Trapped in the Closet

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MUSICAL REVIEW.

R. Kelly’s third installment of Trapped in the Closet lacks creativity and effort in comparison to the first 27 chapters. The so-called hip-hopera based in Chicago follows several tumultuous relationships, leading the viewer on unforeseen twists and turns similar to a soap opera.

While previous parts left viewers on the edges of their seats in anticipation for who was hiding in Bridgette’s closet, or whether R. Kelly and Twan would ever shoot anybody, this portion leaves viewers baffled, befuddled and wondering if R. Kelly even has a direction anymore.

R. Kelly’s ostentatious display of masturbatory egocentrism reaches new heights in the latest installment when he not only directs and writes the score, but also takes on six different roles ranging from a pimp to a marriage counselor. The R&B singer portrays himself to be so gifted that he is even able to reconcile a marriage between a gay man and his wife. From pimping prostitutes to patching up marriages, R. Kelly knows no bounds.

While the first two parts of the music drama were lyrically and musically in sync, the third part falls out of rhythm. In many instances, the music even stops, leaving R. Kelly talking–not singing– over sounds of silence. At this point, Trapped in the Closet becomes less of a hip-hopera and more of a poorly written narrative with a repetitive backing track. It’s a joke.

What is most disappointing about the third installment of Trapped in the Closet is that no closet exists. No one is trapped in a closet, no one comes out of the closet and no allusion is made to a closet. This episode is so poorly executed that it should have stayed in the closet.

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