bon appetit

The New Katy Perry

The thing is it’s like I understand the message that Katy Perry is trying to communicate but it’s to convoluted and stuck under too many layers of yikes and I don’t know if it’s even salvageable at this point.

Like I really think she’s trying her best to spread good lessons but she’s just sabotaging herself every step of the way. Like Chained To The Rhythm made sense because her style wasn’t so out there and the visuals in the music video added context to the song and it actually made sense, but Bon Appetit and has too many layers of irony in it in both the music itself and the visuals from the music video for it to be comprehensible. From analyzing the music video it seemed like she was going for a message that was trying to promote a more wholesome view of people’s body’s as ‘not just a piece of meat,’ but the way she goes about it gives the exact opposite message. The very fact that it was NSFW in my opinion was what set it up for failure. It definitely creates food for thought, (that wasn’t meant to be a pun but now I’m thinking if she chose food imagery because of the phrase ‘food for thought’ im gonna lose my ish) but I think the way it was made was so sloppy and open ended that it risks losing all it’s meaning altogether. 

Likewise Swish Swish has a its own menagerie of issues.

I’m just sad to see how sloppy all of it is.

youtube

Katy Perry FT Migos - Bon Appétit (Official Video) (New)

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  1. Psycho by Alfred Hitchcock, 1960.
  2. Lorna the Exorcist by Jess Franco, 1974.
  3. Possession by Andrzej Zulawski, 1981.
  4. The Strange Case of Doctor Jekyll and Miss Osbourne by Walerian Borowczyk, 1981.
  5. The Living Dead Girl by Jean Rollin, 1982.
  6. The Fly by David Cronenberg, 1986.
  7. Twin Peaks: Fire Walk with Me by David Lynch, 1992.
  8. The Witch by Robert Eggers, 2015.
  9. The Neon Demon by Nicolas Winding Refn, 2016.

Films that end with a woman’s sublime or abject experience. Inspired in part by a post by batarde.

“Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.”

A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful by Edmund Burke, 1757.

“The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us.”

Powers of Horror by Julia Kristeva, 1980.