Monster Thesis

Thesis 3. The monster is the harbingary of the monster crisis.
The monsters always escape because they deny the very concept of categorization. They are hybrids(), embodying every single characteristic known to a human being and/or none of those. Mixed category presupposes the impossibility to adjust, to become. The monster always escapes to its own realm, which is always secluded, far away and undisclosed. Every single work of Gaga is a challenge, a question and an issue to reflect upon. She denies assimilation, she demands attention and she creates her own reality. By proclaiming herself Mother Monster and her fans the Little Monsters, Gaga has everything on her terms, offering her reality to the public to be either accepted or rejected.

The actual fear of monsters could be easily associated with escapist fantasies and once again with categorization itself, since one might want to relate to the monstrous reality and culture. We distrust and loathe the monster for its freedom, independence, and ‘unchainedness’. () Escapist fantasies and excitement are yielding to the actual fear of the monster only when the monster is threatening, not contained, possibly trying to cross the boundaries. In other cases, it may serve as a delightful alter-ego, as a representation of the forbidden fruit. We do not fear the monsters in the horror movies, books, and pictures – for we know those are temporary and finite media of their presence. ()Everyone is a devil for a night on Halloween, because of the desire to let oneself go, feel free and unbound. We know that there is going to be a morning after and all the transformation must be gone by sunrise. Gaga, however, does not accept those limitations. It is socially inacceptable to demonstrate and take pride in one’s queerness in public, so Gaga fights this principle, because she is not afraid to. Gaga’s Fame Monster compels the audience, asking them to reconsider what the natural order of things

Even in her appearance on SNL Gaga tries herself in hilarious sketches, but this is still seen as another performance of hers, another show, and another issue for society to reflect on. In one of those sketches she is mocking fashion industry by appearing in a ridiculous dress made of giant plastic bubbles, stressed by the fact that she had to pay a fortune for this fashion choice, while her colleague appeared in the studio in the same dress (which is already quite embarrassing), claiming that his piece was actually made of trash.() In other sketches she is playing with sexuality, questioning socially acceptable behavior by reflecting upon possible forms of sexual intercourse. We once again get to discover, that Gaga is always on stage and that she, most probably, was born this way. The Fame Monster does not only perform efficiently, it preserves its authority and influence. It is an established icon because of Stefani Germanotta, the Little Monsters and the society, in which every single component is absolutely essential. Stefani represents the mind and the body that was sacrificed to the Monster. The Little Monsters incorporate the Monster’s addiction: the Monster would not have lasted if it wasn’t for their support. It also would not have been sensational or iconic if it had not got the appropriate feedback. Finally, the