Review: Sex and Sensibility, BBC 4

Set against political scandal, mass immigration and growing cultural hysteria, this three-part BBC d

Despite, being a dazzling time full of progress and change, as the turning of a new century loomed, drug abuse, sexual deviance and syphilis were rife. Europe in the late 1800s was a hot bed of radical ideas and “there were also more ominous undercurrents”. Indeed, as Smith points out Conrad’s Heart of Darkness was published in 1899, at art nouveau’s height.

The first episode, broadcast last Thursday, explores the rise and fall of this flamboyant decorative style from it’s emergence in the Bohemian underbelly of Paris onto the streets of the city, giving us an insight into both the flourishing aesthetic of art nouveau and the lives of some of the city’s most glamorous and controversial fin de siècle figures.

Smith looks at the iconic, sensual images of actress Sarah Bernhardt, the exclusive architecture of the famous Maxim’s restaurant, Paris’s art nouveau metro stations as well as the exquisitely gaudy beauty of jewellery designed by Renee Lalique. But Smith’s exploration of this decadent world is  not just a flick through the picture books, as he reveals how some of art nouveau's stars risked their reputation to give meaning and purpose to work they thought would affect social change.

In Episode two Smith shifts his exploration to Britain wherein the “sensuality of exotic foreign influences met the genius of British craftsmanship”. Our art nouveau heritage is excavated revealing the “meteoric”, “dazzling”, “controversial” yet brief career of illustrator Aubrey Beardsley whose illustrations and association with Oscar Wilde scandalised the British public of the day. Smith also looks at the work of William Morris and Charles Rene McKintosh as well as lesser-known talents such as Margaret Macdonald.

Episode three, airing on Thurdsay 5th April, will see Smith journeying to Vienna to take a look at the master of art nouveau, Gustav Klimt.

The series uncovers glimpses into the world of art nouveau. Through visits to their private houses, previously unseen collections of their work and interviews with their enthusiasts, Smith talks engagingly and intriguingly about this fashion fad that disappeared almost as fast as it emerged. Whether you are a fan of the art nouveau style or not, the scandalous lives of its fin de siècle’s participants more than makes up for its over-the-top and whimsical aesthetics.

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.