terrifying in one light but fools in another. Of course, it’s almost impossible to notice their idiocy in the throes of trauma, but art is a safe place — perhaps the only safe place — where we can turn rogues into jesters, and in that way defang them. (Greta Gerwig’s Barbie also creates an alternative, fantastical universe in which we can afford to see patriarchy, embodied in Ryan Gosling’s Ken, as ludicrous.)

One portrait of an abuser is not inherently more accurate than another, but it seems a shame that so many Me Too stories have obsessed over men’s power instead of finding other ways to see them. Abusers might be clichés, but movies about abuse don’t have to be. The inner lives of sexual-assault survivors, not to mention our relationships with each other, with friends, with family, and with institutions, are infinitely wide-ranging. But if we want to hear those varied stories, we have to keep the camera rolling after the awakening instead of cutting to black.

• vulture section lede
• vulture homepage lede
• blink twice
• promising young woman
• don't worry darling
• emerald fennell
• naomi ackie
• zoe kravitz

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