Film
Showgirls
Showgirls is Paul Verhoeven's deliriously trashy Vegas fable, disowned on release and later crowned a camp masterpiece. Garish, over-lit and gleefully vulgar, it's a satire of ambition and exploitation that critics mistook for pure smut. Watch it for the spectacle — the cake, the pool, dialogue delivered with total, straight-faced conviction. Midnight-movie cinema, best enjoyed loud, ironic, and completely unashamed.
If you liked this
All About Eve1950
The original backstage knife-fight — Bette Davis and Anne Baxter's ingenue-eats-star duel is sharper, wittier and just as ruthless as anything in Vegas, minus the glitter.
But Black-and-white and talky; if you came for skin and spectacle, this is all subtext and cocktail parties.

Black Swan2010
Same engine — an ingenue's brutal climb to the top, shadowed by a scheming rival — reimagined as ballet horror with Aronofsky's nightmare intensity.
But It's genuinely unsettling rather than fun-bad; expect dread, not campy laughs.

Valley of the Dolls1967no page yet
The gaudy granddaddy of showbiz-trash cinema — three women chew through Hollywood, pills, and each other with the same overripe, so-serious-it's-hilarious energy Showgirls inherited wholesale.
But Dated slang and pacing feel creaky now; the shock value has softened with age.
The wildcard
Something you would not have found on your own.
Perfect Blue1998
Both track a young woman entering the entertainment industry and being consumed by it — one plays the exploitation as delirious trash, the other as horror about losing yourself to an image others built.
Satoshi Kon's animated psychological thriller follows a teen idol transitioning into acting, her identity dissolving under industry pressure and obsessive fandom — genuinely frightening where Showgirls is genuinely absurd.
But It's a serious horror film with real dread and no camp value, and anime is a hard sell for some viewers on this kind of story.

More like this (8)
Boogie Nights1997
Paul Thomas Anderson's adult-film epic finds the same tacky glamour and desperate ambition, but treats its characters with real tenderness instead of contempt.
But Three hours long and far more melancholy — this is a comedown, not a party.

Mommie Dearest1981
Faye Dunaway's legendarily unhinged performance turned a serious biopic into an accidental camp classic — the same alchemy that made Showgirls immortal for the wrong right reasons.
But It's genuinely mean-spirited toward its real-life subject, which can curdle the fun if you think about it.

Casino1995
Scorsese's Vegas, released the same year, strips away the glitter to show the mob money underneath — same city, same greed, wildly different craft.
But Three hours of grim, escalating violence; it's a crime epic, not a guilty pleasure.

Burlesque2010no page yet
A glossier, PG-13 cousin — small-town girl, big Vegas stage, scheming headliner — with Christina Aguilera belting instead of Nomi glaring.
But It's toothless by comparison, all sequins and no real danger or malice.
Coyote Ugly2000no page yet
Another wide-eyed newcomer conquers a sleazy nightlife scene through sheer nerve — dumber, sweeter, and far more forgiving of its heroine.
But It's aggressively wholesome under the bar-top choreography; don't expect any real teeth.
The Rocky Horror Picture Show1975
The reigning king of midnight-movie cult cinema — quote-along camp, gleeful bad taste, an audience that shows up in costume. This is where Showgirls' afterlife lives.
But A different genre entirely — musical horror spoof — and the theatrical ritual is half the point, easy to miss alone.

Live Nude Girls Unite!2000no page yet
Showgirls turns the club into backstage melodrama about one woman's ambition; this shows the actual women behind that world fighting collectively for pay, safety and respect.
Real strippers at a San Francisco club organize the first exotic dancers' union, filmed by one of their own — funny, furious, and grounded exactly where Showgirls is fantasy.
But It's a scrappy, low-budget documentary with none of the gloss or spectacle; the stakes are labor rights, not stardom.
42nd Street1933
Same bones exactly — scrappy newcomer claws into the spotlight by outlasting the reigning star — just performed in Production-Code innocence instead of NC-17 excess, proof the story is decades older than its scandal.
The Depression-era backstage musical that invented the understudy-replaces-the-star plot Showgirls recycles — chorus girl gets her big break when the leading lady goes down, told with dazzling Busby Berkeley choreography.
But It's wholesome, fast-talking, black-and-white 1930s musical comedy — none of the sleaze, all of the plot mechanics.

People
Cast
Elizabeth BerkleyNomi Malone
Kyle MacLachlanZack Carey
Gina GershonCristal Connors
Glenn PlummerJames Smith
Robert DaviAl Torres
Alan RachinsTony Moss
Gina RaveraMolly Abrams
Lin TucciHenrietta Bazoom
Greg TravisPhil Newkirk
Al RuscioMr. Karlman
Patrick BristowMarty Jacobsen
William ShockleyAndrew Carver
Directing
- Paul VerhoevenDirector
- Ellen H. SchwartzFirst Assistant Director
- Pamela AlchScript Supervisor
- Maggie MurphySecond Assistant Director
- Amy LauritsenSecond Second Assistant Director
- Jamie MarshallSecond Second Assistant Director
Writing
- Joe EszterhasWriter
Production
- Barbara HarrisADR Voice Casting
- Michael AnthonyAssistant Location Manager
- Patrick MignanoAssistant Location Manager
- Janet CampolitoAssistant Production Coordinator
- Lynn EhrenspergerAssociate Producer
- Elaine J. HuzzarCasting
- Johanna RayCasting
- Mary Jane FendlerCasting Assistant
- Talia JonesCasting Assistant
- Randy SabusawaCasting Associate
- Ben MyronCo-Producer
- Mario KassarExecutive Producer
- Ajay DassExtras Casting
- Marilee LearExtras Casting
- Sally LearExtras Casting
- Marjorie NobleLocation Casting
- William BowlingLocation Manager
- Petra FrazerLocation Production Assistant
- Kimberly EdwardsPost Production Accountant
- Kristi LakePost Production Accountant
- Alan MarshallProducer
- Charles EvansProducer
- Nour DardariProduction Accountant
- Mike AnzaloneProduction Assistant
- Alyson EvansProduction Coordinator
- Daren HicksProduction Coordinator
- James FerreraProduction Secretary
- Robert Latham BrownUnit Production Manager
Recommended by
Black Swan, Casino, The Band Wagon, The Room, Mulholland Drive, The Broadway Melody, The Great Ziegfeld, 42nd Street, The Blue Angel