Julianne Nicholson in her teenage was a Marilyn Monroe “fangirl”. The Emmy-winning celeb of Mare of Easttown and the thriller Monos finished every book she could find on her.

She used to watch her movies, heard the compilation albums of her pieces of music, and had snapshots of her taped up in her safe. 

She says she was obsessed. She thinks that she was so gorgeous and tragic. Now after a few decades, she’s playing her mother in a movie so volatile that everyone is interested.

Celeb Ana de Armas has been pushed to rush to its shield. Nicholson, to her praise, confesses that it won’t be for everyone.

Especially, those who don’t want to watch her as a child abuser in the holds of schizophrenia. Her all ocean-green eyes and freckles are screaming sunlight beaming via the window.

She’s just driven to the UK from New York with her husband Jonathan Cake, a native Brit and their kids at the Venice Film Festival to watch Blonde for the foremost time.

She was worried her teenage attachment to Marilyn made her feel “shielding” from the star’s remembrance.

Blonde refines Marilyn Monroe’s short life into a train of ghoulish meetings and existential hits to the core. She’s changed into a pound of meat for America to dine on.

That belief from author and director Andrew Dominik, who acclimated Joyce Carol Oates’s doorstopper of a bestseller has unintentionally got Blonde into crisis already.

If Blonde is a Marilyn Monroe biopic then it should be drenched in petrol and set on fire because Nicholson plays the role that ignites it.