Sitting on the beach, Kyle and Lil’ Yachty, whose heads are cut and pasted onto little kids’ bodies complain about women in a sandbox.
A woman rubs suntan lotion onto another woman’s back. Kyle looks to the plastic palm tree and doughy sand.
From the sandbox, they watch the women. Some women wave at them. Kyle plays the a toy piano while a young woman, in a mermaid’s outfit, rests on the sand.
Kyle raps, his body encased in sand, with drawn in marks on his abdomen. Women take selfies on their phones. Waves crash onto the blocks of the pier. A woman pushes up her breasts in her bikini.
Kyle sits on a chair, with a friend, swaying their legs. A woman touches Kyle’s abdomen. Kyle and Lil’ Yachty play on the teeter-totter. A woman rubs suntan lotion on another woman’s butt.
A group of women carry a large hot dog into a woman’s mouth. Two cart around Kyle and Lil’ Yachty in wagons.
Kyle and Lil’ Yachty steer a ship. A woman rubs her breasts, changing the color of her bikini. Another woman tugs at the bottom of her bikini top. Back at the sandbox, they smile.
Placing women in roles of pedophiles, as they fawn over little kid versions of Kyle and Lil’ Yachty, demonstrate the tone-deaf cluelessness of an arrogant corporation weaseling out of an apology by digging up dirt about the victim. Far from titillating, it makes the bathroom tiles of a gas station bathroom seem clean in comparison.
The cut and paste design seems to be done by a group of immature teenage high schooled boys as part of a project for their computer class, cheating at Photoshop while using images they found on the Internet, thinking it would make them look cool.
Director: Colin Tilley Year: 2017
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