Just before Saturday night live returned from his interval, Ariana Grande released "thank you next" in which she names her ex-fiance's checks, Pete Davidson, but also three other ex-boyfriends, including Mac Miller, who died earlier this fall: "I thought about ending [Big] Sean / But he did not match / He wrote some songs about Ricky
Alvarez[Alvrez[Alvrez your ex dancer]/ Now I listen and laugh. Until almost married / And for Pete I'm so grateful / I wish I could thank Malcolm [Miller] Because he was an angel. "Then the chorus goes in:" Thank you, then. I am very grateful for my ex. "It is a panacea of a song that contextualizes every man as an era in the life of Great – not the other way around. With a single release, the pop star, who rarely lets the narrative move away from her, signaled complete and complete control of her story.
Although Grande explicitly tweeted that the music had no intention of hurting or rising, – "does not creep … without shadow … only love, gratitude, acceptance, honesty, forgiveness … and growth" – the accelerated timeline is brilliant in part because it reduces Davidson to a point in a timeline. It also makes us, the audience hungry for battles, seem insignificant to designate a winner, while Great takes the higher path. (By way of comparison, Taylor Swift tends to let the conversation die before releasing a song of revenge or four, to the Tom Hiddleston and Reputation. So with his public fights: "Bad Blood" almost invented a rivalry with Katy Perry, and "That's why we can not have good things" came out long after the noise around its rivalry with Kanye WestAnd by extension Kim Kardashian– had reached the top.) The moment of Great's release – few hours before S.N.L. returned-was as pointy as it might have been, anticipating any of Davidson's hypothetical observations. (Why worth it, TMZ reported that Davidson deliberately ruled out any Big part of Saturday's show.)
Big had good reason to believe she could become a fodder. When she and Davidson lived together, S.N.L. undermined the engagement for the comedy and propelled Davidson to more air time than he had already received, as Vanity Fair Joanna Robinson noticed. And this past Thursday S.N.L. hinted that he would certainly get up for his old tricks when it aired on a promo in which Davidson proposed to the musical guest Maggie Rogers. After Rogers said, "No," he replied, "Well, zero for three." This came after he had approached the end of his relationship at a charity event with Judd Apatow. "Well, as you might say, I do not want to be here," he said at the end of October, a week after the news. "After the promo with Rogers was released, Big tweeted and then deleted," For someone who claims to hate relevancy, you cling to it, "he said." There's a lot going on. which may have seemed like the beginning of a rivalry, if she The next tweet had not been subtle self-promo: "Thank you, then."
In a way, Grande's dominion over the narrative of her separation was foreordained. Davidson can turn the tragedy into self-deprecating jokes, but Grande's sincerity has always shined when she speaks directly to her fans, and leaves them with something hopeful to cling to. Davidson took a similar message, appearing on "Weekend Update" to read a prepared statement: "The last thing I'm going to say is that I know some of you are curious about the breakup, but the truth is it's nobody's business. "He said, adding," Sometimes things just do not work, and that's fine. She is a wonderful and strong person, and I sincerely wish her all the happiness in the world. Now, please, go vote on Tuesday.
His message, it seems, was something like that, our personal problems are nothing compared to the national problem in question. But while Davidson uses political activism as a way to change the subject, Big seems to be able to do everything: cancel an engagement, mourn the death of a loved one, encourage his fan base to vote and release a new single rewrites his own narrative.