Brenner, a. Papa, is still out there somewhere, biding his time. Since we didn't actually see Brenner die in the Season 1 finale, this is entirely plausible — and it makes sense that Kali would be searching for the "man who calls himself [her] father" on her personal crusade to eliminate all of the "bad men" who experimented on her. But if Dr. Brenner really is out there, then it's possible that he's also building a new army of super-powered kids.
His intentions were always shady, so it would be nice to get proper closure between him and Eleven next season. As much as I want to see Steve Harrington succeed in life, he's become so imperative to the show's success that I don't want to lose him to higher learning.
Steve seemed to contemplate working with his dad, but that was when he thought he'd be dating Nancy next year. But now that Nancy and Jonathan are dating — or at least making googly-eyes at each other in the Season 2 finale — Steve is a free man.
Would he stick around in Hawkins for a girl that doesn't even want him? Probably not. But here's hoping he'll stick around to spend more time with Dustin. With Dusty headed for high school, he's going to need all of the Steven Harrington advice he can get. I understand the Duffers' desire to have a human antagonist in the form of a chiseled teen sociopath, but Billy is such a cartoonish villain.
He's a walking s stereotype, complete with a curly mullet, tight jeans, and one — just one! He's basically Season 1 Steve if he hadn't redeemed himself. But there's something even worse about Billy. He's mentally, and seemingly physically, abusive towards his step-sister Max, and he hates Lucas for no discernible reason other than he's black.
Not to mention, he's completely inessential to the plot. He's irredeemable at this point, but according to actor Dacre Montgomery, we have't seen the last of Billy. Can't we just give Lucas's little sister more screen time instead? The format proved so durable that when MTV decided to switch things up and devote its air time to game shows, reality TV, and scripted series, thus shutting down the primary pipeline for these promos, artists still kept making them.
The internet soon stepped in to fill the void. We no longer want our MTV. We continue to want our music videos. Yes, Michael Jackson is on here. A few pre-date the channel; several have never played on MTV at all. But all of these picks are perfect examples of how pairing sound and vision created an entire artistic vocabulary, gave us a handful of miniature-movie masterpieces, and changed how we heard and saw music. Olivia Newton-John plays a very effective personal trainer in the clip, turning her flabby clients into muscle-bound Adonises during the course of a seductive shower.
But in a cheeky and provocative, especially for the time twist ending that surely delighted her gay fanbase, the newly buff gentlemen leave together instead of hearing ONJ's body talk. Jean-Paul Goude. While Grace Jones was also shut out from MTV's earliest years -- again, depending on who you believe, for some combination of not being rock or for not being white -- her early-'80s videos have proven as enduring and influential in their artfully striking presence and gender-bending glamour as anyone's.
Phil Collins wrote this song -- his debut solo single -- while in the midst of a contentious divorce. The stark imagery in the unnerving video underlines this fact in thick, permanent marker. Multiple murky close-ups of a grim-looking Phil -- like his Face Value album cover come to life -- singing about disorientation and misery?
Scenes of a claustrophobic spare room and disorienting hallway, which indicate he's trapped by his mind? A big gesture for the immortal drum break? But of course: Collins' face turns into a colorful blob rendered by thermal imaging. Much of this video looks like a typical day in the life of a Los Angeles something, as the Go-Go's hop in a vintage convertible and aimlessly drive around the city.
What's not typical is the five women posing in front of their own poster hanging on the street, and hitting the stage of an L. Oh, and not everyone goes from L. The shorter clip for the single version of "Girls on Film" positions Duran Duran as the house band for a raucous, cutting-edge fashion event. The longer, uncensored version , which soundtracked a dance mix of the song, tells a more fleshed-out pun intended story.
In fact, Billboard 's Cary Darling described this edit of the "Girls on Film" video, a club hit, as "perhaps the most controversial rock promo video of Although the titillation can occasionally come off as gratuitous, the video certainly helped Duran Duran gain a toehold in the U. It's not for dirty old men in movie theatres. It's for girls as well as fellas. From the very first shot of "Don't You Want Me" -- a car pulls up to a street corner on a foggy night, fading into the background as the woman it's picking up comes into focus -- it's clear that the video is on another filmmaking level from every clip that came before it.
Steve Barron's epic meta-drama for the Human League's he said, she said synth-pop classic just gets more impressive from there, efficiently folding in narrative layers and introducing instantly brain-sticking shots never seen before on MTV, like the camera panning away from Joanne Catherall's on-set discussion just in time to catch Susan Ann Salley walking by herself and singing the song's second verse.
The clip's humanity is never lost in the cinematic trickery, though, and the emotional close-ups are just as memorable as any of the dazzling wide shots. For a video to accompany Talking Heads' twinkling trance of a pop song, choreographer and co-director Toni Basil yes, of "Mickey" fame had frontman David Byrne watch footage of evangelists and tribal ceremonies to get in the right headspace.
Fitting for a track that speaks to the pull of the unconscious on a seemingly cookie-cutter life, the "Once In a Lifetime" video finds a spectacled, sweaty Byrne kowtowing, violently shaking and caught up in the spastic movements of spirit possession as footage of religious rituals plays behind him -- a visceral, captivating and thoughtful video performance from a time when most artists were content to just mime along with the track.
Leave it to an art school dropout and Easy Rider co-star to bring brains to MTV in its inaugural year. Other videos might've been more accomplished or more iconic than Blondie's "Rapture," but none encapsulates the freewheeling spirit of early video more successfully.
A sort of real-time ode to early-'80s New York, director Keith "Keef" Macmillan's clip aimed to mix the city's burgeoning underground hip-hop and art cultures -- uptown meets downtown -- and did so with a visual that was funny, weird, exciting, a little spooky, and totally unforgettable. Cameos from future Yo! Barnes would go on to have no other acting credits -- and the band says they never heard from him again -- lending a sort of verisimilitude to his perfectly alien performance.
But of course, the real star of "Rapture" is Blondie frontwoman Debbie Harry, the ideal prototype for the MTV superstar with her blend of art-world chic, streetwise toughness and Classic Hollywood glamour. Harry is undeniably enchanting throughout "Rapture," whether dancing verrry cloooose with her Blondie bandmates or keeping up with the Man From Mars' two-step during her third-verse rap -- which made "Rapture" the closest thing to a hip-hop video shown on MTV's first day and arguably until Run-D.
Unfortunately for Harry, the timing wasn't quite right for her -- MTV came along just as Blondie began to disintegrate, while her solo career got caught between disco and new wave and never quite got off the ground -- but her example would be picked up by another brilliant downtown club kid with idol looks and rock star ballsiness a couple years later.
But it captures the moment in time more brilliantly than any more expensive, professional production could have, and its energy is just as electric and seductive as it was 40 years ago.
More importantly, it still makes the underground club that the Man From Mars peers into at the beginning of the video -- and by proxy, the channel playing the clip in heavy rotation -- seem like the coolest place in the world to be.
Search term. Billboard Pro Subscribe Sign In. Top Artists. Top Charts. Hot Songs. Billboard Top Videos. Top Articles. By Billboard Staff. Copied to clipboard. Click to copy. Loverboy, "Workin' For the Weekend" dir. Arnold Levine. Mark Robinson This one starts simply enough, with a performance from the band and lead singer Tommy Heath being slipped Jenny's notorious number out at a bar. Madness, "It Must Be Love" dir.
Chris Gabrin. This includes licking someone else's spoon and performing a steamy dance routine with other members of the restaurant's staff who presumably have quit with her. She doesn't need him. She's got herself.
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