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Tag: Lindsay Lohan Mean Girls

  • Mondo Bullshittio #48: Removing the Fire Crotch Line From Mean Girls 2024

    Mondo Bullshittio #48: Removing the Fire Crotch Line From Mean Girls 2024

    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.

    As though to further confirm that Mean Girls has entered into the so-called woke era, the latest development in its digital release ultimately comes as no shock. For the “slight alteration” caters to a particular person’s sensitivities, which is what life after the early twenty-first century has been all about. Pandering, bowing, capitulating, etc. Even to the very celebrities that were once so readily fed to the wolves in the era of “Lindsay Lohan supremacy.” An era that, as many know, was very short-lived once Lohan buckled under the scrutiny of child/teen fame and proceeded to pull a Miley before Miley even did. In fact, it could be argued that Lohan (in addition to Britney Spears) paved the way for women like Miley Cyrus to have their “rebellious” (read: normal reaction to their situation and lifestyle opportunities) “phase” with far less flak. Because, believe it or not, Cyrus was far less shat upon in her “shedding the Hannah Montana persona” days than Lohan or Spears in the mid-00s. 

    Although there were “attempts” on Lohan’s part to make a comeback (something she’s been announcing since she started to fall off after Herbie: Fully Loaded), it seemed no matter what movie she made it was 1) rather bad (even if bad in the gay-loving camp sort of way) and 2) totally mitigated by her latest drug-addled hijinks. In 2006, when the infamous “fire crotch” line that served to sting Lohan (even, when she least expected it, in 2024) came to light, it was caused by the unholy matrimony of the internet and celebrity-obsessed culture. Thus, the existence of a video like the one of Brandon Davis (who no one except Paris and Lindsay remember) calling Lohan a fire crotch could be immortalized in the annals of pop culture. But it was so much more specific than that mere “epithet,” still often used to demean the female ginger. No, Davis got extremely passionate about Lohan’s fire crotch, egged on by Paris Hilton to deliver his epic monologue on the subject while drunkenly sauntering through the streets of Hollywood after going to Hyde Lounge (the height of “seeing and being seen” in 00s LA). In fact, Davis wasn’t even naming names until Hilton goaded, “Who has a fire crotch?”

    And that’s when Davis let it rip: “Lindsay Lohan has got the stinkiest, fuckin’ sweaty orange vagina anyone has ever seen. I haven’t seen it! But it shits out freckles, it’s orange and it fucking smells like diarrhea.” Elsewhere in the tirade, Davis adds, “The truth is, her movie bombed and her pussy is orange. Nobody would fuck her with a ten-foot pole” and, again, “Lindsay Lohan is a fire crotch. And she has freckles coming out of her vagina.” There’s no doubt that Lohan saw the footage of this at some point. Or was at least informed of it. Indeed, 2006 was the year of bandying insults for Paris and Lindsay, with the latter calling her a cunt on camera and then immediately taking it back to say, “Paris is my friend.” In any case, it seemed no coincidence that Lohan dyed her hair a dark shade of brown that year, almost as though to deny her ginger-ness altogether. Though, in the present, she’s obviously decided to fully embrace it by starring in a Netflix movie (yet another one) called Irish Wish (which surely has to be better than Falling For Christmas…a feat that’s not difficult to achieve). Parading that red hair of hers for good “Irish roots” measure. Perhaps if Davis ever sees the movie, he might be severely triggered again. 

    Just as Lohan was by the term “fire crotch” being wielded in Mean Girls 2024 by none other than Coach’s new-fangled/erstwhile Regina George, Megan Thee Stallion (who also offered her services for the lead single from the soundtrack, “Not My Fault”). The line, no doubt written by Tina Fey, comes up after Regina (Renée Rapp) falls with a major thud onstage at the Winter Talent Show (something that, of course, doesn’t happen in the original movie) and a barrage of TikTok videos commenting on the literal and metaphorical fall is unleashed. Among the commenters speaking in favor of Cady (Angourie Rice, taking on Lohan’s part) “saving the performance” is Megan Thee Stallion, who declares, “Okay so, somebody sent me this look and I was like, ‘Hot girls, we are going back to red!’ Y2K fire crotch is back!”

    But, as Lohan has decreed, it apparently isn’t (even though the drama she created about the phrase being used resulted in her making far more headlines than she’s lately been accustomed to). Or at least, that “hurtful” two-word moniker isn’t…even if the look itself (for her) is. In fact, Lohan was very “disappointed” (as Ms. Norbury would say) in the use of that “slur” in the movie, taking her back to a place, emotionally speaking, that she didn’t want to revisit. Not just 2006, but also her cellblock in 2010, for it was also reported that fellow inmates would chant that nickname at her. Per a July 25, 2010 report from Intelligencer, “Lindsay Lohan has reportedly been brought to tears in jail because…inmates have been calling her ‘fire crotch.’” But hey, like the show says, “Orange is the new black.” Or maybe, like “fetch,” Lohan can’t seem to make it happen. But what she could make happen was airing her sentiments about the line out there for everyone to hear (well, everyone who’s still interested in 00s pop culture…so yeah, everyone). Except, instead of releasing a statement herself, she had her “representative” announce, “​​Lindsay was very hurt and disappointed by the reference in the film.” 

    Be that as it may, “hurt feelings” being a reason to stifle an artistic choice or a certain breed of humor is a dangerous habit to form. And yet, it is a habit that has appeared to become a “best practice” in recent years, as we’ve also seen Taylor Swift eliminate the word “fat” from her “Anti-Hero” music video and Beyoncé remove the word “spaz” from her lyrics. All of these things done pretty much instantaneously upon the expression of offense. Designed to blot out the fact that it ever happened (in true Orwellian fashion).

    With the removal of Megan Thee Stallion’s “shady” comment, however, Mean Girls 2024 becomes the complete version of its overly-sanitized self—including changing “fugly slut” to “fugly cow.” Because Lohan forbid we should have any hurt feelings. And yet, even when the steps to “eradicate” the potential for such hurt occurs, most people know full well that we still live in a world of mean girls (and boys). Alas, in “girl world” (run by little boys posing as men), all the fighting continues to be “sneaky.”

    Genna Rivieccio

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  • Reneé Rapp and Megan Thee Stallion’s “Not My Fault” Seeks to Vindicate Regina George For Being a Bitch

    Reneé Rapp and Megan Thee Stallion’s “Not My Fault” Seeks to Vindicate Regina George For Being a Bitch

    Just as Regina George likely would have been praised for her burgeoning badonkadonk had the original been made in the present, so, too, would she have also been praised for being a bitch. Or what Latrice Royale calls, “Being In Total Control of Herself.” In fact, that’s exactly what Reneé Rapp (who plays Regina in both the musical version and latest film edition of Mean Girls) and Megan Thee Stallion seek to achieve with their single, “Not My Fault.” A line, of course, taken directly from Lindsay Lohan as Cady Heron’s mouth when she tells Janis Ian (Lizzy Caplan), “It’s not my fault you’re, like, in love with me or something.” This narcissistic dig itself borrowed from Regina (Rachel McAdams) when she told Cady that Janis was, like, “obsessed” with her when they were friends back in junior high. Proving that, in the art of “mean girl’ing,” the student surpassed the teacher as Cady came up with a better way to phrase it.

    Alas, back in 2004, it was frowned upon to be an outright bitch. To be sure, it was really only the gays—ahead of the curve on trends as usual—who revered the cunty women of this world (see: that scene in Truth or Dare when one of Madonna’s dancers gushes, “I love it when she’s mean”). As time has gone on, and views/attitudes about how a girl should “be” have evolved, it’s now actually become more frowned upon to be “nice” as a woman than it is to be a so-called bitch (a.k.a. acting the way men do without consequence all the time). To that point, when a woman is “nice”—better known as “meek”—she’s presently more likely to be accused of perpetuating the vicious cycle of (white) silence that has allowed patriarchy to thrive unchecked for so long. 

    So it is that with the “upgrade” of Mean Girls into the later twenty-first century (which hardly means that it can ever compare to the original), an according soundtrack upgrade has come with it. Thus, aligning the “woke” messaging of the “new” movie with the new music. Enter Megan Thee Stallion (no stranger to Mean Girls homages after her 2021 Coach ad campaign) to assist the “new queen bee” (but, honestly, there is no replacement for Rachel McAdams), Reneé Rapp, on the rather flaccid “Not My Fault.” Indeed, it sounds like something from the Meghan Trainor reject pile, and far beneath Megan Thee Stallion’s usual collaborations. And, speaking of far beneath someone, the recent appalling Mean Girls x Wal-Mart commercial featuring the original cast was noticeably missing the presence of McAdams as Regina (because, really, what sensible person would want to be part of such grim fan fiction?). Soon after the release of the none too subtle Trojan horse for capitalism via millennial nostalgia, McAdams had no problem explaining her absence by remarking, “I guess I wasn’t that excited about doing a commercial if I’m being totally honest. A movie sounded awesome, but I’ve never done commercials, and it just didn’t feel like my bag.” Translation: “that’s the ugliest f-ing commercial concept I’ve ever seen.” 

    The same goes for the first single to represent the latest Mean Girls Soundtrack, with Rapp seeming to have taken overt inspiration from Britney Spears’ anachronistic “Mind Your Business.” While Britney sing-chants, “Where she at? Where she at? Where she at? Where she at? Where she at?/There she go, there she go, there she go, there she go, there she go/What she do? What she do? What she do?” Rapp simplifies it down to, “Where she at? (where she at?)/What she doin’? (what she doin’?)/Who she with and where she from?” Just another vexing manner in which Gen Z feels obliged to copy millennials (despite constantly branding them as cringe) while seeming to genuinely believe they’ve come up with something “unique.” However, the accompanying video, directed by Mia Barnes, doesn’t bother pretending to be anything innovative, mostly stealing its costuming from the Barbie-meets-Pam-Anderson-in-the-90s playbook. 

    With the majority of the “narrative” flashing to scenes from the movie in between Rapp and Thee Stallion parading around in their aforementioned Barbie/Pamela pink stylings (complete with furry hats), there’s also a long scene of Rapp getting “Regina George” tattooed in various fonts on various parts of her body. Another moment shows Megan and Reneé standing between two rows of Regina-inspired mannequins before taking baseball bats to them. Almost as if, in some faux “poetic” way, they’re trying to tell us that they’re destroying the “old” Regina George (“Sorry, the old Regina can’t come to the phone right now. Why? Because she’s dead”). The one who was lambasted for being a “bitch” and then decided to amend her ways at the end of the film by channeling her rage into lacrosse. 

    Rapp confirms this “rebranding” with the lyrics, “I’m not on the same shit from before/I can’t take this pettiness, now I’m bored, uh-huh/We can share, babe, there’s enough for us all [an obvious nod to Cady sharing the pieces of her seemingly endless tiara]/Told you who I am and what it is, that’s not my fault.” In other words, she won’t be apologizing for simply being her undiluted self. Then again, no one is much interested in that self when she’s standing next to Megan Thee Stallion, who viewers have to wait a full one minute and forty-four seconds to hear deliver her verse (making it somewhat awkward to see her dance and prance around next to Rapp for that entire time). Rising to the occasion of embodying her “Black Regina George” status, she appears in a tank top with holes cut out at the nipples to reveal a purple bra à la 2004 Regina after Janis, Damian (Daniel Franzese) and Cady fail to sabotage her outfit because she ends up “making it fashion.”

    Megan then carries the song out of the bowels it began in by rapping, “I’m a mood, borin’ whores gotta Pinterest me.” This being the crux of the song’s statement about how “bitches” are really just women who express themselves without fear of reprisal (including the usual “comeuppance” of being called a bitch, especially by men). So it is that Thee Stallion also adds, “It’s funny how the mean girl open all the doors” and “I got influence, they do anything I endorse/I run shit, to be a bad bitch is a sport.” And an art. One that, to Tina Fey’s chagrin, cannot be topped by the original gangster of mean girl’ing that is Rachel McAdams’ Regina. Who Megan and Reneé once again pay tribute to at the end of the video by sipping from matching teacups, with Megan’s reading, “Boo You” and Rapp’s reading, of course, “Whore.” 

    But, like “bitch,” “whore” now has a much more positive connotation than it did in 2004. That wasn’t the case when Regina was using it in a more “SWERF”-sounding than sex-positive manner when directing it at Karen (Amanda Seyfried). But then, this is also the girl who didn’t want to invite a potential lesbian to her birthday party. So yeah, it’s much harder for Regina to be mean in the same way in the present as she was in the past. Which, in the end, invites the question: how much of a bitch can she really be amid post-woke culture?

    Genna Rivieccio

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