Billy Ocean ~ “Lover Boy”
I think here is an example of an artist with a sci-fi video merely because sci-fi was trendy. It plays into a lot of tropes, and doesn’t subvert or surprise me. It references popular, iconic images from Star Wars and the fantasy genre. I think this one was more about the money than the message.
Tropes: intergalactic cantina, solitary hero, knight, white horse on a beach (can’t help thinking of the Old Spice commercials), damsel in distress
The one female/woman-appearing character is very pale white, with the most “normal” features, and red hair (see notes about red head in “Many Moons”). The video cuts to her several times when Billy sings “I want to be your lover,” which makes it clear she represents the object of interest (I hesitate to say affection) of the song. She resembles Kira, the female gelfling and love interest in The Dark Crystal.
Then the lone male hero/lone ranger/bounty hunter/knight on the white horse drags her away protesting to ride away with him across the beach. It looks more like an abduction than a rescue. She in no way expresses physical or verbal consent to go with him.
The cave bar inarguably resembles the intergalactic cantinas from Star Wars, a den of thieves where characters from all over the galaxy meet over questionable vittles and drinks to discuss illegal business. The cantina as a setting allows for interspecies mingling (if you read into this, interracial, mixed gender mingling).
In the Superman universe the Kryptonian criminals Zod, Ursa and Non are imprisoned in the highest security prison known to the Kryptonians in the days before their sudden but inevitable collision with their sun. The Phantom Zone traps a prisoner in a dimension which is barren of anything but where they do not age or die. in the video, Billy Ocean appears to be trapped in something very similar, and though he is not struggling to get out, it begs noting that he is imprisoned in the highest know security facility known to the Kryptonians.This cube/zone also plays on the trope of going through a mirror to another dimension (see analysis of Laura Mvula’s “It’s Alright”).






