This post is part of a series, Girlblogging. Read the introduction here. Also, in New York, American Psycho screens tonight at the Paris Theater with director Mary Harron present in a tribute to producer Ed Pressman. The orchestral sting slices through the opening credits; perfect drops of blood rain down like vinyl balloons or the forms in a photorealistic painting: taut and shiny, artificially self-contained. When they splatter, the punch line lands. It was a joke all along—not blood, not really, just a false appearance—an emulsion drizzled across bone china; the screen expands to reveal a chef’s knife descending upon […]

In her first feature, I Shot Andy Warhol, Mary Harron remembered the craziness of the ‘60s. With her adaptation of novelist Bret Easton Ellis’ satirical gorefest, American Psycho, she coolly captured the money-driven insanity of the ’80s. From our print issue archives, and appearing online for the first time, is this Winter, 2000 cover story: Peter Bowen talks to Harron about social satire, interior design, and Leonardo. In 1991, Bret Easton Ellis’ satirical novel American Psycho caused a minor scandal. Readers and critics could not agree as to whether its icy portrayal of the young, handsome, successful Patrick Bateman, an uber-yuppie who divided […]