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Lana Del Rey - This Is What Makes Us Girls (Tradução/Legendado)
These were instructions, they said, for a large-scale binding spell that had already begun to go viral, intended to obstruct Donald Trump from harm-doing until the ultimate goal of impeachment. The aforementioned ingredients included a small orange candle stub, an unflattering Trump photo, and a single tarot card, The Tower — pictorially speaking, an unambiguously horrifying card, with two figures plummeting headfirst from a fiery turret senselessly balanced atop a cliff. Even if tarot readers assure you that The Tower is technically more about change than destruction, the implication is chaos. She is escaping Berkeley and the specter of her late ex-husband, whom we see collapse in a flashback, poisoned goblet clattering to the floor alongside him. No demystification is required for a bright red heart pierced by three swords. Attempting a life reset, Elaine settles in a rented Victorian gothic mansion, each room richly decorated in homage to the Thoth tarot deck. With each prospective lover comes a moment of bitter realization — that his defective capacity for love is far outweighed by his slobbering desire to see her naked — which Elaine remedies with fatal potions or good old-fashioned stabbing. By the end, Elaine is nowhere nearer to her dream of true love. But in many of even the most enthusiastic reviews, there is a pervasive off-ness — a compulsive focus on how the film looks, at the expense of any meaningful exploration of its ideas. Still, there is a striking resemblance between the two — in a certain visual aesthetic, but more profoundly, a conspicuous but hard-to-articulate aura. Dozens of fans have made the same connection: A quick Twitter search yields a small but impressive selection of mash-up art. One thing I feel sure of is that satire and pastiche have nothing to do with any of it. Club interview , responding with palpable frustration to the critical subjugation of The Love Witch as a campy, sexploitation-riffing horror-comedy. I mean, I might be taking all of this too seriously, but you have to understand this has been going on for almost 10 years. Critics called that, too, a soft-porn pastiche, or, worse, a comedy. And parts of Viva are funny. Biller has that piercing, Eve Babitz—type grasp of the essence of L. But the plot is ultimately traumatic: Seeking the liberation the sexual revolution promised, Barbi finds nothing but degradation and abuse. So now what happens is that people love my sets. This is because my content makes people uncomfortable … So I keep learning about how to make it more accessible to them. To a cynical audience, such unqualified sincerity demands critique. And these questions all have negative inferences: It probably goes without saying that many of the most misguided critics of both artists are men. Hashtag GirlBoss , amirite ladies?! In truth, Del Rey meant the song sardonically. It's a darkly comic ode to never getting what you wanted. The effect is stereoscopic, the way the old red-and-blue glasses tricked the brain into seeing a single 3-D image fused from two distinct two-dimensional shadows. Real-life events and feelings are mediated through the lens of female fantasy, creating what can function like a decoy memory that renders trauma and frustration more beautiful, cinematic, and generally more livable. What these artists are getting at isn't so much an aesthetic as it is a coping mechanism. The void is the reason I write, and the reason, I sometimes think, I have made it this far through adulthood without throwing myself off a bridge. If anything, the hyper-stylized, occasionally anachronistic aesthetic in this work functions not as pastiche but, instead, as a code that communicates directly to its intended audience. Now, I knew that would happen. Maybe not all men will do this, but some will. And I knew women would see her beauty differently. It may be accessible to men on the one level — because in this society, everything is accessible to men. Perspective is power, and Mulvey triangulates the male gaze into three subcomponents: Still, I am surprised by the relative scarcity of recent attempts at a working definition of the female gaze, one that leaves room for intersectional critique and expansion — not an inversion or extension of the male gaze, but a complete restructuring. An otherwise unremarkable dinner detonates in Kraus a paradigm-shifting crush on Dick, a mean intellectual slash lonesome cowboy of the type you might imagine in a Nancy Sinatra and Lee Hazlewood song. And who, yes, is based on real-life cultural critic Dick Hebdige, because sometimes life is art. Immediately she begins writing letters addressed to Dick: Upon discovering the letters, Lotringer is unexpectedly aroused, and for a while, joins in the writing himself, even phoning Dick to confess their erotic and increasingly heady ritual. While its current life as a cool-girl classic inspires cheeky Instagram posts of the book's cover, its title alone speaks with hilarious precision to the exact conditions Kraus explores within. The crudeness of the title prevented me from ever exposing the cover on a crowded train, dreading the waggling male eyebrows it would surely inspire. On top of all that, then, it's a knowing wink at the critics who would ultimately write off Kraus's work as scandalous self-indulgence, just like Dick does. All caps and punctuated. Dick, as the object of that kind of love, becomes a vehicle for transition, a path between the life Kraus has and the life she thinks she wants. In the morning, the fantasy deflates with one cruel prick. But it had to start with something real. It is riddled with misspellings of her name. A perfectly fucked ending. If there is any real resolution, I Love Dick does not let on. But they complicate things, obfuscating the clear hierarchy of power. Those who would call any of this hyperbolic fail to see how clearly it all reaffirms the contradictions of attempting a meaningful life as a woman. Nothing is going to work out the way you think it is, these works scream. This other gaze, toward the unreachable horizon of what might have been, is aware but inert. It speaks not to how things should be, but to how things are. This gaze works overtime, straining to anticipate the criticisms it will certainly receive from critics unwilling to see as it sees; it self-edits only to be further misread. The witch offers the mermaid a potion that will transform her tail into human legs and feet, though at a cost. He loves her as one would love a little child, playing with her hair and regaling her with stories of the strangeness of life as a sailor. This, the mermaid knows, is her end. She had never danced so elegantly before. Her tender feet felt as if cut with sharp knives, but she cared not for it; a sharper pang had pierced through her heart. She knew this was the last evening she should ever see the prince, for whom she had forsaken her kindred and her home; she had given up her beautiful voice, and suffered unheard-of pain daily for him, while he knew nothing of it. This was the last evening that she would breathe the same air with him, or gaze on the starry sky and the deep sea; an eternal night, without a thought or a dream, awaited her: All was joy and gayety on board ship till long after midnight; she laughed and danced with the rest, while the thoughts of death were in her heart.
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