Films
Hillary Clinton Cameos on ‘Daily Show’s’ ‘Song for Women 2017’
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byJerome Hudson19 Dec 20170
19 Dec, 201719 Dec, 2017
Hillary Clinton joined The Daily ..
Screenshot
byJerome Hudson19 Dec 20170
Hillary Clinton joined The Daily Show correspondents Desi Lydic and Dulcé Sloan on Monday night and lent her voice to a musical assemble meant to highlight and celebrate some of the victories women achieved in 2017.
“If there’s one group of people who have defined this year, it’s been women,” Daily Show host Trevor Noah said before the comedic musical number began. “So we asked Desi Lydic and Dulcé Sloan for their thoughts and they gave us a whole song.”
The six-minute music video for the song, titled “Song for Women 2017 (featuring DJ Mansplain), sees the former Democratic presidential candidate singing high pitch notes inside a music studio as other vocalists belt out lyrics like, “Keeping it feminine, this mess we’ve been in. Our lady dicks are swinging, sick of all this winning.”
The song features lyrics about Wonder Women’s theatrical success, the anti-President Donald Trump Women’s March, and the sex misconduct scandal engulfing much of Hollywood.
Since losing to Trump in last November’s historic election, Hillary Clinton has kept her name in the headlines. Clinton traveled the country earlier this year promoting her campaign post-mortem, What Happened, and has been an increasingly prominent presence in Robert Mueller’s increasingly tainted investigation into President Trump and his election campaign.
Earlier this month Clinton appeared on The Ellen DeGeneres Show and said the congressional Republican agenda is fanning the flames of “white supremacy and misogyny and homophobia.”
Follow Jerome Hudson on Twitter @jeromeehudson
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Big Hollywood, Donald Trump, Hillary Clinton, The Daily Show, trevor noah
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Films
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
