Miley Cyrus is “at the vanguard of feminist thought.” Pity feminism. Cyrus is, of course, a pop tart who was once Disney’s Hannah Montana, after which she became one of the more crass libertines in an entertainment culture overpopulated with them. She recently split from her husband of three weeks (or whatever). It was surely a blow to romantics everywhere, but not Marcie Bianco, lesbian feminist who writes for NBC’s distinctly unthoughtful Think site.
Somebody should pitch Hollywood producers on a new type of celebrity game show called “Who Can Sink Lower?” Because every month there is an intense competition amongst entertainers to see who can descend further into the depths when it comes to heinous descriptions of Donald Trump and his supporters.
Miley Cyrus is in a state of rage. The sex-obsessed, eco-frenzied feminist pop star sat down with fashion magazine Elle to bash the patriarchy and the fossil-fuel devouring fools from previous generations who have handed millenials a “piece of shit planet.”
Pop sweetheart Miley Cyrus’ new video for her song “Mother’s Daughter” is intended to be a new age anthem of female expression and freedom. Is it any wonder that it comes off as completely unnerving and a little hellish? Ms. Cyrus’ ode to feminism and inclusivity is a bad acid trip of strange sexuality, including blood red latex, teeth-lined female codpieces, wheelchair bound trans women, aggressive gyrating, and quotes such as “Virginity is a social construct.”
Singer Miley Cyrus made her own contribution to progressive climate change hysteria at a concert over the weekend. During an impassioned midshow speech Cyrus screeched that earth’s time is almost up because of what humans are doing to the planet. She demanded that her fans realize “There is no planet B, so don’t fuck it up.”
Miley Cyrus, so far removed from her teenaged Disney Channel days, not to mention taste, was pictured licking a round white cake with the sides covered with rainbow sprinkles that read “ABORTION IS HEALTH CARE.” George Orwell, call your bakery. Perhaps there should have been a disclosure that no bakers were harmed in the creation of this cake.
Whenever Miley Cyrus pops back into the news, the rest of the country appears a lot more wholesome in comparison. Today at 11:14 AM, while normal Americans were working for a living, Miley Cyrus tweeted out a picture of herself licking a cake that says “Aborton Is Healthcare.” Here’s a good rule of thumb: if Miley Cyrus is your political ally, you’re probably on the wrong side.
She’s only 26, so I suspect it will be years before “The Wit and Wisdom of Miley Cyrus” is compiled and published. You, dear reader, shouldn’t have to wait that long to learn the young sage’s thoughts on marriage. Specifically, her own marriage, and Hillary Clinton’s, er, place in it.
It’s old news that Miley Cyrus is both borderline insane and an avowed leftist who uses her devil-may-care schtick to get young people to think promiscuous sex, drugs, and liberal hobby horse issues are cool. The pop music star has just released a new music video for her song “Nothing Breaks Like A Heart,” and well, it’s quintessential Miley.
Hollywood is excellent at flip-flopping between political stances. First race and gender aren’t important, and then suddenly they are. Teen pop star Miley Cyrus reacted to the Texas shooting in Sutherland Springs on Instagram, with three long posts attack white males, guns, and Trump in one extensive breath. In her first post, yesterday, she ranted, “This is a TERRORIST act by a WHITE AMERICAN MAN! I am heartbroken & embarrassed. Mortified by our country & its shitty system, lack of control/laws!”
Failed presidential candidate Hillary Clinton is apparently still making media appearances to promote her election memoir, What Happened, that was released nearly a month ago. Wednesday night she was warmly received on NBC’s The Tonight Show, where the host asked her how she would’ve done things differently as President, and devoted an emotional “thank you notes” segment solely to Clinton, gushing over how “poised” “gracious” and accomplished Clinton was.
Ordinarily, when someone gets their life together, congratulations or encouragement of some kind is in order. Amanda Petrusich of the New Yorker seems to think otherwise. In her article published last week, "Miley Cyrus's Creepy Return To Wholesomeness," Petrusich analyzed Cyrus’s new song, “Malibu,” which is, in her opinion, “equal parts bohemian and smarmy.”
Petrusich did not approve of Cyrus’s new direction, mainly because she found that the superstar’s decisions in the past were those of a “creative risk-taker” which made her a “figure to root for.”