How screen goddess Marilyn Monroe was the model for today’s breed of vapid C-listers

The Original Airhead: Marilyn Monroe's Influence on Today's Vapid C-List Celebrities

Marilyn Monroe, the ultimate screen goddess and s** symbol of Hollywood, continues to be an unrivaled cultural icon even 50 years after her death.

She remains an object of desire for millions of men and an inspiration for generations of women.

The obsession with Monroe will be further fueled in Britain this month with the release of the highly anticipated movie, My Week With Marilyn.

Starring the talented young actress Michelle Williams, the film portrays Monroe's time in England in 1957 while filming Prince And The Showgirl alongside Laurence Olivier.

During this period, Monroe was still married to playwright Arthur Miller, and their marriage was often described by the press as ‘the Egghead and the Hourglass'.

Despite her marriage, Monroe sought support from a young assistant on the set named Colin Clark.

Their relationship, however, remained unconsummated and never progressed beyond a kiss.

While many people adore Monroe, I find myself exasperated rather than mesmerized by her breathy voice and exaggerated fluttering eyelashes.

Her blend of fake innocence and pushy sexuality holds little appeal for me.

At times, she appears more like a caricature than a real woman with her fake blonde hair and exaggerated hip movements.

Monroe's impact on popular culture cannot be denied, but it is primarily attributed to her contribution to the rise of victimhood, infantilism, vulgarity, and self-absorption.

She excelled at playing the role of a victim, often resorting to threats of suicide as emotional manipulation or spending countless hours in psychoanalysis examining her grievances.

Although Monroe is considered a role model, she mainly appeals to tiresome narcissists and exhibitionists.

As an actress, she lacked depth and versatility.

Throughout her career, which spanned 14 years, she failed to deliver truly outstanding performances or make memorable films.

She often portrayed shallow characters, the helpless blonde seeking attention and protection from men.

In comparison to actresses like Barbara Stanwyck and Katharine Hepburn, Monroe lacked the authority and strength on screen.

Partly due to her unprofessionalism, especially in her later career, Monroe's range as an actress was limited.

She consistently arrived late on set, demanded numerous retakes, and frequently failed to learn her lines.

Constructive criticism would often leave her distraught.

Renowned director Otto Preminger compared working with Monroe to directing a dog, while Laurence Olivier famously described her as ‘the stupidest, most self-indulgent tart I have ever come across'.

Despite claiming to be on the side of workers, Monroe showed little interest in hard work herself.

During the production of her final film, Something's Got To Give, she only appeared on set 12 out of 35 shooting days.

Her irresponsible behavior frustrated directors, producers, and colleagues.

Monroe's supporters often defend her by highlighting the difficulties she faced, including her troubled childhood and the oppressive Hollywood studio system that typecast her in dumb blonde roles.

However, these excuses do not hold up.

Many people overcome challenging backgrounds, but Monroe seemed to revel in her problems rather than rise above them.

She became one of the catalysts for the modern cult of victimhood, where individuals use personal suffering as an excuse to avoid taking responsibility for their own lives.

It is telling that modern-day airhead celebrities like Paris Hilton and Lindsay Lohan strongly identify with Marilyn Monroe.

Lohan even wrote about seeing herself in Monroe, particularly during her court cases related to drug abuse.

However, what is most offensive about Monroe's victimhood is its phoniness.

In the mid-1950s, she was adored by millions and offered a lucrative contract by 20th Century Fox.

She had control over her film choices, the ability to reject directors, and the opportunity to work for other studios.

Despite her frustrations, directors often showed great patience and understanding towards Monroe.

Far from being an innocent victim, Monroe was capricious, self-centered, and driven by ambition.

She complained about being a star while relentlessly pursuing fame.

She even dumped her first husband, Jim Dougherty, to ensure her career wouldn't be hindered.

Despite claiming to search for love, Monroe alienated her husbands, including Arthur Miller and Joe DiMaggio, with her promiscuity, exhibitionism, and neurotic behavior.

She disregarded boundaries, as demonstrated by her infamous performance singing ‘Happy Birthday, Mr President' to John F. Kennedy at Madison Square Garden in a tight dress and breathy voice.

Monroe constantly moaned about being a s** symbol but actively encouraged and embraced that image through her pouting and figure-hugging fashion choices.

In one of her final acts before her death, she agreed to pose n^de for Life magazine to outshine Elizabeth Taylor.

Her excessive introspection, coupled with substance abuse, made her a dull companion.

Even her psychiatrist grew tired of her and gave her a tape recorder to replay her thoughts instead of spending hours talking to him.

Given her history of emotional instability and suicide threats, it was predictable that Monroe's life would end tragically.

While her cause of death was likely a drug overdose, wild conspiracy theories persist, including claims that she was killed on the orders of the Kennedy brothers.

This speculation only fuels the cult of victimhood surrounding Monroe.

In many ways, Monroe's life and death mirror that of Princess Diana in Britain.

Both were self-indulgent blondes who craved attention while playing the victim despite their privileged status and wealth.

They sought pity and media attention while simultaneously complaining about it.

Their favorite topic of conversation was themselves.

Like Monroe, Diana died young, leaving behind emotional chaos.

In conclusion, Marilyn Monroe, despite her enduring cultural significance, was not as talented or admirable as she is often portrayed.

Her impact on popular culture is more aligned with promoting victimhood, infantilism, vulgarity, and self-absorption.

While she had a troubled past, Monroe's own choices and behavior perpetuated her problems rather than transcending them.

Her career lacked depth and variety, and her unprofessionalism became increasingly apparent as it progressed.

Although many adore her, Monroe's influence on modern-day celebrities is questionable at best.