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Mockumentary "In Psychiatric Bed With Lady Reductive" FLOPS

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bitch, excuse me, cunt.

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:rotfl: I think she's beyond Madonna's miraculous face creams and clay masks, tbh.

 

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3 minutes ago, dollhouse said:

bitch, excuse me, cunt.

:lmao:

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:flop:

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1 hour ago, eu4ria20 said:

tumblr_oeftf3bHoo1rvvk8yo1_r1_540.gif

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fake smile/look. she squints her eyes to be portrayed a certain way. fake.

and i thought she said she didnt like to be seen as sexy or conventionally pretty? thats what she's trying to do. to play some sexy innocent little girl

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7 hours ago, ctg12 said:

YES! 

it continues to amaze me how the media always turn a blind eye to her blatant lies.

Even Swift has gotten called out for some of her shenanigans.

But this bitch, excuse me, cunt, gets a free pass every time when often times there is proof that she has totally lied or changed her story.

It's because Taylor is pretty and Gaga has a free pass because she's not. Simple as that and sad too.

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3 minutes ago, Roland Barthes said:

It's because Taylor is pretty and Gaga has a free pass because she's not. Simple as that and sad too.

No one really cares or pays attention to Slob is a big part of it too. If she cut off the paid for press it would just be a handful of "eh whatever" type pieces. We've seen honest reviews of her Netflix thing come through now after the initial paid ones.

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She's hanging on by a paid for thread, and what will finish her for good is the arrival of a new pop star that shows promise. Remember when Britney was the new Madonna? People held on to that til Slob came. And the same will happen to Slob.

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1 hour ago, eu4ria20 said:

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I am taking a knee whenever this bitch comes up. So... challenging to look at. 

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7 hours ago, jonski43 said:

Stephen king's SH-IT

 

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14 minutes ago, JWAD said:

 

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They all flop down here

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1 hour ago, Supernatural said:

She's hanging on by a paid for thread, and what will finish her for good is the arrival of a new pop star that shows promise. Remember when Britney was the new Madonna? People held on to that til Slob came. And the same will happen to Slob.

The next "next Madonna-new queen of pop" is probably being created and marketed on the corporate office of a recording label somewhere as we speak. They're taking long tho, remember when one came up every 9 years? 

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12 minutes ago, LHakaLH said:

They all flop down here

 

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On 27/9/2017 at 11:00 AM, karbatal said:

Two Left Feet 

Two Steps Behind 

:lol:

Could be the title for Kylie documentaries as well :lol: 

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not in the top 40 at netflix.. after a week..

http://instantwatcher.com

so yeah, she did okay the first two days and it looks like she got some attention for it. doubt it'll be remembered for anything other than her victim/pain shit and madonna mention (which im sure will be mentioned from time to time on tv quiz shows) that's about it

it's been a week and are the people/media still talking about it? i dont seek out gaga news except for a review last week. so i have no idea. I read it all here. but if no one mentions it a week later you can bet this doc wont be culturally significant in any way.(if anyone had doubts) did it get released in threatres at all like they said? let's hope it wont get an oscar nom

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45 minutes ago, JWAD said:

 

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:rotfl::lmao:

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it will be remembered as her flop doc where she copies Truth or Dare and whines about Madonna.

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15 minutes ago, Nikki said:

not in the top 40 at netflix.. after a week..

http://instantwatcher.com

so yeah, she did okay the first two days and it looks like she got some attention for it. doubt it'll be remembered for anything other than her victim/pain shit and madonna mention (which im sure will be mentioned from time to time on tv quiz shows) that's about it

it's been a week and are the people/media still talking about it? i dont seek out gaga news except for a review last week. so i have no idea. I read it all here. but if no one mentions it a week later you can bet this doc wont be culturally significant in any way.(if anyone had doubts) did it get released in threatres at all like they said? let's hope it wont get an oscar nom

I saw a Mail article about someone with fibromyalgia and they said 'the same illness that struck gaga down'. That's the legacy of this doc for her - being remembered for a faked illness.

58 minutes ago, JWAD said:

 

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:thumbsup:

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10 hours ago, Lucky Star One said:

This is constant. And I'm sure a lot of the media does this deliberately. That's why we need a video that we can link to that shows the cunt for what she is, a lying scheming fraud. It would be an educational video for the General Public to let them see the truth.  

And the Whitney thing too. I agree that I don't think it's deliberate though. I just don't think these events (the interview with the email mention, the Whitney thing, the tweets and harassment from her team and fans prior to the "reductive" comment) made much of a pop culture impact. People just didn't know or care. So they're left out of the overall history of the "feud." All people really remember is M's interview because she's the fucking queen and when she speaks people pay attention. 

Anyway, I don't know if a YouTube video timeline is necessary. Why not just edit the Wikipedia entry about the song (respectfully but truthfully, including citations and links because otherwise it can be removed)?

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It has been the most unattractive decade in the pop world - these girls have nothing, joe average, basic meh-ness. Awful decade! Thank the heavens for Rihanna, Miley, Beyoncé, Katy!

 

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Painting a picture of her soul.

 

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1 hour ago, Toni said:

It has been the most unattractive decade in the pop world - these girls have nothing, joe average, basic meh-ness. Awful decade!

 

BL9OBobCQAI1hXV-1.jpg

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Just Who Is Lady Gaga’s New Documentary For?

There’s a scene in Gaga: Five Foot Two, the new Netflix documentary, where the woman born Stefani Joanne Angelina Germanotta sits on a table, draped in a paper gown, crying. It’s the fall of 2016, and her new album, Joanne, is about to drop, having already leaked online in full. But the reasons for Gaga’s tears aren’t exhaustion or nerves. She’s in pain, and there is no room for pain in the whirlwind that is an album promotion cycle. Gaga has to keep moving.

Even for the most empathetic among us, there is nothing transferrable about pain. We try to pinpoint it, name it, trap it, and escape it, but none of that makes an individual’s physical suffering more accessible to others. In her new documentary, Lady Gaga tries over and over again to explain her pain. Tension, she says. Inflammation. We see her sob in the doctor’s office. We see needles thrust under her skin, joints manipulated against their will, cold spoons pressed against puffy eyes. But, ultimately, her distress feels remote because it is presented completely without context.

Almost anyone who follows Lady Gaga at all knows that she’s in pain. Just two weeks ago, she was forced to cancel the Brazil leg of her Joanne tour because of it. “In our documentary the #chronicillness #chronicpain I deal w/ is #Fibromyalgia I wish to help raise awareness & connect people who have it,” she tweeted on September 12.

In that one tweet, Gaga said more than the entire hundred-minute documentary does, and that is a problem. Nowhere in the movie does Gaga identify the source of her chronic pain the way she does in this tweet. We see her in pain, and we hear her say she’s in pain, but the film never discusses the injury that initially caused the pain (a broken hip in 2013). Pain is the subtext to the documentary’s core narrative, which would be fine if there were a core narrative to begin with.

Directed by Chris Moukarbel, Gaga: Five Foot Two opens with a shot from the singer’s 2017 Super Bowl performance in Houston. Gaga is elevating in a harness, floating toward the sky, growing smaller and smaller until she’s so far above us that she’s disappeared: a too apt metaphor for how distant the pop star feels in the film despite the director’s seemingly intimate access. The story then follows the publicity tour for the ballad-heavy Joanne. Most successful music documentaries — pop documentaries, in particular — center on the tour. Out on the road, the artists are pushed to the edge. Both Justin Bieber’s Never Say Never and One Direction’s This is Us follow megastars as they bring their music to their fans. Katy Perry’s Part of Me traced her 2011 tour and how it led to the disintegration of her relationship with Russell Brand. But Gaga: Five Foot Two isn’t quite sure what kind of documentary it wants to be.

“The thing with me and Madonna,” says Gaga in the film, “is that I admired her always and I still admire her, no matter what she might think of me.” As has been the case so often throughout Gaga’s career, the legacy of Madge looms large, and it’s impossible to watch the new film without thinking of her iconic 1991 documentary, Truth or Dare. It’s a comparison that does Gaga few favors: Where Truth or Dare presents Madonna as the tentpole for an absurdist circus of performers, Gaga’s position in her relationship to everyone around her remains hidden.

Fans of the singer know that the Lady Gaga of the Joanne press tour was a radical departure from the Lady Gaga that had commanded the spotlight for the previous six years. Here she was at her most personable, her most raw, her most real. There was no meat dress, no insane wigs, no performative persona. The press tour was meant to re-stake Gaga’s place as an artist more than as a celebrity, a person more than a pop star. Vulnerability was the whole theme of the album’s marketing campaign, which doesn’t leave a lot of new material for the movie.

“If I get depressed, my whole body can spasm,” says Gaga at one point in the documentary, but the filmmakers give no background as to why she might have been depressed. A dedicated Gaga-logist would recognize that it might have something to do with her relationship with actor Taylor Kinney. He’s mentioned early on, but by the Super Bowl–centered finale, he’s suddenly her “ex-fiancé.” Taylor, we hardly knew you!

This is the greatest failure of the documentary: It doesn’t know who it’s for. It offers nowhere near enough context to be a film for a casual fan. Allusions and names are dropped too quickly for anyone who doesn’t rigorously keep up with Gaga’s social media and TMZ headlines to track. Little things, like a confusing timeline, make the film feel messier than it needs to. And for the Little Monsters out there who do have enough deep knowledge to follow the story, there is little payoff. There are plenty of shots of Gaga rehearsing, or Gaga preaching about her personal growth. And there’s lots of Gaga crying, but not a lot of meat.

Maybe social media is to blame for this obliqueness: We feel we know Gaga so well, and she gives so much of herself already, that there’s nothing left to share. But it feels like a failure of imagination on the part of the filmmakers, an unwillingness to push beyond the narrative a massive pop star presents. Like its title,the film mistakes facts about Gaga’s existence for insight into her as a person. In a way, it feels more like an extended Instagram story — perfectly curated, concealed, and contextless — than a documentary. Without being placed in the present moment, it barely means anything at all.

Just who is lady gagas documentary for??.... herself. This is the essence of her problem. She always tried to pander to everyone and fit into every niche, faking that she was authentic in every field of interest possible to try to make herself seem like this Big Amazing Everything, and it all just came off as a jack of all trades and a master at none, because that's exactly what she is, just a dabbler, a stealer and a fraud jumping from one subject to the next. Her motivation has always been gaining self centered exposure. She is using a method of going for quantity, not quality. She's just too fake all around, and has no real core personality. She had no real personality to grow into, all she had was ideas based on mainstream pop culture that she wanted to use as a compilation act and pretend it was ALL her, and ALL authentic. It's not. The thin veneer is just beyond transparent.

 

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