Archives for posts with tag: McDonald’s

Katy_Perry_Part_of_Me

MTV Films’ latest project in the controlled demolition of civilization follows popular candy-coated nut Katy Perry on her California Dreams Tour of 2011, “a year filled with tremendous success and personal heartbreak” for the twinkly star. Along with seemingly interminable adulation from friends and toadies, the viewer is treated to Perry’s bouts of depression as her long-distance relationship with Russell Brand disintegrates. Even so, to be granted entry into the world of Katy Perry is to be plunged into a dazzling phantasmagoria of lollipops, hearts, balloons, confetti, and sexy, garish costumes.

“I feel a real connection to fairy tales, and I think that in some ways I live in a fairytale,” the singer confides, and one quickly sees what she means when confronted with so many sissy prancers ducking, gliding, and kicking around the stage in their candy cane pants. Even freaky Russell Brand, when he meets his lady backstage, looks embarrassed to be seen mixing with this lot of dubious company. Too much hagiography begins to wear on the viewer’s patience, and Perry minus the whorish makeup and the wardrobe is actually rather an uninteresting individual; but Katy Perry: Part of Me does feature some impressive concert cinematography and grotesque visuals aplenty.

2 out of 5 stars. Ideological Content Analysis indicates that Katy Perry: Part of Me is:

10. Pro-miscegenation. Interracial couplings can be glimpsed among her backup dancers.

9. Corporate. Brand sends Katy a text message with a picture of a McDonald’s restaurant and suggests they name their firstborn Ronald.

8. Anti-Christian. Katy’s conservative Pentecostal upbringing, which forbade her to watch The Smurfs or eat Lucky Charms, definitely started to cramp her style as she discovered her inner freak. “I felt like I was never even allowed to even think for myself, and having any kind of feminist live-on-your-own independent spirit is just, ugh, the devil!” (cf. no. 5) Today Perry’s beliefs appear to drift more toward permissive New Age nebulousness: “I really do believe in God[, even if I] probably don’t believe in all the same details that my mom believes, but I have a spiritual relationship with God, and it’s one-on-one, and it’s continually evolving.”

7. Pro-drug. Katy be “sippin’ on gin and juice”.

6. Family-ambivalent. Perry is close with her grandmother, and her parents are generally supportive despite not approving of all of their daughter’s output. She is unprepared, however, to have children of her own.

5. Underachievingly feminist. “I kinda want to be a leader, but, you know, then there’s all those responsibilities.” Still, California girls like Katy are naturally “fine”, “fresh”, and “fierce”.

4. Multiculturalist. The film goes to great lengths to portray Katymania as a messianic and postracial phenomenon and opens with a series of webcam effusions from teen admirers of various races and orientations who say that Perry has shown them that “being weird is okay.”

3. Pro-gay. Perry’s breakout hit, “I Kissed a Girl”, occasions a lesbian smooch from View host Whoopi Goldberg. Among the fans who receive screen time are some Japanese drag queens.

2. Pro-wigger. One must, one supposes, muster something resembling admiration for a songwriter who rhymes “peacock” with “beyatch”. “West coast, represent!”

1. Pro-slut. In addition to her salacious booty-shakery onstage, Perry’s lyrics tend to be of the tawdry “let you put your hands on me in my skintight jeans” and “I wanna see your peacock” variety.

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In the future, fast food companies, faced with flagging sales, seek to reestablish their market hegemony through parasitic mind control.  Their ploy works so well in the experimental market of Russia that the nation’s ideal of beauty itself has been manipulated, so that obese replaces svelte as the desired body type.  Only one man, Misha (Ed Stoppard), has the visualized insight to unravel the aggressive marketing’s workings.  He can actually see the balloonlike monkeys riding everybody’s backs, including those of his wife and son.  The phantom swells like a cartoonish erection until the host has satisfied its demand by visiting the fast food restaurant associated with it, resulting in a population of zombie-like junk food addicts.  Misha, a visionary marked from childhood for a special destiny, devotes his life to destroying the fast food market by fighting branding with branding of his own.

Branded clearly sees itself as being somehow highly original in its exposure of how the public’s tastes and perceptions are largely dictated from sinister corporate boardrooms.  Had the films The Stuff, They Live, Happy Hour, and Wag the Dog never been made, Branded might claim some slim excuse to exist.  Coming when it does, however, Branded only pats itself on the back for restating with the addition of computer-generated monsters and even less convincing profundity what every intelligent person in the audience already knows.  What might have worked as a twenty-minute satirical short film ends up overstaying its welcome by about eighty minutes, with the vague emotional flatness of Misha’s character and his relationship with wife Leelee Sobieski hardly helping to humanize what amounts to a wearying feature-length joke.

Ideological Content Analysis indicates that Branded is:

6. Anti-police.  Officers beat Misha unnecessarily as they arrest him.

5. Anti-Christian.  Misha, in a scene played for humor, turns to God only after being tortured by a debt collector.

4. Anti-family, with no positive examples.

3. Statist.  Misha ludicrously expects his government to outlaw all advertising – and it does!  That Branded sees government as an antidote to brainwashing or as somehow removed from the world of marketing is indicative of its simplistic naievety.  Freedom of expression in this film is transformed into something predatory that must be stamped out to preserve human dignity.

2. Anti-obesity.  Branded purports to reveal a nightmarish future world in which most people are fat, neglecting to notice that this is the society in which viewers already live.

1. Anti-corporatism (i.e., pro-yawn).  Rather than providing you with products you actually want, McDonald’s et al, Branded would have you believe, have been brainwashing you all these years.

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