Our guess is that the butterflies represent
metamorphosis , renewal, and the "boundless freedom" that Gaga's utopia
will feature. The heart formed between Gaga's legs is just another
reminder of the most important tenant of Gaga culture: Love thyself.
Gaga pushes for a race which "bears no prejudice, no
judgment." While the new race she's pushing for sounds like a good one,
the image we see is somewhat troubling; it's hard not to see the sea of
white figures and wonder how this is any different than Hitler's plan
for a "master race"—and at the same time, we see the birth of Evil.
Bodies writhe on top of each other in a scene of the underworld that's
portrayed in the works of Bosch,Rodin, Hans Memling, and Jan van Eyck, not to mention a resemblance to Michelangelo's Last Judgment.
This birth gives rise to the Evil Gaga—sitting atop her trademark
lightning bolts, she delivers forth a huge gun. The gun functions in the
video as it would in reality, taking away life—it strips Gaga of her
more worldly beauty, leaving her as a skeleton or a ghost of a person.
This isn't the first time we've seen a glammed-out Gaga rocking a
firearm. But unlike the small, yellow pistol she clumsily plays around
with in "Video Phone,"
here Gaga is controlled, dark, and busting out the big guns—literally.
The bodies on the ground behind her almost seem to resemble swastikas, a
controversial move, but Gaga has a purpose! She does! Just like her
appropriation of the pink triangle, Gaga attempts to take another
stigmatized emblem and take back ownership of its meaning. Here, she
harkens back to the Sanskrit swastika—a symbol of good luck and
well-being. "It doesn't matter if you love him, or capital H-i-m/Just
put your paws up/'Cause you were born this way, baby," she proclaims!
Equality for all—no matter what religion, faith, or belief you hold!
also definite visual homage to Madonna's "Express Yourself" video,
which everybody needs to get over because Gaga just really loves Madge,
okay? Also, they're both borrowing from Fritz Lang, anyway, so...wash.
In the vein of her idols, Gaga simultaneously asserts her sexuality and
averts it with a good ol' crotch grab. In "Telephone" she put an end to
rumors of having a penis, but she continues to play with juxtapositions
of sexual expectations and gender roles. She's practically naked, clad
in skimpy lingerie, her hair is sexed up, and her makeup is
bombshell-in-overdrive. Yet she's barefoot and primal, grabbing junk
that she doesn't have, and dancing aggressively.
Our heroine is
dancing her heart out, and it's obvious that she's enjoying it; but this
can be problematic for some. If she's such a feminist, so publicly
pushing a pro-woman agenda, why is she dancing around in an itty-bitty
bikini? She's embraced androgyny and loves artists like Marilyn Manson—and she does play that up here—but in truth, she tends to waver on her
stance as a feminist. It's known that in the past, she's both rejected
and embraced the label, instead focusing on her hope to create a more
inclusive and peaceful community at large. For Gaga, the idea that she
couldn't dance around in her lingerie for the sake of feminism is
exactly the opposite of what the word means to her. She wants to dress
like a dude with masculine shoulders and play the alpha role, but she
also wants to shimmy and show off her body. Gaga knows that sex sells,
and everything about her career is a self-reflexive meditation on the
very things she finds wrong with society. Go on, girl. Do your thing.