The 1987 cinematic opus Mannequin was not exactly a critical smash. It's presently sitting pretty with a 22% on Rotten Tomatoes and earned this searing review from Roger Ebert:
"A lot of bad movies are fairly throbbing with life. Mannequin is dead. The wake lasts 1 1/2 hours, and then we can leave the theater. Halfway through, I was ready for someone to lead us in reciting the rosary."
And yet it made $42 million on a $6 million budget and even earned a sequel, Mannequin 2: On the Move. Both movies featured Hollywood Montrose, and while your mileage may vary on whether he's an '80s gay icon or a human slur of a jelly donut stuffed with stereotypes, many of us fall into the "whynotboth.gif" category of "Yes he's perhaps problematic but also donuts are delicious." What I'm saying is I'm hungry for a jelly donut. Hollywood gets it.
As portrayed by Meshach Taylor, who was also in the sartorially excellent show Designing Women, Hollywood was a grand and glorious beacon of statement pieces, sass, and PURE EMOTION. Look, everyone in this movie is a mess—Andrew McCarthy is in love with a mannequin and is just grinning the whole movie like "I can't believe they're paying me to do this sh-t," Kim Cattrall is playing an Egyptian princess who prays herself into becoming the titular mannequin because the '80s were a weird time, James Spader is very honestly delivering the role of a damn lifetime, Estelle Getty is too good for this world, G.W. Bailey is routinely outacted by a bulldog named Rambo, and the movie is actually about a war betwixt two malls. Hollywood is actually the closest thing this film has to a grounding force.
Plus, he cares. About EVERYTHING. In the face of danger (mannequin danger, specifically) his priorities are still very in order and his priority is FANCY CAR.
And his car, though he loves it, is only at best third on his list. One and two on his list?
Hollywood Montrose as a character contains as many stereotypes as he does accessories. But Taylor's performance and the fact that Hollywood is an actual hero of the movie—a lesser film (lol, calm down Court; it's Mannequin) might have either fully leaned in to the idea of effeminate as weak or used his strength and selflessness as a surprise or punchline—is what has made him a cult icon to this very day.
Mannequin 2 is also a movie. That's all I got on that front.
Anyway. Hollywood Montrose: more than the sum of his sunglasses. His wonderful, wonderful sunglasses.