As the collective unrest and general revolution around the world gains momentum, it seems in unusually poor taste to release a decadence- and “old school glamor”-themed Swarovski commercial. Let alone one starring Ariana Grande (who also recently declared she would be bowing out of the spotlight for a while, though that was before she had already signed on for this edition of Swarovski’s holiday campaign). Then again, that’s just capitalism for you, innit? Always ignoring the glaringly obvious, antithetical and ironic issues with itself when there’s still so much more shit people don’t need that “must be” sold (Grande having done this selling for the brand since July of 2024).
And yet, this Grande-centric commercial is still not the most offensive piece of pop culture in 2026 (regardless of its success, Tate McRae’s “Housewife” probably is). Nonetheless, it’s certainly up there. Starting from the moment it’s treated like some sort of Busby Berkeley vehicle with Audrey Hepburn as his leading lady (had the two ever actually worked together). Or, for that matter, like Sabrina Carpenter’s 2025 Grammy performance, during which she did everything possible to channel Old Hollywood films and “showgirldom” (albeit with a Goldie Hawn slant for the “comedic bit” at the beginning). This immediately evident by the overture-type music that many Old Hollywood musicals are associated with, complete with the searchlights (also associated with the erstwhile glamor of Hollywood movie premieres) that punctuate the title of this “film” (a.k.a. commercial), banally named “Joy.” A follow-up, of sorts, to her very first video campaign for Swarovski, “The Party of Dreams,” which, oddly enough, actually seems less decadent than “Joy” despite the year of its release, 2024, still being pre-official start of the Orange Creature’s second term, which is what fucked the entire world on gas prices and inflation.
Any who, after the overture and searchlight fanfare, the viewer is “offered” the silhouette of Grande in a veiled top hat with her back turned to the camera before she whips around to fully embrace that spotlight in her white, Swarovski crystal-bedecked tuxedo, which one can tell she’s “swimming in,” shoulder pads or not. The shot then pans out to reveal her perched at the center of a white, light-up staircase, flanked on either side by four “dancers” (for a total of eight) in black tuxedos (also ornamented in Swarovski flourishes) and top hats that have veils as well (albeit their veils are bejeweled). They kind of move around for a few instants before a cut to the next “motif,” which is Grande as a “ballerina showgirl.” That is to say, she’s dressed in a pink number while about ten women in green bodysuits (there’s clearly meant to be a Wicked allusion with this pink and green color scheme) encircle her with pink feather fans.
Before the viewer can process this or what it might “mean” (hint: it’s all style and no substance in “let’s hawk these wares—nay, this lifestyle” commercials such as these), it’s on to the next “movie” set already, with Grande seemingly inspired by J. Lo’s general look (including that coveted Heidi Lee headpiece) in the “Medicine” video as she takes the whole 1940s movie aesthetic to the next level with what can best be described as a crystal swim cap that’s accentuated by a shimmering silver backdrop.
That lasts for all of about three seconds before the next scene, which commences with Grande’s jankly-tattooed hand (with the “SWT” for Sweetener World Tour being most prominent on it) reaching for an elegant, hexagon-shaped yellow box. The contrast making it (crystal) clear that maybe Grande isn’t exactly the kind of “classy” lady they want for their brand despite her dainty, Audrey Hepburn-esque appearance. Then again, this is a brand that has been rooted in “faux elegance” (after all, “diamonds are too expensive and heavy” compared to Swarovski crystals, as a certain SNL sketch pointed out) for so long that it’s hardly surprising that they would tap a faux elegant spokesperson (or, if one must, “global brand ambassador”) to represent it as well. What’s more, Grande’s attempt to “grow with” her audience assumes that said audience would, by now, have some extra cash lying around to pick up a few pieces of crystal jewelry. At least surely for the “holiday season.” Which most people—even the most die-hard of fans—will likely spend trying to keep some lights and heat on amid the increasingly high cost of basic living. Which most brands and celebrities have completely lost touch with (if they ever even were in touch with it at all).
In any case, as Grande is shown “in full” picking up the yellow box, the viewer can now see that she’s peeking in through a dollhouse-like structure (as opposed to Alice, who is stuck as a giant inside of a regular-sized house) and distributing these boxes to three miniature women “lounging” around in yellow formal wear. Grande then blows a kiss at the camera before the next transition to an oceanscape where a silhouetted couple is romancing it up while Grande does her “Natalie Portman in Black Swan” thing (on a side note: there’s also something about this tableau that reminds one of the famed La La Land movie poster) before the commercial toggles back to a previous set (the “showgirl” one) that the viewer has already been presented with.
However, the “film” chooses to end with Grande floating on a swan (the Swarovski logo) cutout along that oceanscape that now has kind of a Venice feel to it. But no, wait! It isn’t really over. Because then there’s a cut to Grande seated in an empty movie theater as she claps delightedly for her own performance, letting out a “woooo!” before winking at the camera and then giving the one-word voiceover, “Swarovski.” As if that name alone is enough to be a tagline. “Synonymous” with glamor as opposed to, in this instance especially, a kind of out-of-touchness. Though, of course, it’s hardly the only brand guilty of such an apparent non-crime in this era. It just happens to have ill-timed the release of a commercial that makes it stand out more than other brands for this “non-crime.”
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