Of Daisy Chains and Economic Conferences : A daisy chain is a beautiful thing - it's just a geometrical shape of bodies all fucking each other. A perfect daisy chain is closed: everyone is fucking and getting fucked. But most gorgeous is the true daisy chain, as known by sorority girls across the nation. See, unlike the male circle jerk, where a bunch of Abercrombie and Fitch-model lookin' jack asses stand around and masturbate, not touching each other, 'cause, you know, that'd be gay, a daisy chain has no such pretensions of purity. The real, true, wonderful daisy chain is a woven, symmetrical, alive creation, where one woman is on her back, legs open, splayed vagina ready for the moist, giving lips and tongue of another woman, on her stomach, her own ass and labia on the face of a third woman, whose splayed vagina. There you have it.
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Such is the daisy chain of relationships spawned by "Muriel's Wedding," an unlikely modern fairy tale from Australia that charmed both critics and audiences when it was released in the United States in and has since reached cult status. The film served as a springboard for a crop of fresh-faced talent from Down Under, including Collette and Griffiths, both of whom have since received Academy Award nominations Collette for last year's supernatural thriller "The Sixth Sense " and Griffiths for her role in the drama "Hilary and Jackie" ; Drynan, whose new film is "Soft Fruit"; Sophie Lee , who co-starred in Jane Campion 's "Holy Smoke"; and perhaps most auspiciously, writer-director P. Hogan , who seamlessly transferred his cheeky independent sensibilities to his American directorial debut, the Julia Roberts blockbuster "My Best Friend's Wedding. It's been five years since the real- life fairy tales for the film's stars, director and producer began, and despite accolades for other projects, they all look fondly back on the humble little film about the residents of the fictional town of Porpoise Spit.