By Chastity Morgan
The Weeknd just dropped his latest music video for “Too Late,” and I can’t unsee it. I still don’t know if I like it. The Brett Easton Ellis-esque nature of “Too Late” has a much-appreciated bubble-gum pop undertone. Now, I don’t want to give any spoiler alerts for those of you that haven’t had the pleasure of watching it yet. Let’s just say it’s as if American Psycho and The Bling Ring made a music video baby.
In my humble opinion, music videos are a dying art form. Instead of watching the latest videos on MTV, I anxiously peruse YouTube searching for video debuts. Because of their scarcity, I always appreciate a good music video, regardless of my personal preference of the artist. The Weeknd’s video for “Too Late,” made me say, “Hmmm, what’s this mean? Does it mean anything?” It also made me reflect on the history of not just music, but music videos.
Over thirty-years later, Michael Jackson’s “Thriller” is still considered one of the best music videos of all time. More than just a music video, it was a short film that revolutionized the way we consumed music. Its extravagance was reflected in its half a million-dollar budget. Later on, half a million would be pennies compared to, “Scream,” which he released in 1995 with his sister, Janet Jackson. By the way, “Scream” stands strong as the most expensive music video ever made, coming in at a whopping 7 million dollars.
“Thriller” was the game changer. It set the stage for a slew of artists and directors who teamed up to create videos in the form of Sundance shorts. Gus Vant Sant who directed Good Will Hunting collaborated with David Bowie and the Stone Temple Pilots. Sofia Coppola brought her quirky indy style to groups such as The Flaming Lips. Spike Jonze worked across genres from the Beastie Boys to Sonic Youth, and most recently, 2020 Vice President nominee (in 11 states), Kanye West.
The purists critiqued music videos for their gluttony and cheesiness. Just ask ZZ Top, who unabashedly loved making videos because they were nothing more than “fun.” Others embraced the new medium as a way to further contribute to social commentary. Metal and rock groups that were already on the fringes of society used dream like imagery to critique the conformity of mainstream society. Don’t believe me? Just watch any Tool video or Marilyn Manson’s “Dope Show.” I will be thoroughly impressed if you can walk away from an old taping of Headbangers Ball without say, “huh?”
So, what’s up with The Weeknd? Is he an aspiring film producer starting small with his videos so he can eventually start producing full-length films? Is “Too Late” a dig to ex-girlfriend, Bella Hadid, and the life that he seems to live? Is it a raunchy video to compensate for a mediocre song? Let’s get real, this is not the best track on his album. Is it piggy-backing off of Get Out and adding to the conscientious dialogue of the sexualization of black male bodies in Hollywood? Or is it similar to Midsommar, where everyone who watched it had to make up some deep interpretation, so they could rationalize wasting two hours of their lives on some bullshit movie with absolutely no plot line? Either way, The Weeknd, you piqued my interest. Well played.
