I haven’t seen it, but based on what I’m reading, yes actually.

You know how everyone didn’t realize Starship Troopers is a satire?

Same director.

In hindsight, it would be extremely difficult not to read Showgirls as satirical, in the context of Verhoeven’s career. At that stage, after all, the Dutch filmmaker was in the pomp of his Hollywood phase, which saw him use popcorn genres as a way to critique his adopted homeland’s socio-political landscape: there was Robocop’s shots at law enforcement and corporate supremacy and Starship Troopers’ caustic indictment of the country’s more fascistic impulses and jingoistic foreign policy in the guise of a ‘big bug’ movie.

Showgirls may come with more rhinestones attached, but it’s even more searing in its depiction of a dehumanised world, whose ultra-consumer capitalist worldview is encapsulated in one typically bald exchange between Nomi and Cristal: “You are a whore, darlin”, “No, I’m not!” “We all are, we take the cash, we cash the check, we show ‘em what they wanna see.” The fact Showgirls wasn’t immediately understood as satire speaks to an implicit, and possibly patriarchal, bias in film criticism about what tenors of filmmaking are accorded intellectual respect – something Nayman seems to get at in You Don’t Nomi when he notes how “Verhoeven was widely understood in America as a satirist and as a social commentator as long as the primary texture of his films was violence … [whereas] he makes a movie that has a texture that is more overtly sexual [and] all of a sudden people didn’t think he was a satirist or a commentator … they just sort of said ‘what a pervert’.”

Edit: realizing now that you might have used it as an example because you’re in on the joke.