independent film Going Down in LA-LA Land, and the Mother Nun in the independent horror comedy Sister Mary. She would go on to be nominated for Best Actress at the 2012 Laugh or Die Comedy Fest for her performance. Stand up routine Persona Tenuta's act was primarily structured around an exaggerated, campy, and offbeat persona that was referred to primarily as "The Love Goddess". She also styled herself with other monikers including "The Petite Flower", "Aphrodite of the Accordion", "Fashion-Plate Saint", "Queen of Candy-Pants", "Princess of Panty Shields", "Empress of Elvis Impersonators," and the "Buffer of Foreheads." Her routine, which blended observational and insult humor, was a performance of "surreal lunacy." "The Love Goddess" began every show with her signature greeting "Hi Pigs!" before diving into a bawdy, chaotic, and whimsical whirlwind of stories, impressions, and songs. One review of a 1987 performance reported that Tenuta's show was a veritable "onslaught" of "atavistic growlings and gum-chewing bimbo stances," filled with "little nasties," crass jokes, and "political offensiveness". Tenuta often performed in an array of fantastical costumes made up of "Aphrodite dresses, feather boots, and gauzy capes" and with a variety of props, including her iconic accordion. Content and delivery Tenuta's unique blend of observational and insult humor drew heavily from the Borscht Belt and Vaudeville comedy styles. As "The Love Goddess," Tenuta regularly lampooned religion, politics, celebrities, sports, and current events. Most of Tenuta's content passed through the filter of her faux religion "Judyism," which, in her own words, aimed to "help you forget about your problems and think about mine for a change". Throughout her act, Judy continuously worked to convince the women in her audience to convert to Judyism, and bloom into Love Goddesses themselves. Although the demeanor was fanciful, her content had serious undertones. In a 2007 interview, Tenuta explained that she used over-the-top comedy to express her own anger at the world around her, saying "When I get angry about something, I have to make it into a joke. The thing with comedy is it relieves the pressure of tragedy. That's why people come [to see me]." Giovanna Del Negro, a scholar who has studied and written about Tenuta's career, argued that "in juxtaposing the idealized love-goddess image with the aggressive, over-the-top dominatrix persona, we discover that play acting [in Tenuta's performances], no matter how ludicrous, can provide a terrain for interrogating issues of gender, power,