Late last night, Britney Spears unleashed her latest music video for the official Gay Anthem of 2013: “Work Bitch”. The video is ridiculous, weird, sexy, campy — and the best thing Britney’s done in nearly a decade.
I use the term ‘video’ since “Till the World Ends” is obviously the finest dance single of the new millennium.
The song itself is classic Britney: random lyrics, infectious hook, light on the vocals and heavy on the synthesized moans. Welcome back, girl.
Shot in a litany of random settings, the video is equally insatiable: CGI sharks, leather bullwhips, exploding mannequins, a nod to her upcoming Vegas venue and so forth. Sure, there’s every blatant product placement found in a Target catalog – her perfume, a Beats Pill™ speaker, said Vegas venue – and look, there’s a Bugatti cruising by! (or maybe it’s a Maserati… or a Lamborghini?) I’m too dizzy to discern.
Above all, the real reason why this video works is clearly the main attraction herself – the body, the dancing, the hair, the makeup — it’s as if her
publicists planets finally decided to align. Flanked by an army of Betty Page-looking hookers writhing in the Nevada desert holding an extra-long leash, Britney has returned. Gone are the days of a troubled 20-something star, painted with a perma-vapid gaze dancing to clunky choreography mumbling “It’s Britney, bitch”. This time, she’s directing: winking at the world while rolling the word “governor” around her tongue like it’s a chocolate-covered raspberry.
“Now get to work, Bitch.”