"She not only kept her lovely figure, she's added so much to it"
About this Quote
A compliment that lands like a rimshot: Bob Fosse dresses up appraisal as admiration, then slips the knife in with a smile. On the surface, it’s “positive” - she kept her “lovely figure.” But the real action is in the add-on: “she’s added so much to it.” The sentence turns the woman’s body into a before-and-after project, a ledger of gains and losses, where “so much” pointedly avoids naming what’s been added. It’s coyness as cruelty, a wink that relies on the listener to complete the insult.
That’s Fosse’s cultural habitat. As a choreographer-director who made bodies his medium, he worked in an ecosystem where women were scrutinized professionally and publicly, and where desire and discipline were inseparable. His aesthetic fetishized control: crisp angles, turned-in knees, the cruel precision of rehearsal. The quote mirrors that worldview - the body as performance, as proof, as something you can “keep” only through constant vigilance.
The subtext is power. He gets to pronounce what counts as “lovely,” and he gets to revoke it while pretending he’s simply observing reality. It’s also a snapshot of entertainment’s older, uglier reflex: criticism delivered as banter, sexism disguised as taste, and the assumption that a woman’s career is tethered to whether her body still satisfies the room. The line isn’t just about her figure; it’s about who’s permitted to narrate it.
That’s Fosse’s cultural habitat. As a choreographer-director who made bodies his medium, he worked in an ecosystem where women were scrutinized professionally and publicly, and where desire and discipline were inseparable. His aesthetic fetishized control: crisp angles, turned-in knees, the cruel precision of rehearsal. The quote mirrors that worldview - the body as performance, as proof, as something you can “keep” only through constant vigilance.
The subtext is power. He gets to pronounce what counts as “lovely,” and he gets to revoke it while pretending he’s simply observing reality. It’s also a snapshot of entertainment’s older, uglier reflex: criticism delivered as banter, sexism disguised as taste, and the assumption that a woman’s career is tethered to whether her body still satisfies the room. The line isn’t just about her figure; it’s about who’s permitted to narrate it.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Help us find the source |
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