The design and UX isn't done, Rob and Abbie, okkurrrr! 😌
motherofallbats's review against another edition
5.0
As a woman who eats, sleeps, and breathes horror, this book was nothing less than a sheer joy to read. It's partly a biography of a trailblazing woman whose industry achievements have been tragically buried for too long, partly a memoir of our dedicated scrappy author's journey in researching this enigmatic woman; but above all else it is 100% a love letter to the horror genre, the women who love it, and the women who create it.
spacerangerqueen's review against another edition
5.0
This book just checked all the boxes for me. Learning about the female architect of Hearst Castle, Disney Ink & Paint artists, women in entertainment design. I couldn't put it down.
I loved all the connections between the author's life and the subject. I could relate to designing something that millions of people experience and none of them knowing my name.
I checked this out of the library, but thinking about buying it because I loved it so much!
I loved all the connections between the author's life and the subject. I could relate to designing something that millions of people experience and none of them knowing my name.
I checked this out of the library, but thinking about buying it because I loved it so much!
notesonbookmarks's review against another edition
4.0
This was like part-biography, part-smash the patriarchy, part-#metoo. It was definitely interesting and excellent. Nicely presented, Mallory. I better get on the stick and watch some of this classic horror.
ariel937's review against another edition
3.0
3.75*
a really fascinating look at not only the history of a woman who wasn’t credited as being the most influential monster makeup artists in Hollywood for her creation of the creature from the black lagoon, but also early Hollywood and Disney. really fascinating history about visual effects, makeup artists, and even Hearst Castle.
i did find the writing to be pretty simplistic and very repetitive and it took me a while to get through it because of that(even though the content was interesting). i basically skimmed the last half of it, not because it wasn’t interesting (in fact, because we get the meat and potatoes of Milicent’s life during the actual conception and aftermath of the film, it’s arguably the most interesting part of her life and what she’s known for) but because it felt like it was filled with too much of the same thing, it was honestly....boring. the anecdotes, if that’s the right word, about female representation being important IS important to conclude, but i found that O’Meara more often then not went on random tangents about it more than necessary.
about Milicent herself, she had such a fascinating and unique life, warts and all. i’m glad i was able to get to know her, from everything to her flaws to the highlights of her career.
this is O’Meara’s passion project and i can’t imagine anyone else writing such an interesting story about Milicent patrick. it’s also her first book and it’s made very evident. would recommend to anyone interested in women roles in early Hollywood and anyone interested in film horror history.
a really fascinating look at not only the history of a woman who wasn’t credited as being the most influential monster makeup artists in Hollywood for her creation of the creature from the black lagoon, but also early Hollywood and Disney. really fascinating history about visual effects, makeup artists, and even Hearst Castle.
i did find the writing to be pretty simplistic and very repetitive and it took me a while to get through it because of that(even though the content was interesting). i basically skimmed the last half of it, not because it wasn’t interesting (in fact, because we get the meat and potatoes of Milicent’s life during the actual conception and aftermath of the film, it’s arguably the most interesting part of her life and what she’s known for) but because it felt like it was filled with too much of the same thing, it was honestly....boring. the anecdotes, if that’s the right word, about female representation being important IS important to conclude, but i found that O’Meara more often then not went on random tangents about it more than necessary.
about Milicent herself, she had such a fascinating and unique life, warts and all. i’m glad i was able to get to know her, from everything to her flaws to the highlights of her career.
this is O’Meara’s passion project and i can’t imagine anyone else writing such an interesting story about Milicent patrick. it’s also her first book and it’s made very evident. would recommend to anyone interested in women roles in early Hollywood and anyone interested in film horror history.
danacoledares's review against another edition
5.0
I really liked this. The blend of Milicent's story with the story of researching her could have been jarring or felt badly patched together, but it was very well done. It was smooth and really enjoyable.
talonsontypewriters's review against another edition
informative
medium-paced
1.5
In an early chapter, O'Meara mentions angrily that some people were dubious that Milicent Patrick's life story could "fill an entire book." In setting out to disprove that, she unfortunately seems to have done the opposite, since the bulk of this book doesn't really feel like it's about Milicent Patrick at all.
Instead, we're treated to lengthy paragraphs about supporting members of Milicent's life -- do we really need that much backstory on William Randolph Hearst (whom O'Meara assumes readers won't know of aside from as the inspiration for Citizen Kane, which feels strange to me) to understand his wife's friendship with young Milicent? -- and O'Meara's own experiences, including many not related to her search for information. The former could have been heavily cut down to the relevant details, and the latter could have been interesting... as an introduction and/or afterword, rather than dispersed throughout the book. Quips and subjective interpretations overwhelm the actual facts, making it difficult to tell what can be gleaned from the records and what comes down to O'Meara's thoughts (and projection).
There's also quite a bit of repetition (so many sentences start with "Remember"), particularly regarding bigotry and abuse. Like, I guarantee you just about anyone interested in this book understands sexism is bad and was rampant in the 1950s. Any sense of intersectionality toward that, additionally, comes across as lip service; the seeming implication that a non-feminine woman would be more easily accepted into spaces dominated by cishet white men than a glamorous woman in "sparkling pumps" particularly rankled. Maybe I'm oversensitive as a butch lesbian who hates that kind of take, but your personal relationship with dressing up/makeup does not magically erase the standards of conventional femininity women (especially marginalized women) are forced to uphold.
O'Meara does note that Milicent's race, gender/sexuality, appearance (which she comments positively upon in the same breath she criticizes others for focusing on), and social status enabled her opportunities other women didn't and still don't get -- but fails to really delve into that. If the main point really was to simply describe Milicent Patrick's life and work, that would have been fine, but if there's room for everything else I've mentioned... why not add another layer of social commentary?
A Portuguese man is also described in passing as a person of color? I admittedly haven't seen The Creature from the Black Lagoon yet, so maybe his character there is Indigenous, but odd either way.
All that contributes to a sense of complete disorganization, to the level that I genuinely questioned if anyone had edited/proofed this multiple times. There is some interesting information about Milicent Patrick's life in here, but I do feel I could have learned the same from a more concise, focused article. In short, a super interesting premise and person overrun by tangents and an obnoxiously quirky narrative voice.
Instead, we're treated to lengthy paragraphs about supporting members of Milicent's life -- do we really need that much backstory on William Randolph Hearst (whom O'Meara assumes readers won't know of aside from as the inspiration for Citizen Kane, which feels strange to me) to understand his wife's friendship with young Milicent? -- and O'Meara's own experiences, including many not related to her search for information. The former could have been heavily cut down to the relevant details, and the latter could have been interesting... as an introduction and/or afterword, rather than dispersed throughout the book. Quips and subjective interpretations overwhelm the actual facts, making it difficult to tell what can be gleaned from the records and what comes down to O'Meara's thoughts (and projection).
There's also quite a bit of repetition (so many sentences start with "Remember"), particularly regarding bigotry and abuse. Like, I guarantee you just about anyone interested in this book understands sexism is bad and was rampant in the 1950s. Any sense of intersectionality toward that, additionally, comes across as lip service; the seeming implication that a non-feminine woman would be more easily accepted into spaces dominated by cishet white men than a glamorous woman in "sparkling pumps" particularly rankled. Maybe I'm oversensitive as a butch lesbian who hates that kind of take, but your personal relationship with dressing up/makeup does not magically erase the standards of conventional femininity women (especially marginalized women) are forced to uphold.
O'Meara does note that Milicent's race, gender/sexuality, appearance (which she comments positively upon in the same breath she criticizes others for focusing on), and social status enabled her opportunities other women didn't and still don't get -- but fails to really delve into that. If the main point really was to simply describe Milicent Patrick's life and work, that would have been fine, but if there's room for everything else I've mentioned... why not add another layer of social commentary?
A Portuguese man is also described in passing as a person of color? I admittedly haven't seen The Creature from the Black Lagoon yet, so maybe his character there is Indigenous, but odd either way.
All that contributes to a sense of complete disorganization, to the level that I genuinely questioned if anyone had edited/proofed this multiple times. There is some interesting information about Milicent Patrick's life in here, but I do feel I could have learned the same from a more concise, focused article. In short, a super interesting premise and person overrun by tangents and an obnoxiously quirky narrative voice.
Content Warnings
Graphic: Misogyny and Sexism
Moderate: Chronic illness and Sexual harassment
Minor: Death, Rape, Sexual assault, Suicide, Cancer, Infidelity, Racism, and Infertility
pupupuddlecat's review against another edition
5.0
Absolutely loved this book!! I am a huge fan of the podcast Mallory O'Meara co-hosts with Brea Grant (Reading Glasses), and have been eagerly awaiting this book and it DID NOT DISSAPOINT. I knew absolutely nothing about Milicent Patrick going into this book and Mallory made me fall in love with her! The author also speaks a lot from her own experience, relating Milicent's story to her own life as well as present day context, which made it really accessible and interesting to read. Mallory's writing style is so refreshing and earnest, and I really appreciated the feminist lens throughout - for me the whole experience of this book left me feeling so inspired. The world needs more books like this!
graamcracker's review against another edition
5.0
This was such a fantastic and inspiring biography/memoir that caused me to laugh and cry both sad and happy tears. If you like classic horror, read this. If you like women supporting women, read this. If you like books, read this. Seriously. Read it.
alliepeduto's review against another edition
4.0
Wow. Honestly, I picked this up because I’ve been a long time fan of the Horror Movie Make-up show at Universal Studios and I was shocked to find out that a woman designed the Creature From the Black Lagoon, which has haunted my nightmares for years. After reading all this, I’m tempted to send a strongly worded letter to someone regarding her lack of mention. She truly was a woman far ahead of her times, and she was a hell of a role model. She worked for both Disney and Universal and was part of some kick-ass teams that designed iconic movie characters in Fantasia and This Island Earth. How could I never have known about her? I’m certainly grateful to the author for bringing Milicent Patrick to the forefront where she belongs, and I hope more people read this story and realize the contributions that have been made all along by women in Hollywood, even if that credit has not been given.