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Sofia Coppola's latest biopic Priscilla focuses on the King of Rock’n’Roll’s queen, turning the mythic pairing on its head. Since Elvis' death, Priscilla Presley has made numerous revelations about life inside Graceland, effectively demanding a public reappraisal of her relationship with Presley.
This is a deliberate subversion of typical, destructive Western tropes by Coppola, in which it is the male character who is objectified by the female gaze. In this she probes how this particular man either thrives under or is stymied by such objectification. John is more than aware of the sexual and romantic stirrings he has aroused among his new companions. But in his assumption that his objectification is empowering, he has utterly underestimated the emotional and psychic complexities of those doing the objectifying.
'God didn't give me these talents and looks to just sit around being a model or being famous. I want to lead a huge charity organisation. I want to lead a country, for all I know.' In 2008–2009 a group of teenagers stole $3 million of jewellery and clothes from the homes of Paris Hilton, Lindsay Lohan and other Hollywood stars. Coppola portrays this as an outcome of materialism centred on celebrity worship.