Ultraviolence is interesting, in that it’s an album where one can discern the very real and tangible control she exudes regarding the narrative. There are three songs that showcase this the best.

Cruel World, in my opinion, is one of the best non-singles of her discography. In her words, it’s a song that sets the basis for the rest of the record. Her particularly strong vocal performance and uniquely chaotic yet melancholic string-based production set the scene, not for Ultraviolence the album, but rather, for Ultraviolence — The Movie. The raw emotion and anger she exudes contrasts wildly to the ‘damsel-in-distress’ persona of Born To Die. Lyrically, it’s one of those rare times where her character actually manages to end a bad relationship. Sure it still borrows many of Born To Die’s themes, including prostitutes, drugs, God, and money, to name a few. However, this time, she is in control.

Money, Power, Glory is one of the more flashy tracks on the album. A sarcastic interpretation of the holy trinity, the song is a 4 minute and 30-seconds long snarky response to all the critics and journalists who dragged her in op-eds and articles during her Born To Die era. Lana sums it up herself best, saying,

“I felt like all that anybody was going to allow me was maybe, if I was lucky, was money, and power, in the form of infamy, rather than fame.”

The media repeatedly showcased Lana as superficial, materialistic, and privileged. Rather than fight fire with fire, Lana chose to embrace the narrative the world had given her. If that was all that she was going to be given, might as well make the most of it. Once again, Lana embraces and takes over the reins of a narrative that was actively hostile to her. She is in control.