Inside a room at the Standard Hotel in New York City, a little brunette girl dressed in white sings. Another little girl dressed in all white, with gold cross earrings joins her. Then, two other little girls pop up beside them.
Pulling the strings from the cable, she moves up and down during a half-hearted workout. An attendant hands her an orange towel. Once she leaves the gym, she drinks out of a cherry red drinking fountain and kisses a shirtless guy. She walks down the hallway and slaps a young woman on the butt with the towel. Moschino-decked bellhops roll a dazed customer around as a police officer watches. The police officer follows Madonna and waves an aqua blue towel. He hits the screen with it.
Inside a room, two girls are in the hot tub, mostly naked with black hospital crosses covering their nipples. They jerk their arms. Madonna joins two other women in the room and begins to dance. The film reverses before it continues.
Madonna dances in the hallway with people. Confetti flies in the corner. She jumps on a guy’s back and he drops her on the hotel room floor. Rita Ora and Chris Rock both say “bitch I’m Madonna.” Madonna crawls on the floor. Green and red star balloons float outwards from the next room. She almost trips while trying to grab hold of a red balloon. She tosses the balloon back in the air.
She reaches for a female hotel employee and together with her co-worker, they open their jackets, copying Madonna as they walk down the hallway.
Glow-in-the-dark puppets sing along. Madonna leaps into them and they catch her.
She and two dancers perform their routine to the side as they continue to the lobby and past the concierge desk. Everyone is dancing. At the bar, she pours a drink down a guy’s throat.
In an individual shot, Miley Cyrus gives two middle fingers as she says “Bitch I’m Madonna” and then sticks out her tongue. Back by the concierge desk, Alexander Wang says the song’s title. Beyoncé, In an individual shot, fades in with a black background and vogues. It then fades into Katy Perry against a black background saying the song’s title.
A group of people have formed a circle in the hotel lobby as a boy (Madonna’s son, David) dances. Against a black background, Kanye West screams.
In the lobby, Madonna and everyone continues to dance. Someone holds up a video screen of Nicki Minaj rapping against a pastel background. Some graffiti gets added when the her section is given the full screen. Then Minaj pops out of the screen and into the lobby.
At a club, she and her two main dancers dance as confetti falls. She leans against a pole and lets a woman touch her. She walks past two guys who check her out and then up the stairs, which leads to a scarlet red lit room. She pulls a woman into the corner and kisses her. Against a black background, West shows up again. She climbs up to another floor and Perry screams.
On the rooftop, which is strung with lightbulb lights, Madonna gets carried by the crowd. A person holds a gigantic disco ball. Minaj appears again, her background a series of teal rectangles. Someone puts Madonna down and she lies against a pink blanket, which seems to be on top of a coffin.
Against a sharp orange striped background, Madonna dances.
The lights above the hotel glow. Madonna breathes hard on the floor.
Franco Moschino (under Jeremy Scott) is Ed Hardy for the couture crowd. With its oversized metallic logo plastered on hats and belts and a penchant for jagged, bright leopard print paired with crass neon, fancies itself on capturing pop culture. However. its brutish view of commercialism works against the fashion industry it claims to love.
Moschino serves as a metaphor for Madonna. Once considered trendsetting and creative, it is now mired with lawsuits regarding plagiarizing and features designs that could be found hanging on the clearance rack at Wal-Mart.
Madonna is playing at being Madonna. She inserts the usual controversial images (the little girls swearing, the two girls naked and nearly kissing in the bath tub), paints the video in coarse neon and fills it with celebrity cameos to show her pertinence to pop culture.
Whereas, Madonna once led the trends, she is now trying hard to keep up. She is now following younger versions of herself. When Miley Cyrus appears in her cameo, with glittered eyes and skull tattoos on her fingers, the perennial Madonna image goes full circle. Unfortunately, the model is out of date, overused by pop stars following in her path. She may proclaim she can do whatever she wants but she has lost the ability to adapt, relying on Cyrus and other pop stars to lead the way.
Director: Jonas Akerlund Year: 2015