In a series called Mondo Bullshittio, let’s talk about some of the most glaring hypocrisies and faux pas in pop culture… and all that it affects.
It’s all fine and well for Phoebe Waller-Bridge to enjoy the perks of her newfound mainstream success in the wake of everyone formerly being slow on the uptake to realize the majesty of Fleabag. She’s now a co-writer of a James Bond movie, after all (at least that has Billie Eilish rather than Harry Styles attached to the soundtrack). But what’s a bit concerning is her blithe willingness to jump on board a “project” like Harry Styles’ new music video. Specifically for the maudlin (in title and lyrical content) single, “Treat People With Kindness” (from 2019’s Fine Line album). A song that’s almost tolerable until the parts where the choir-like vocals cease and Harry’s singing begins.
“Pointedly” released on January 1, obviously to set a tone for the mantra everyone should tell themselves to kick off 2021, the black and white video opens with Waller-Bridge in her own queerbaiting getup (still, Styles already established himself as the mack daddy queerbaiter with that Vogue cover) while sitting in what looks like a 40s-inspired private detective office. But no, Waller-Bridge is some kind of head honcho club/restaurant owner, it would appear (or is it the mysterious bald man whose face she gingerly touches? The choice is yours–playing into the point of overtly blurring the “rules” of gender constructs and assumptions).
The camera then pans down to reveal Styles is her “talent” in a matching look as he takes the stage to sing his Mika wannabe number. Waller-Bridge then descends the staircase with a flourish, martini in hand, as she drinks the Kool-Aid (watermelon sugar?) of success that seems to have made her believe this was an endeavor worth her time and ability. And yet, because of everyone’s collective orgasm over the “wokeness” of Waller-Bridge being the one to take the lead in the dance scene, in addition to “proving” clothes are genderless, perhaps she did find it a useful visual for her “brand.”
“Feeling good in my skin/I just keep on dancing,” Styles sings as he prances around in a manner that makes us think, “Sure, we’ll treat you with kindness, if you don’t treat us like fucking five-year-old twits easily delighted by ‘flights of fancy.’” Waller-Bridge, as the maitre’d figure (yet also exuding the vibes of a patron that simply takes liberties as a result of being a regular) of the joint, is charmed by Styles’ “whimsical” dancing, looking up at him in awe as he jumps on her table to persist in singing his trite ditty.
So riveted is she by his moves that she herself is compelled to move in conjunction with him as they take center stage on the dance floor to erupt into a choreographed number that will still never compare to the matchy-matchy one (complete with the same outfits, obviously) of Madonna and Sandra Bernhard at the 1989 Don’t Bungle the Jungle benefit singing “I Got You Babe.” Or Madonna and Sandra Bernhard just generally appearing on The Late Show with David Letterman in 1988.
As they do their best impression of Fred and Ginger (and also an outtake of a 90s Clinique ad for “Happy” perfume), one half-expects Fleabag to turn to the camera as the music cuts long enough for her to say, “I’m just doing this for the money.” Except she couldn’t possibly be getting a worthwhile enough amount to have participated in such a blatant undoing of her former “street cred.” An act that, ironically, does not treat her own damn self with kindness.
