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Entertainment

Sam Smith’s music video with nipple pasties and corsets breaks Twitter: ‘Degenerate Hollywood culture’

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Sam Smith set Twitter ablaze over the weekend after releasing a music video featuring hyper-sexualized scenes, including the British singer-songwriter wearing nipple clasps while having liquid blasted in their face. 

Smith, who identifies as non-binary and used “they/them” pronouns, released a new album titled “Gloria” on Friday. The new music video for the album single “I’m Not Here to Make Friends” was released that night.

In one scene, Smith is undressed down to a glittery corset and underwear complete with nipple pasties and a tiara. Back up talent dances around the singer in similar attire, with the addition of pants with the back cut-out in the shape of a heart. Smith squats over the dancers planking on the ground and pats their behinds.

Shortly thereafter, clear liquid begins shooting out of the walls soaking the dancers and the singer. Smith at one point sticks his tongue out and begins drinking the fluid. 

SAM SMITH CALLED FOR BRIT AWARDS TO GO GENDER-NEUTRAL, NOW SAYS IT’S A ‘SHAME’ NO WOMEN NOMINATED THIS YEAR

Another scene shows dancers in leather underwear and BDSM gear moving suggestively along a row of beds, contorting themselves into flexible positions and rolling their bodies atop one another. 

The scenes sparked intense debate online, with some praising Smith for their confidence and others condemning the sexual material. Some called for an overhaul to age restrictions on music videos. 

Political commentator and broadcaster Dominique Samuels slammed Smith over the video and claimed the artist is a “perfect example” of what “degenerate Hollywood culture” can do to people. 

“It makes celebrities vulgar, hyper-sexualized and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face,” she said. “And to make matters worse, kids look up to this man!”

TAYLOR SWIFT CASTS TRANSGENDER MAN AS HER LOVE INTEREST IN LATEST MUSIC VIDEO

Many others also slammed the content. 

However, a large swathe of Twitter users also defended Smith and the music video.

Music presenter and DJ Jordan-Lee said he had no time for the “nonsense” conversation surrounding Smith and said there was “no issue” with the content. 

The conversation about the new music video even made it onto the news, with a discussion on ITV’s Good Morning Britain Today. During the segment, journalist Alex Philips said the music video was “unhealthy” for society and contributed to a culture in which pornography is normalized. 

“I don’t think it is a coincidence that the reporting of things like sexual assaults and sexual attacks, relationships falling apart, the swipe left and swipe right generation,” Philips said. “It is bad, it is unhealthy, it is not good for society, and this is a symptom of it,” he said. 

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Non-binary radio host Shivani Dave pushed back and defended Smith, asserting that biological female pop stars would not have received the same criticism for the music video.

“Miley Cyrus has done this, Nicki Minaj has done this, – so many people have done this. What I think the difference here is that Sam Smith was assigned male at birth, and we are not used to seeing people who are assigned male at birth dancing around in lingerie and corsets and things like that,” Dave said.

Nikolas Lanum is an associate editor for Fox News Digital.

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Entertainment

Madonna Slams Instagram For Censoring Her Nipple In Photo Series

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Madonna had a major “free the nipple” meltdown with Instagram this week after she said the social media platform took down intimate photos of her on and around a bed because her left nipple was exposed.

She railed about the policy in a new post featuring the photos again — with a discreetly placed heart over the body part that so unsettled Instagram.

“It is still astounding to me that we live in a culture that allows every inch of a woman’s body to be shown except a nipple,” the singer wrote in an angry post. “As if that is the only part of a woman’s anatomy that could be sexualized. The nipple that nourishes the baby!” she stewed.

“Can’t a man’s nipple be experienced as erotic??!!” she asked. “And what about a woman’s ass which is never censored anywhere.”

Madonna should know. She has posted bare-ass photos that were allowed by Instagram (including in the series posted).

The singer and actor somehow segued from control over how a woman presents her body to an attack on Thanksgiving when the early settlers and Native Americans feasted together.

The censorship was “perfectly timed with the lies we have been raised to believe about the pilgrims peacefully breaking bread with the Native American Indians when they landed on Plymouth Rock!” she snorted. “God bless America.”

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Entertainment

Venice, Day 1: See the Almodóvar, Free the Nipple

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VENICE — Denis Villeneuve, the director of “Dune,” wanted to apologize in advance.

“This will be a long answer,” he said, “because of the Champagne.”

We were at the Hotel Excelsior on Wednesday night for the lavish opening-night dinner of the Venice Film Festival, where the bubbly flowed freely, guests like Isabelle Huppert and Jane Campion supped on pink prawn tartare, and a wide array of major films — including “Dune,” Ridley Scott’s “The Last Duel,” the Princess Diana drama “Spencer” and Campion’s “The Power of the Dog” — all waited to make splashy debuts on the Lido over the next week and a half.

Though Venice was one of the few major film festivals to mount an in-person edition in 2020, this year’s program is significantly more robust. Many consider Venice to be the kickoff to awards season, an expectation goosed even further by the presence on the Venice jury of the last two auteurs to direct best-picture winners: Chloé Zhao, whose “Nomadland” premiered here last year, and the “Parasite” director Bong Joon Ho, the jury president.

Will Villeneuve’s “Dune” be that kind of contender? The sci-fi drama, adapted from the Frank Herbert novel, has loftier aspirations and a more refined eye than most would-be blockbusters. Villeneuve (whose credits include “Arrival” and “Blade Runner 2049”) will debut “Dune” on Friday with a starry cast expected to show up to the premiere, including the lead Timothée Chalamet, who arrived in Venice via speedboat on Wednesday.

At dinner, Villeneuve told me Venice is “the perfect way to launch the movie and it’s the first time that I’ve had time to really finish — usually, I’m finishing movies and then releasing them three days later.”

Instead, the French Canadian director has had the better part of a year to tinker, as “Dune” was supposed to come out in November 2020 before a pandemic-induced delay. Now, on the verge of its Venice premiere (and with a release date rescheduled for Oct. 22), Villeneuve talked about “Dune” almost as if he were a proud, anxious parent about to send his young child off to school.

“I think it has a soul,” he said. “I recognize myself in it. It’s my biggest project and still, I have the most intimate relationship with it. I know it can walk by itself, but what will other people think?”

Villeneuve paused. “How do I say it in English?” he wondered, before finding the words: “I just have to let it go.”

Though Venice is limiting audiences in each theater and requiring moviegoers to wear masks (and to show proof of vaccination or a negative Covid test), the festival still offers the most glamorous launchpad for movies since Cannes in July. Still, even in ideal circumstances (or especially because of them), it can be daunting to show your film to an expectant international crowd ready to gauge its award prospects.

That goes double when you’re first in line. “You are more vulnerable if it’s the opening,” said Pedro Almodóvar, whose “Parallel Mothers” was selected as the opening-night entry of the festival. How did he feel in the hours before the premiere? Not nervous, he told me. Just a little exposed.

Fortunately, reviews were strong. This intimate, precisely judged drama stars Penélope Cruz as a Madrid photographer who suspects her newborn baby was switched at birth with the child of an unwed teenage mother (Milena Smit). Though that logline is outrageous, the film is surprisingly down to earth and accessible, even as Cruz’s character is driven to increasingly desperate decisions.

“I didn’t want to ask myself what I would have done in that situation until I had finished the movie,” Cruz said at dinner. “She and I are very different, but when I look back now, I feel I would have done something similar. The way Pedro wrote these imperfect mothers, it makes it impossible for you to judge them.”

“Parallel Mothers” is Cruz’s seventh film with the director. “I look at him and feel like he could give his life for the film,” she said. Because of that, Cruz was determined to show the camera her most vulnerable depths as an actor: “The standard is really high and he gives me a character that is a treasure, so I don’t want to disappoint him. I try every day to give him a hundred percent.”

Speaking of matters of exposure, Almodóvar was amused at the recent reaction to the poster for “Parallel Mothers,” which crops a lactating nipple as if it were the pupil in an eye shedding a single milk-tear. Upon the poster’s release last month, Instagram banned the image for nudity and then, after an online uproar, promptly unbanned it.

“It’s not erotic at all!” Almodóvar protested. “You have to be very dirty to think there’s something sexual about it.”

The 71-year-old director doesn’t use Instagram himself, but he knows what he’s up against. “What is very dangerous for all of us is that it’s a machine that decides to reject the poster,” he said. “It’s an algorithm, there is nobody in charge that I can talk to.”

But for the time being, at least, Almodóvar has conquered the algorithm. As I left the director, other guests at the dinner swooped in to take selfies with him. You’ll never guess where they posted them.

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