Fake fb screenshot maker5/5/2023 ![]() In Music and Lyrics, then-newcomer Haley Bennett was plucked from obscurity at 18 to play Cora Corman, a character whose body gets more screen time than her face as she spends most of the film writhing around in barely-there outfits. Ostensibly, the Fake Pop Star is used in these films for commentary on fame and gender, but what exactly these films are saying about Britney and the pop princess trope is puzzling - especially when any commentary on the hypersexualization of teen pop idols frequently relies on the hypersexualization of the young actresses playing them. 2007 Village Roadshow Films (BVI) Limited Entertainment Inc.- U.S., Canada, Bahamas & Bermuda. Hugh Grant (L) with Haley Bennett as Cora Corman. The message is clear: Fake Pop Stars, (You Drive Us) Crazy. 2005’s Just Friends features Samantha James, a vain, unhinged, talentless singer who upends her manager’s life. In 2011’s Violet & Daisy, a pop idol named Barbie Sunday motivates the titular teen assassins to take on a hit job so they can afford her new merch. In 2005’s Monster-In-Law, a Fake Pop Star named Tanya Murphy sets the plot into motion when her mere presence drives Jane Fonda’s character into a psychotic break. Cora’s blond hair, blue eyes, and green two-piece have her looking all but a python away from a 2001 VMA-era Britney Spears. It’s no secret who the character is modeled after. Before we properly meet her, our first glimpse of Cora comes via a Rolling Stone cover with a telling pull quote: “I don’t think anymore … I just exist.” Take Cora Corman, a Fake Pop Star in the 2007 rom-com Music and Lyrics. At the turn of the century, Fake Pop Star characters were numerous, yet monolithic - the same look, the same sound, and almost always serving the same purpose: punchline. While the modern Fake Pop Star character can be traced back to stories from the ‘80s and ‘90s, the archetype was never more prominent than it was in the 2000s. ![]() But to truly appreciate what makes Swarm so distinct in its depiction of a Fake Pop Star, you have to first understand the trappings and troubled history that plagued the Fake Pop Stars who came before. All too often, the Fake Pop Star gets played for laughs Swarm aims for - and gets - gasps. Part dark satire, part psychological thriller, Swarm embraces the truth about real pop stars we’ve been reckoning with over the past few years: that fame, fandom, and pop stardom is scary shit. Swarm boldly goes where no Fake Pop Star has gone before by looking at the archetype through the lens of a deranged super fan named Dre. Instead, they become unintentional time capsules for our limited and misguided perception of pop stars. Every story about the Fake Pop Star tries to use her as a vessel to say something shrewd and insightful about culture. You’ve seen her in The Bodyguard, A Star Is Born, Get Him To the Greek, and plenty more. In depicting not just celebrity, but the cult of celebrity, Swarm has started to figure out how to portray a figure that’s long been misunderstood and misrepresented by TV & film: the Fake Pop Star. Ni’jah has a devoted BeyHive fan base that calls her Queen BeyBee and floods social media to discuss every morsel of information about her. But the disclaimer goes beyond just the singer, referring also to the world that revolves around her. Everything about Ni’jah is a thinly veiled allusion to Beyoncé - from her glittery bodysuits to familial elevator fights to surprise album drops, the similarities are endless. Beyoncé Giselle Knowles-Carter and her Swarm doppelganger Ni’jah. Screenshot from Amazon Studiosįirst and foremost, it’s a nod to one Mrs. Any similarity to actual persons, living or dead, or actual events, is intentional.” Swarm’s disclaimer. ![]() The new Amazon Prime series Swarm starts with a familiar disclaimer turned on its head: “This is not a work of fiction. ![]()
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