Lana Del Rey Builds Her Most Elaborate Fantasies Yet on ‘Norman F-cking Rockwell’

— still a small-time starlet, requesting VIP treatment at the Bruin Westwood theater in L.A., asking to get in free because she’s in the movie. It could have been a mortifying moment of humiliation, but she’s so guileless in her own stardom fantasy, nobody would dream of charging her the 75 cent admission.

But the album exceeds them, stretching the languid groove for over an hour. The title ballad opens with the closest she comes to a romantic moment: “Goddamn, man-child/You fucked me so good that I almost said ‘I love you.’” And the fact that this man-child fails her emotionally in every possible way? She shrugs, “You’re just a man / It’s just what you do / Your head in your hands as you color me blue.

She updates her original pose as the “gangster Nancy Sinatra,” with Jack Antonoff as her Lee Hazelwood, rising to the occasion as her musical wingman. But nobody can doubt this is Lana’s trip. She’s always the girl in the song, whatever song happens to be on the radio right now, but she’s also the girl singing the song, making it feel doomed and fucked up and yet somehow thrilling.

There’s a deranged torch-ballad cover of Sublime’s “Doin’ Time.” When she boasts about representing the LBC, she doesn’t sound any more ludicrous than the original, yet there’s something poignant in her affection for the SoCal milieu—not to mention the disconcerting way she keeps the Sublime lyrics exactly the same, calling herself “Bradley” over 20 years after Bradley Nowell’s fatal overdose. With her title, she evokes the painter famous for depicting down-home American life.

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