Atlantic Records

"I'm crazy, b*tch," screams Jucee Froot on "Danger," the ninth song on the Birds of Prey soundtrack. "But I'm that b*tch."

That could be the central mantra of Birds of Prey's companion album, which features fifteen sparkling, saccharine, vicious pop songs from some of pop's brightest anti-popstars. These songs are aggressive, feminine, sugary, vicious, and off the rails, just like the movie promises to be.

The film—full title Birds of Prey: The Fantabulous Emancipation of One Harley Quinn—debuted this Friday night. It tells the story of Harley Quinn, finally freed from her abusive relationship with the Joker, as she heals from the breakup and develops her own super-villain identity.

Harley Quinn's cinematic emancipation has received mixed reviews. "Birds of Prey is happy to play at provocation with swear words and violence while carefully declining to provoke anything like a thought," writes A. O. Scott in The New York Times. Anthony Lane called the film "unholy and sadistic mess" in The New Yorker.

For others, the film's fizzy brutality is exactly the point, and many argued that the film provides a welcome change from both the self-serious superhero machismo that tanked Suicide Squad and the idealized kind of femininity that defines Hollywood's movement towards corporate feminism. "In a world gone mad, the catharsis of Prey's twisted sisterhood doesn't just read as pandemonium for its own sake; it's actually pretty damn sweet," writes Leah Greenblatt for Entertainment Weekly. "Theirs is a contemporary verve that offers a glimpse of something heartening: a future in which all kinds of people get to tell these stories, and we're all the better off for it," writes Richard Lawson for Variety.

As the reviews roll in, certainly more debates will ensue. But if Birds of Prey companion soundtrack is any indication, the movie will inspire a whole host of women to take their power back by any means necessary—most likely while wearing glitter.

The all-female soundtrack is brutally empowering in every sense. It's the sound of sweetness in a world gone mad, of lady mad hatters sitting around and cutting their losses over egg and bacon sandwiches. It's the sound of women relishing in the tropes of pop music and popular femininity while spinning them on their heads. It's a triumph and a delight in the sweetest, bloodiest of ways.

Highlights include Doja Cat's utterly unhinged "Boss Bitch," which leans into archetypical empowerment and breakup narratives so hard that it shatters and becomes something almost mutated and definitely dangerous. Megan Thee Stallion and Normani do something similar with their aggressive riff on "Diamonds Are A Girl's Best Friend."

Halsey's "Experiment On Me" is probably the most aggressive track on the album; it's also one of the hardest to listen to. It's a yowling, overwhelming tune that layers Halsey's shrill screams over punk-inflected guitar.

Charlotte Lawrence's "Joke's On You" is more palatable and just as powerful, leaning into the darkness and complexity of Harley Quinn's story (and of the idea of female redemption through violence on the whole) while layering sultry vocal lines over a tense beat. "We've had our fun; now your sugar makes me sick," she sings. "My makeup's ruined, and now I'm laughing through my tears." All the world's part-time Harley Quinns are, undoubtedly, feeling seen.

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True to form, the songs are gleeful, dark, celebratory, and free. They're embroiled in the business of shaking up existing power structures; and as the voices grow hoarse and furious, their beats resist pleasantness and neutrality, instead leaning towards hyperactive mania. Perhaps because this is a revenge story, there's a sense of perpetual bittersweetness. Lauren Jauregri's "Invisible Chains" dives deeper into the pain and struggle that accompanies Harley Quinn's liberation from the Joker.

There's also a deeper sense of bittersweetness to the whole project, which celebrates Harley Quinn's story as a clear tale of feminist liberation. When women free themselves from men and take power, only togo ahead and commit evil acts and relish in all of capitalism's and the patriarchy's bitterest signifiers of victory, is that something to celebrate? Are we really looking for female villains who kill others and hoard wealth and don't support others, just like men always have?

Perhaps not, but watching these narratives play out often offers catharsis, providing a fulfilling revenge fantasy for anyone who's ever been in an abusive relationship or who's seen others affected by them. We'll see how the movie ends up, but for now, the soundtrack provides an excuse to celebrate rage and revenge without thinking too hard about what it means.

Joaquin Phoenix as Joker

Photo by Faiz Zaki (Shutterstock)

Earlier this year, in an interview with Anderson Cooper, Joaquin Phoenix and his family opened up about the death of River Phoenix, in the early morning of Halloween, 1993.

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TV

The Failed Diversity of "The Marvelous Mrs. Maisel" Season Three

We can't pretend the 1950s were this wholesome.

Stephanie Hsu Marvelous Mrs. Maisel Season III

Photo by Ovidiu Hrubaru (Shutterstock)

The Marvelous Mrs. Maisel continues to deliver the same nostalgia and retro fashion that's earned the show audience acclaim and three Golden Globes.

In season 3, married showrunners Amy Sherman-Palladino and Daniel Palladino (Gilmore Girls) continue their comedic schtick of having characters speedwalk and speedtalk their way through scenes of chaos and slowing down to emphasize the impeccable retro scenery and pastel color palette that defines the show's 1950s wholesomeness. But this season, there is an attempt to address the show's dire lack of diversity (namely the absence of any non-white character) with three new charaters, played by magnetic talents: Midge (Rachel Brosnahan) tours with the celebrated singer Shy Baldwin (Leroy McClain) and his overbearing manager Reggie (Sterling K. Brown), while her ex-husband Joel (Michael Zegen) finds a new love interest Mei (Stephanie Hsu). Ultimately, Mrs. Maisel sticks to its same old formula of clever quips and introspective soliloquies set against gorgeous vintage backdrops, giving the series a predictability that, to some, provides an enjoyable, easy viewing experience, while to others it cripples the show's thematic scope.

So does Mrs. Maisel pass the diversity litmus test? No, not in any meaningful way. The series gets props for including people of color without tokenizing them as helpful best friends or quirky side kicks. Shy Baldwin is a charismatic but temperamental starlet who may or may not be based on a real-life idol of the '50s (Harry Belafonte seems to be the Internet's favorite guess). Sterling K. Brown plays his loyal friend and strict manager who antagonizes Midge and Susie (Alex Borstein) just enough to underscore the season's soft theme that Midge is going to have to get used to a wider, more complex audience beyond Manhattan's Upper West Side.

But that's where the show rings hollow, only touching on and skirting around issues like the Civil Rights Movement and segregation, which would have deeply impacted Midge's national tour with a famous African American singer and his predominantly black band. For instance, we see the tour's flashy performances in three major cities: Las Vegas, Los Angeles, and Miami. It's not until Miami that Midge learns that Shy and the band often aren't permitted to stay in the flashy hotels she's staying in, due to the rampant systemic racism of the 1950s. Las Vegas, in particular, was so racially segregated in the '50s and '60s that even renowned black performers who were invited to perform (such as Harry Belafonte) were forced to enter and leave through back doors; simply, Las Vegas was called the "Mississippi of the West" during this era.

But anachronisms aside, the show earns a big win for its introduction of Stephanie Hsu, who plays Mei, the enigmatic young woman who helps Joel establish his night club in Chinatown. Aside from being the first speaking role an Asian actor has had on the series, Mei defies the era's stereotypes of women and the Asian community. After Joel encounters an illegal mahjong gambling parlor nearby, Mei introduces herself with the same fast-talking cleverness and self-assured air that define Joel's ideal "type" of woman, as his friend Archie tells him.

Most notably, 29-year-old Hsu is very aware of the (albeit small) step forward her character makes toward uplifting Asian American representation on American TV. The daughter of Chinese and Taiwanese immigrants, Hsu pursued acting (to her family's trepidation) and graduated from NYU's Tisch School of the Arts the same year as Brosnahan. Trained in experimental theater, Hsu was painfully aware of how few opportunities are given to Asian actors in the entertainment industry. As little as 1% of Hollywood's leadings roles go to Asian actors, while on Broadway, Asian-Americans only occupy 4% of roles. But Mei isn't just a rare opportunity for today's Asian performers; she's also a standout woman of the time period. "With Mei, to be a female in Chinatown and a medical student [in the 1960s] is one of the most badass things that a woman could possibly do," Hsu said. "It's not a stereotype at all, it's completely pushing the boundary of what was possible [at the time]. It was like a character I had never, ever seen or heard of on TV and, certainly, could have never even imagined."

Hsu uses her fluent Mandarin language skills to underscore many of Mei's cutting punchlines about Joel's ignorance about Chinatown. As one of New York's oldest and most insular communities, she's a conduit that "shines a beautiful light on this very integral part of New York culture that isn't often spoken about," according to Hsu. She adds, "I feel very honored to get to play [her]." She also told Teen Vogue, "I feel a certain type of obligation to be making more space for younger versions of me."

So while some critique, "It's good to see the show attempt diversity. But if all they're going to do is make jokes about gambling and Asian stereotypes, it's not helpful," that view loses sight of the overall context of the show. In episode six, the show forces Midge and Joel to hear from people of color exactly how the world works differently for them. When Joel pridefully confronts Mei about secretly helping him with his nightclub, she says, "Hey, John Wayne! If you haven't noticed, this is a very insular neighborhood. You can't get anything done if you don't have 'cousins'...Chinese 'cousins'...You don't know the language." She leaves while telling Joel off in Mandarin. Meanwhile, Midge is helping Shy recover from a very difficult night. While they're huddled in the dark together, Midge speedily offers ways she could improve his situation, including bringing him back to her hotel room. He gives her a sardonic, all-too-knowing look, "I can't go to your hotel. This is Florida; we don't stay in your hotels."

It's as if both moments, through language barriers and tense moments of silence, capture the show's dissonance between the wholesome retro-nostalgia The Marvelous Mrs. Maisel blindly offers viewers and the fraught social reality that it disregards.

FILM

The Golden Globes Still Pretend Female Directors Don't Exist

The Best Director nominations for the 77th Golden Globes completely omit women, but who's surprised?

Today, the nominations for the 77th Annual Golden Globes were unveiled.

It was a good year for Netflix productions, Scorcese, and Tarantino, but history has repeated itself in that women are, yet again, entirely absent from the Best Director category and immensely underrepresented throughout.

The Best Director nominees are Bong Joon-ho for Parasite, Sam Mendes for 1917, Todd Phillips for Joker, Martin Scorsese for The Irishman, and Quentin Tarantino for Once Upon a Time in Hollywood. (Other categories, including Best Motion Picture and Best Screenplay, were significantly male-leaning.) But as always, it's not like women haven't flashed their directing chops this year. Lorene Scafaria (Hustlers), Lulu Wang (The Farewell), Olivia Wilde (Booksmart), Greta Gerwig (Little Women), and Alma Har'el (Honey Boy) are all deserving of nominations at the very least—hey, that's enough to fill the entire category! Nominate them all!

Though the Golden Globes' glaring ignorance towards women hurts, it sadly doesn't come as a shock. Barbra Streisand is the sole woman to ever win Best Director in over seven decades of the Golden Globes; only four others have been nominated. Looks like Natalie Portman's viral call-out while presenting at the 2018 Golden Globes will remain evergreen.

Natalie Portman Notes the All-Male Director Nominees

Awards ceremony celebrating the best in TV and film; Seth Meyers hosts; Oprah Winfrey receives the 2018 Cecil B. de Mille Award.

Check out the very manly nominees below.

Best Motion Picture – Drama

"The Irishman" (Netflix)

"Marriage Story" (Netflix)

"1917" (Universal)

"Joker" (Warner Bros.)

"The Two Popes" (Netflix)


Best Actress in a Motion Picture – Drama

Cynthia Erivo ("Harriet")

Scarlett Johansson ("Marriage Story")

Saoirse Ronan ("Little Women")

Charlize Theron ("Bombshell")

Renée Zellweger ("Judy")


Best Actor in a Motion Picture – Drama

Christian Bale ("Ford v Ferrari")

Antonio Banderas ("Pain and Glory")

Adam Driver ("Marriage Story")

Joaquin Phoenix ("Joker")

Jonathan Pryce ("The Two Popes")


Best Motion Picture – Musical or Comedy

"Dolemite Is My Name" (Netflix)

"Jojo Rabbit" (Fox Searchlight)

"Knives Out" (Lionsgate)

"Once Upon a Time in Hollywood" (Sony)

"Rocketman" (Paramount)


Best Actress in a Motion Picture – Musical or Comedy

Ana de Armas ("Knives Out")

Awkwafina ("The Farewell")

Cate Blanchett ("Where'd You Go, Bernadette")

Beanie Feldstein ("Booksmart")

Emma Thompson ("Late Night")


Best Actor in a Motion Picture – Musical or Comedy

Daniel Craig ("Knives Out")

Roman Griffin Davis ("Jojo Rabbit")

Leonardo DiCaprio ("Once Upon a Time in Hollywood")

Taron Egerton ("Rocketman")

Eddie Murphy ("Dolemite Is My Name")


Best Motion Picture – Animated

"Frozen 2" (Disney)

"How to Train Your Dragon: The Hidden World" (Universal)

"The Lion King" (Disney)

"Missing Link" (United Artists Releasing)

"Toy Story 4" (Disney)


Best Motion Picture – Foreign Language

"The Farewell" (A24)

"Les Misérables" (Amazon)

"Pain and Glory" (Sony Pictures Classics)

"Parasite" (Neon)

"Portrait of a Lady on Fire" (Neon)


Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates ("Richard Jewell")

Annette Bening ("The Report")

Laura Dern ("Marriage Story")

Jennifer Lopez ("Hustlers")

Margot Robbie ("Bombshell")


Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks ("A Beautiful Day in the Neighborhood")

Anthony Hopkins ("The Two Popes")

Al Pacino ("The Irishman")

Joe Pesci ("The Irishman")

Brad Pitt ("Once Upon a Time in Hollywood")


Best Director – Motion Picture

Bong Joon-ho ("Parasite")

Sam Mendes ("1917")

Todd Phillips ("Joker")

Martin Scorsese ("The Irishman")

Quentin Tarantino ("Once Upon a Time in Hollywood")


Best Screenplay – Motion Picture

Noah Baumbach ("Marriage Story")

Bong Joon-ho and Han Jin-won ("Parasite")

Anthony McCarten ("The Two Popes")

Quentin Tarantino ("Once Upon a Time in Hollywood")

Steven Zaillian ("The Irishman")


Best Original Score – Motion Picture

Alexandre Desplat ("Little Women")

Hildur Guðnadóttir ("Joker")

Randy Newman ("Marriage Story")

Thomas Newman ("1917")

Daniel Pemberton ("Motherless Brooklyn")


Best Original Song – Motion Picture

"Beautiful Ghosts" ("Cats")

"I'm Gonna Love Me Again" ("Rocketman")

"Into the Unknown" ("Frozen 2")

"Spirit" ("The Lion King")

"Stand Up" ("Harriet")


Best Television Series – Drama

"Big Little Lies" (HBO)

"The Crown" (Netflix)

"Killing Eve" (BBC America)

"The Morning Show" (Apple TV Plus)

"Succession" (HBO)


Best Performance by an Actress in a Television Series – Drama

Jennifer Aniston ("The Morning Show")

Olivia Colman ("The Crown")

Jodie Comer ("Killing Eve")

Nicole Kidman ("Big Little Lies")

Reese Witherspoon ("The Morning Show")


Best Performance by an Actor in a Television Series – Drama

Brian Cox ("Succession")

Kit Harington ("Game of Thrones")

Rami Malek ("Mr. Robot")

Tobias Menzies ("The Crown")

Billy Porter ("Pose")


Best Television Series – Musical or Comedy

"Barry" (HBO)

"Fleabag" (Amazon)

"The Kominsky Method" (Netflix)

"The Marvelous Mrs. Maisel" (Amazon)

"The Politician" (Netflix)


Best Performance by an Actress in a Television Series – Musical or Comedy

Christina Applegate ("Dead to Me")

Rachel Brosnahan ("The Marvelous Mrs. Maisel")

Kirsten Dunst ("On Becoming a God in Central Florida")

Natasha Lyonne ("Russian Doll")

Phoebe Waller-Bridge ("Fleabag")


Best Performance by an Actor in a Television Series – Musical or Comedy

Michael Douglas ("The Kominsky Method")

Bill Hader ("Barry")

Ben Platt ("The Politician")

Paul Rudd ("Living with Yourself")

Ramy Youssef ("Ramy")


Best Television Limited Series or Motion Picture Made for Television

"Catch-22″ (Hulu)

"Chernobyl" (HBO)

"Fosse/Verdon" (FX)

The Loudest Voice (Showtime)

"Unbelievable" (Netflix)


Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever ("Unbelievable")

Joey King ("The Act")

Helen Mirren ("Catherine the Great")

Merritt Wever ("Unbelievable")

Michelle Williams ("Fosse/Verdon")


Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott ("Catch-22")

Sacha Baron Cohen ("The Spy")

Russell Crowe ("The Loudest Voice")

Jared Harris ("Chernobyl")

Sam Rockwell ("Fosse/Verdon")


Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette ("The Act")

Helena Bonham Carter ("The Crown")

Toni Collette ("Unbelievable")

Meryl Streep ("Big Little Lies")

Emily Watson ("Chernobyl")


Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin ("The Kominsky Method")

Kieran Culkin ("Succession")

Andrew Scott ("Fleabag")

Stellan Skarsgård ("Chernobyl")

Henry Winkler ("Barry")