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In essence, Victoria uses her stage presence “Victor” to obtain a sense of “patriarchal privilege” she was denied access to as a white woman by masking herself as a minority in the music industry—“a woman pretending to be a man pretending to be a woman”[40]—a rare commodity in the film’s setting.[41] Throughout the narrative, Chicago gangster King Marchand becomes enamored with “Victor” at one of his performances and is so distressed by the initial pseudo-reveal, Marchand commits a federal crime by breaking into “Victor’s” hotel bathroom to discover that ‘he’ is actually a woman.[42] This unnerving twist to the infiltration motif popularized by Psycho has been twisted and subverted into a more ludicrous, ironic perspective, but is still the device, nonetheless

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