Move over any preceding internet sensations. I’ve literally just forgotten all of their names. Alice the Goon, aka alice the g00n, is in the building. The rising recording artist, writer, producer, music video director, and promoter is beginning to make a solidifiable mark, thanks to some flashy aesthetic design, dynamite music video production, cool and hip tracks, and a sense of genuine unpredictability and danger in the best way. With an entertainment presence spanning the platforms of her own website to Instagram to YouTube to TikTok, Alice the G00n has already enjoyed the fruits of her labor in the form of the following accolades.
The release of her first single, titled Cya, hit platforms and wound up in the top fifty echelon of Mediabase’s Top 40 Pop chart, then piqued at number two on Mediabase’s Top 40 Pop Independent Artists Rankings. Former UFC contender and Hall of Famer Frank Trigg stars in one of her music videos, which Alice took the liberty to write, produce, and direct. Trigg himself said he was blown away by Alice’s approach to the material, stating that Alice “projects her own completely distinctive style, with almost no filmmaking experience. It’s an episodic action movie – a silent movie – but Alice made some bizarre and interesting choices that flipped a music video into an exciting short.”
The fact Alice the G00n aspires to be a storyteller, not just an artist expressing herself in an abstract, individualistic way, is part of the charm. It’s part of what makes her interesting, too. There’s this kind of fearlessness that comes with not having to answer to the so-called ‘higher-ups’, forgoing being told what sells and chucking oneself in the deep end. Seeing if the people say one has what it takes. It’s safe to say Alice the G00n’s efforts have proven she’s here to stay.
This is particularly evident in the music video Trigg appeared in for In Time: Chapter Two – The Road Trip From Hell, it depicts elaborate shots, fights, and graphic imagery almost bordering on that in a horror film. “I wanted to create an outdoor, natural space to contrast the fantastical lighting (and deep shadow) that happens (in) the (music video),” Alice explained in a statement. “It takes the heightened reality of the first chapter and pushes us into something almost… mystical. It’s like if Kim Jee-Woon was driving the boat in the Willy Wonka tunnel.”
The attention to detail works. There’s an interesting mixture between the homemade, verité feel of the video, and then something that actually could exist as a piece of studio-quality, assured entertainment. This is particularly true when it comes to the fight sequences and photography of the choreography, Alice herself saying: “It’s hard enough to see what happens in a fight in today’s films.
When I set it inside of a car, inside a tunnel, with an all-black outfit—I’ve got to make sure the action reads. Fast cuts on motion may add a lot of energy, but you’re forced to rely on that if the footage didn’t have energy to begin with. It’s got to have a punch when you’re punching. Movement when you’re moving. If you’re trying to do nothing but add sleight-of-hand energy in the editing bay, you need to go back and reshoot the fight.”
It’s clear no matter what she winds up doing for a mainstream market, Alice the Goon cannot be stopped.
Cleopatra Patel