Film footage from a video camera shows a young woman’s stomach. She moves her breasts toward the camera. On an old tube television, another video plays where Joe Jonas is looking into the camera.
In the footage, Jonas looks into the camera while the young woman (Charlotte McKinney) smirks. The tape stops and then moves into another night.
In black-and-white, the young woman walks and looks behind her, letting her jacket falls to her arms, revealing her lacy bra. She looks into the camera, her hair waving in her face.
In a warehouse, Jonas moves his microphone away from him and glares.
Switching again, the young woman raises the video camera in the air to capture she and Jonas kissing. She arches her back over Jonas and he nods his head.
Back to the black-and-white, she presses the button on the elevator. Jonas carries the video camera and presses fifteen. The elevator security camera rolls. Once the door closes, the young woman leaps into his arms and they begin to make out. She then runs her hands over his chest and then down to his legs. He sings into his ear.
In a neon green, Cole Whittle thrusts his hips. In a hot blue, Jonas puts his heads near his head while in cherry red and a sky blue, JinJoo Lee puts her hands on her face. Also in the sky blue, the young woman moves her hands as a dancer jumps in the cherry red. In lavender, a shirtless Jonas rolls his head as she shows off his abs. In red, a dancer lifts her hair. Back to the neon green, Lee puts her arms on Whittle’s shoulders.
In the elevator, the young woman takes off Jonas’ shirt. The elevator rises to the floors. He holds onto her chest.
In the cherry red, she holds onto his shoulders as he looks into the camera. She sticks out her tongue. In the older film footage, she puts her finger in her mouth and bites. The grainy video shows a woman running. The timestamp on it is from January 2001. A shirtless man with a tearful expression runs his hands through his hair. In an electric blue, a dancer spreads out his braids. In lavender, Jonas sticks out his tongue.
The elevator door opens, lit in electric blue, a dancer rubs herself and shakes her butt. In the neon green, Lee touches a young man’s face.
On the floor, just by the television, the young woman and Jonas lie on the floor. Her rubs her shoulders. In a kelly green, Jonas takes hold of the young woman’s butt.
In black-and-white, as the young woman stands near Jonas’ crotch, he takes her head and rolls it. In a soft purple, Whittle is amazed at a woman’s butt. Lee makes out with the guy, lit in a cherry red. In the soft purple, the young woman rides Jonas, putting her crotch near his head and then the band dances with various people. The woman smacks her butt. Whittle’s mouth forms a big “o.” In the electric blue, Jonas motorboats the young woman.
The older footage shows a woman’s butt and then the young woman’s cleavage.
In black-and-white, they continue to make out in the elevator as other people dance around them.
In the electric blue, the young woman shakes her butt as Jonas sits on the floor, shaking his arms. In lavender, he runs his mouth over the young woman’s leg.
Back on the floor, they begin to kiss again and Jonas raises his arm, holding the camera to film it. Footage of the young woman’s breasts end the video.
If the actual footage had been found, it would’ve been sold to TMZ, talked about ad nauseam, creating a scandal and causing Joe Jonas to go to rehab. If only.
While sex tapes have actually brought notoriety and fame to people, it’s only lasted for a while before they return to obscurity again, their celebrity hardly taken seriously. With the video, DNCE is intent on achieving D-list status by trying to normalize it.
However, the sex is gross and cheap. The young woman wears a dirty, low-cut tank top while Jonas is shirtless most of the time. She parades around in a jacket with only a bra underneath. Jonas treats her body like his own personal spout, rubbing on her to get off as much as possible. She’s merely body parts and nothing more.
It’s a roundabout way to get noticed without any actual harm attached. DNCE has shown they don’t really have much in the way of standards (“Toothbrush” is the anomaly here). Nonetheless, they prove there isn’t any need for an overtly disgusting vomit shot to repel an audience.
Director: Hannah Lux Davis Year: 2016