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    What's Love Got to Do With It?

    Good Girl Gone Back?: Rihanna fans are understandably upset with sex-fueledChris Brown remix

    John Bumgardner
    Feb 22, 2012 | 9:15 am
    • Rihanna and Chris Brown.
    • The Cycle of Violence

    Gals, can we get serious for a minute?

    I'm starting to worry that there is not enough love in this world right now to save the women of R&B music. First, Whitney gets consumed by her troubled past. Now, Rihanna is working alongside her ex-boyfriend and abuser. What is it with these strong, beautiful, talented women making such terrible choices?

    My heart sank when I heard the news that Rihanna and Chris Brown were working together again on their latest singles. In a series of supportive, mutually promotional tweets, @rihanna and @chrisbrown revealed their latest remixes would feature one another's vocals.

    No one is doubting the abilities of either party, and it's likely —despite the controversy, or perhaps because of it — that we'll hear both tracks (cleaned up, of course) at dance clubs and on the radio this summer. What's even more disturbing, however, is hearing their voices in tandem again, knowing their history.

    Rihanna's track "Birthday Cake (remix)" is a series of thinly veiled sexual innuendos. Brown's contribution to the track includes the line "Girl, I wanna f--k you right now/It's a been a long time and I'm missing your body."

    Not exactly the public apology anybody hoped to hear from Brown before accepting him within restraining order distance.

    But we would be fools to expect anything different from Brown. His Twitter reactions to all the criticism following this year's Grammy Awards proved that he is still coping with his anger issues. Which shows that he is definitely not prepared for a legitimate do-over with the woman he publicly humiliated back in 2009... the night before the Grammy Awards.

    Brown's contribution to the track includes the line "Girl, I wanna f--k you right now/It's a been a long time and I'm missing your body." Not exactly the public apology we hoped to hear from Brown before accepting him within restraining order distance.

    It's easy and it's right to be upset with Brown, but the messy part of this equation arrives in the form of Rihanna's acceptance of the man back into her life. We've watched this scene unfold in countless tabloids and movies with damaged, vulnerable celebrities, and too many of us have watched loved ones go through the same painful process.

    Domestic violence experts are watching this situation unfold with a close eye because of the impact it could have on the countless impressionable minds of Rihanna's and Chris's fans. Ellyn Loy, the director of clinical services at the House of Ruth in Maryland, told the New York Daily News: “Statistics show generally that half of women leave and half go back a number of times before they make a final decision about the relationship.”

    Current perceptions of abuse have classified it generally as a wheel or a cycle, where "honeymoon" periods of serenity and happiness are slowly replaced with tension and eventual violence. There are many reasons why abused members of a relationship remain with their abusers, not the least of which is hope and true love.

    Almost as if on cue, Rihanna's tweets from Monday include these two statements: "They can say whatever, Ima do whatever ... No pain is forever <-----YUP! YOU KNOW THIS" and "Music heals the world ... we need more!!!!"

    When Rihanna's graphic album Rated R came out, I figured it might be a public figure's way of working through her raw emotion in the public arena she understands. But the charged sexuality and the outright aggression lingered in her song lyrics over the next two albums, including her popular radio pairings with similarly broken down celebs Britney Spears and Eminem. Sigh.

    Unfortunately, celebrities like Rihanna and Whitney are only human like the rest of us. They're just living their lives according to what makes sense to them at the time. If we don't want to watch them self-destruct, we have the option of not idolizing them like we do.

    And, of course, we can't forget that this might just be a publicity stunt above all else. Why Rihanna would want to risk alienating her concerned adult fans who have sympathized or at least empathized with her situation is beyond me. Regardless of the reason, she's got the music world talking again.

    I agree with Loy, who hopes that at least this situation raises awareness of relationship violence and is likely to get teens talking. “Sometimes what it does is raise the consciousness around the issue," she says. "My hope would be that there’s a lot of schools and teen groups talking about what do you think this means, do you think this is a good thing, do you think it is a bad thing?”

    I can't imagine who the folks are, beyond these two against the world, who might think this is a good idea. But in the meantime, here's to hoping we don't watch another brilliant, beautiful flame get snuffed out before her time.

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    Movie Review

    Dakota Fanning-led The Sun Never Sets needs more direction

    Alex Bentley
    Sep 4, 2026 | 3:30 pm
    Dakota Fanning in The Sun Never Sets
    Photo courtesy of Independent Film Company
    Dakota Fanning in The Sun Never Sets.

    The movies of writer/director Joe Swanberg have always been an acquired taste, as he prefers to give his actors a loose framework of a story and let them improvise most of their lines to give the films a more natural feel. Sometimes that approach can yield great results, and sometimes — as in The Sun Never Sets — it can result in addled and maddening storytelling.

    Wendy (Dakota Fanning) is in her early 30s and at a crossroads in her life. When a friend announces she’s pregnant, she starts to re-evaluate what she wants, including her two-year relationship with the older Jack (Jake Johnson). Although they love each other, their disagreements on having more children and extracurricular activities call their long-term viability into question.

    Jack, not wanting Wendy to settle, encourages her to explore her options where they live — Anchorage, Alaska — telling her he’ll be waiting should she strike out. What he doesn’t expect is that Wendy’s ex-boyfriend, Chuck (Cory Michael Smith), has returned to the city, giving her an attractive alternative. The three engage in a love triangle that proves frustrating and confusing for both the participants and the viewers.

    What works best about the film is its location in Alaska, which rarely gets showcased in movies, and even more rarely in the way it is here. The story takes place in warmer months, and Swanberg gives his characters multiple opportunities to be outside, showing off Anchorage’s harbor, surrounding mountains, and seemingly vibrant city life. The subtle but effective way Swanberg frames various scenes makes the landscape enormously appealing.

    It’s too bad, then, that the story never measures up to its surroundings. Too often Fanning, Johnson, Smith, and others seem to be grasping for their next line, unsure of what they want their character to do or say next. That lets their scenes mimic real conversations, but you might not realize how much you want scripted dialogue until you see actors trying to come up with their own in the moment.

    The larger issue is that there’s no consistency from scene to scene about where the plot is heading. The characters of Wendy, Jack, and Chuck are extremely wishy-washy about their desires, with each of them vacillating back-and-forth in just how much they want to be with each other. Depending on your experience, this may or may not be true to life, but watching it is excruciating and not enjoyable or romantic in the slightest.

    As actors, Fanning, Johnson, and Smith are talented and interesting, with each capable of connecting with viewers in different ways. But working in improvisation is a different beast, and only Johnson — who has worked with Swanberg multiple times — seems truly at home. A few others, like Debby Ryan and Anna Konkle, do well in the format and maybe deserved bigger parts.

    Swanberg has proven in the past that his method of filmmaking can be insightful and entertaining, but that is not the case here. In The Sun Never Sets, his hands-off approach is a detriment to the flow of the film and the story as a whole, resulting in an experience that is far from what most viewers will want to go through.

    ---

    The Sun Never Sets is now playing in select theaters.

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