5̶ ̶1̶0̶ ̶ 11 Must See Videos of the Week

Carly Rae Jepsen gave us not one but two versions of "Don't Leave Me on the Dance Floor" — and that's just the beginning of an absurdly stacked week.

Some weeks give you one or two videos worth talking about. This is not that week. From a Tony-winning playwright's directorial debut to a 20-year-old classic getting a proper remaster, here are ten videos that demanded a spot on this list, plus the reasoning behind each one.

1. Carly Rae Jepsen – "Don't Leave Me on the Dance Floor" (x2)

Pulled from her upcoming 24-track double album Day and Night, this ABBA-inspired single marks the music video directorial debut of Tony-nominated playwright Jeremy O. Harris (Slave Play), starring Alden Ehrenreich and Olivia Washington as a couple working through a fight on a near-empty dance floor. Harris has openly cited Claire Denis's Beau Travail as a visual reference point for the choreography, which choreographer Marc Crousillat (Clairo's "Terrapin") built around Ehrenreich's solo movement through a sparse crowd. But here's the real hook: there's a second cut. Harris calls it the "late-night version" — sultrier, Jessica Rabbit energy, red hair, red dress — and both versions are live now. Two distinct tonal readings of the same song, from a first-time director who clearly understood the assignment.

2. Troye Sivan – "She's the Best"

Sivan kicks off his fourth album era reuniting with his Boy Erased co-star Nicole Kidman, directed once again by longtime collaborator Gordon von Steiner. The video is a full tribute to 1980s New York queer and drag nightlife — Sasha Colby included — with Kidman playing a mysterious, magnetic figure Sivan describes as embodying "the divine feminine." By the end, Sivan joins her in drag, echoing his 2024 video for "One of Your Girls." There's also a hidden detail worth knowing: the breathy vocal at the song's outro belongs to Charli xcx, credited quietly rather than announced.

3. Phoebe Bridgers – "I Can't Wait"

The second video from her long-awaited third album Lost Weekend, directed by Chris Maggio and Pablo Rochat, takes the literal perspective of a housefly buzzing through a day in Los Angeles — landing on faces, ducking into the body of a guitar, soaring over supermarkets and the Glendale roller rink where Bridgers threw her album's listening party. It's a strange, specific conceit executed with total commitment, and it holds up a mirror to the song's own themes of longing and being unable to look away from someone.

4. Orville Peck – "Already Gone"

The second single from Peck's upcoming album Mule, a chronological account of his journey through addiction and recovery. Directed by Austin Peters, the video finds Peck in a rehab facility — therapy sessions, urine tests, tiny paper pill cups — filtered through a lighthearted musical fantasy that Peck himself says reflects the arrogance he felt at the time, in contrast to what was actually a moment of total crisis. Noah Cyrus, Allison Russell, and Cathy Cooper return in their recurring roles as fragments of Peck's mind. The video closes with crisis line information for anyone who needs it — a thoughtful touch given the subject matter.

5. Bella Poarch – "Stay Gone"

Directed by Tokyo-based filmmaker OSRIN, "Stay Gone" unfolds as a dystopian short film: a hive society called The Mad Hive where villagers wear identical masks and follow programmed routines, and Poarch's character wants the one thing they've been taught to fear — light. Drawing on the Japanese micro-season phrase kusaretaru kusa hotaru to naru ("rotten grass becomes fireflies"), OSRIN transforms Poarch's exiled, punished form into something luminous by the video's end. Genuinely one of the more visually ambitious pop videos this year, and a strong showcase for an artist who's often reduced to her internet-fame origin story.

6. James Blunt – "Tastes Like Summer"

Blunt's first new music since 2023, directed by Jack Howard and shot in Ibiza. The song itself is warm, romantic, unbothered pop — but the video takes a hard left turn, styled as an A24 horror homage that finds Blunt sitting down to an unexpected meal for one. The tonal whiplash between the song's sun-soaked lyrics and the video's creeping dread is the whole joke, and it's a genuinely funny swing for an artist not typically associated with visual comedy.

7. Tinashe – "Melatonin"

Directed by 91 Rules (Kelela, Destroy Lonely), this preview of Tinashe's upcoming album Popstar is built as a straightforward celebration of dance itself — ballet, hip-hop, and ballroom dancers sharing the frame with Tinashe as she moves through a series of avant-garde looks. No narrative conceit, no twist. Just movement, styling, and confidence, which is sometimes exactly what a song this club-ready needs.

8. ATARASHII GAKKO! – "TTTTOKYO"

From the group's fourth album From Tokyo with Love, directed by Mackenzie Sheppard, who also helmed the album's lead single "Oi AG!" A high-energy, fast-paced visual love letter to the group's home city, arriving as the quartet continues expanding their footprint well beyond Japan — including their first overseas anniversary show at London's Roundhouse earlier this summer.

9. TV on the Radio – "Wolf Like Me" (Rerelease)

Twenty years after Return to Cookie Mountain first landed, the "Wolf Like Me" video is back in circulation in a cleaned-up upload. Worth remembering: this video was directed by Jon Watts — yes, the same Jon Watts who would go on to direct the entire MCU Spider-Man trilogy — mixing black-and-white silent film aesthetics with 1980s B-movie style, starring poet Beau Sia. A genuinely strange, ahead-of-its-time piece of work from a director whose career took a very different turn.

10. Tash Blake – "oUT mY mIND"

The newest single from the LA-based singer-songwriter, continuing the run of confident, unapologetic pop she's built through singles like "Atomic Blonde" and "Tokyo." Full credits and visual details on this one are still coming into focus — worth revisiting once more information surfaces, but the momentum in her catalog alone earns it a spot here.

Ten videos, ten completely different registers — a directorial debut from a playwright, a two-decade-old video finally getting its due, and a horror-movie bait-and-switch from James Blunt of all people. Which one are you rewatching tonight?