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Pilar Fitzgerald: She’s always played around with black and white, so all this use of color in the music videos — her "memories" — feels really significant. The scenes from "Crazy Classic Life" are like an underground queer dance Mount Olympus.

Sidney Madden: The use of technology in these videos definitely reminds me of something out of Black Mirror. The fact that drones act as spies and police to break up their fun and alert masked soldiers to take them away is one of those science-fiction-soon-to-be-science-fact type of folkways. So the themes of the film seems to be dystopian future, and sexual freedom and suppression?

Sydnee Monday: Yeah. And Tessa Thompson playing a worker in the reprogram facility named Mary Apple is related to Janelle’s past albums. The Mary Apple character has been present in Janelle’s work for a bit so I’m glad I can actually see the character in a film.

Sydnee Monday: She’s been the love interest in projects past if I remember right. Janelle’s been playing the android character for so long in her music, and onscreen. I’m obsessed with the episode of Electric Dreams where she plays a robot that looks like a human based on Philip K. Dick’s writing.

Anastasia Tsioulcas: "Screwed" just might be the most 2018 song on the album, and almost the most political, but for sure it’s the most nihilistic. Think about its topics: 1) the idea that life — and maybe one’s sense of self — only exists if it’s reflected in a magazine or on a screen ("I live my life in a magazine / I live my life on a TV screen") 2) anxiety and impending doom (2018 for everyone) and of course "Sex is power" — an idea which has already launched thousands of gender-studies classes and builds upon a quote that is popularly attributed, but probably never actually said, by Oscar Wilde: "Everything in the world is about sex except sex. Sex is about power."

Pilar Fitzgerald: Yup, she’s always had bars, but it’s always been a verse here and there. "Django Jane" is the first time I think she’s rapped a whole track. And the flow is definitely more punchy, more confident. I’m thinking of the easy, laid back smooth-talking Janelle on the end of "Electric Lady."

Sidney Madden: With "Django Jane," I feel like she really intended on rapping. She’s displaying her message in a poetic, rap way. The message of "Django Jane" is so direct and piercing that it had to be delivered in the package of a rap. When she’s broken down in raps before, I’ve kind of tuned it out because it seemed like she was just trying to do something even if it didn’t fit the song.

Pilar Fitzgerald: I love how you hear and see Prince’s influences all over this album. Prince is in the instrumentation, he’s in the choreography, he’s in the visuals. She clearly felt a responsibility to honor his legacy. And I have to assume his sexual freedom helped her find her own.

Pilar Fitzgerald: I’ve always been a fan — a fandroid — of Janelle and her body of work, and this certainly does not disappoint. So fitting of her to make a film, considering all her recent on-screen success. She’s always been an amazing spectacle and storyteller. Since this is the ~*~emotion picture*~*, if there’s one emotion to describe how I’m feeling, it’s pride. Her unbridled authenticity is a wonderful thing to see.

Sydnee Monday: I am so inspired by this idea of getting free and pushing past fear and the importance of this representation. In her interview with Hot 97, she says she hopes that black women feel seen, heard, and celebrated, and I did and I’m so thankful for her presence, especially in the midst of all the world’s chaos.