In black-and-white, Fergie, wearing dress pants and a tie, walks through two sketched revolving doors. She sits a platform and rests her leg over another next to her. An identical version of Fergie appears side-by-side at the revolving doors.
Wearing a leather bodysuit and knee-high boots she kicks her leg up in the air and dances. She plays Ping-pong against herself. A game of chess between herself ends with both versions of herself tossing the pieces on the board.
Nicki Minaj stands next to her by the revolving door. Minaj, wearing a tie and dress pants, stretches her leg out on the floor. She stands in the middle of a geometric cube. Fergie, with her back towards to the camera, shakes her butt. To the left of Minaj, Fergie stands in her own geometric cube.
In a square, Fergie holds onto the bars hanging from it. Minaj spins around in the geometric cube. Wearing the leather bodysuit, Fergie does the splits. Minaj slides down the frame of the revolving door. She and Minaj dance in their geometric cubes. Fergie gives an over-the-shoulder glance to the camera and smiles.
First drafts are often regarded as the worst, lacking structure with a vague outline of characters. The sketched revolving doors are thin, drawn with simple lines. It’s an unfinished attempt at illusion. The geometric cube, which seems to hung with flimsy, off-brand tape could collapse if Nicki Minaj touches it.
The square, layered and shaded in the correct areas, has an antagonizing sexuality in combination with its quick edits. However, it seems to be a leftover background from the “Hungry” video, its elaborate design evoking rancor. It’s out of place among chess and Ping-pong games being played.
Nicki Minaj, who is usually bombastic, is hidden behind revolving doors and stuck inside a geometric cube. Limited to either darting her eyes, she seems to be extraneous by default. Considered a nuisance, it’s as though she asked “can I be in your video” and allowed a cursory appearance out of appeasement.
Director: N/A Year: 2017