"Starship Troopers was great. It was great fun to work on something with blue screens and big budget special effects. Denise Richards was nice to look at too, of course"
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Neil Patrick Harris makes his praise land like a wink, not a film-school lecture. Calling Starship Troopers "great" twice sounds earnest until you notice what he chooses to celebrate: the toys. "Blue screens and big budget special effects" isn’t about theme or storytelling; it’s a backstage selfie in sentence form, a reminder that for working actors, the memory of a movie is often the machinery, the novelty, the paycheck-grade production value. He’s admiring the spectacle from inside the spectacle.
That’s a particularly sly fit for Starship Troopers, a movie that famously weaponizes shiny surfaces to smuggle in a satire of militarism and propaganda. Harris’s comment mirrors the film’s own bait-and-switch: you come for the bugs and explosions, you leave (ideally) unsettled. His emphasis on "great fun" reads like the audience’s first-level reaction, which is exactly the level the movie wants you to inhabit before it twists the knife.
Then there’s the Denise Richards tag, delivered with "of course" to frame it as a harmless, expected add-on. It’s a quick, culturally legible nod to the era’s default male gaze and press-junket banter: actresses become part of the production’s "value proposition" alongside effects. The subtext is less leering than transactional, but that’s the point: it exposes how casually Hollywood packages desire as another special effect.
That’s a particularly sly fit for Starship Troopers, a movie that famously weaponizes shiny surfaces to smuggle in a satire of militarism and propaganda. Harris’s comment mirrors the film’s own bait-and-switch: you come for the bugs and explosions, you leave (ideally) unsettled. His emphasis on "great fun" reads like the audience’s first-level reaction, which is exactly the level the movie wants you to inhabit before it twists the knife.
Then there’s the Denise Richards tag, delivered with "of course" to frame it as a harmless, expected add-on. It’s a quick, culturally legible nod to the era’s default male gaze and press-junket banter: actresses become part of the production’s "value proposition" alongside effects. The subtext is less leering than transactional, but that’s the point: it exposes how casually Hollywood packages desire as another special effect.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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