question:  Which isn't an apparent theme in Velvet Goldmine?
context: Warrior Queens Elizabeth is a lurid paraphrase of the old Groucho Marx line about Doris Day: "I knew the Virgin Queen before she was a virgin." Only a strategic marriage to a Spaniard or a Frenchman will mollify all factions, her advisers insist, but the pickings prove dismal. After skulls are smashed, throats slit, and bosoms skewered in the name of Christ, Elizabeth decides to: a) "unsex" herself and become a symbol--the Virgin Queen, married only to England; and b) entertain dissenting opinions exclusively from those whose heads are affixed to spikes. You can't be both a queenly queen and a womanly woman, says the script (by Michael Hirst)--at least not in 1554. (The director, Shekhar Kapur, made the same point in his grim 1994 Indian epic The Bandit Queen , against a backdrop of scrubby plains along the Ganges.) Probably, although the evidence suggests that Elizabeth had developed a head for stratagems earlier in life (her position had been precarious since the beheading of her mother) and came to the throne with few girlish illusions about How Things Work in a barbarous state. It's even closer to a Jacobean drama of our own age: The Godfather (1972), which it emulates by cutting back-and-forth between queen and courtiers in prayer and the roundup and slaughter of Catholics on their privies, in bed with their mistresses, and so on. But Blanchett comes in a close second, pulling off the transition from hapless young woman to coolly ruthless monarch with uncommon subtlety. Gradually expunging all empathy from her moist, pink eyes and permitting her visage to ossify, she gives this carnival of carnage an awe-inspiring center. A more subversive sort of queen is on display in Velvet Goldmine , Todd Haynes' musical fantasia on the early '70s era of "glam" or "glitter" rock.
output:  power can be deadly
options:  music is a powerful force  some people will give themselves up for money and fame  power can be deadly  be whoever you want to be