An intense but brief and abortive flirtation with art history. There's so much of Britney left to explore here. What are the ramifications the fissure between this postmodernist Baudrillardian reality - particularly relevant to a critique of a "pro-life" movement which relies so heavily on powerful imagery yet equally central to the artist's satirical approach to the celebrity-induced hysteria - and the apparently contrary enlightenment aesthetic of this pseudorealist/fantastic simulacrum of fame, childbirth, and culture?
Think about it!
ETA: Oh god, sorry, I was in kind of a trance there. The bullshit just took over.

Somebody smack me if that happens again.