Camila Cabello Is Not That Innocent In Her Cinematic ‘My Oh My’ Video

Listen up, shucksters: Camila Cabello‘s latest music video has arrived, and with it, we’re introduced to her Hollywood heroine’s origin story. Get ready to meet “Killer Cam.”

For her lustful new single “My Oh My,” Cabello reunited with her “Havana” director Dave Meyers. Like that VMA-winning blockbuster, this one is a pure cinematic feast. The singer is first introduced as a struggling actress fed up with being the “damsel in distress” but unable to convince studio suits to take her seriously. But when she meets an up-and-coming movie mogul, played by DaBaby, all rules fly out the window. “I swear on my life that I’ve been a good girl / Tonight, I don’t wanna be her,” our heroine sings as he literally takes a sword to the patriarchy and musters up the gusto to channel her inner “Killer Cam” and “La Bonita Blade” in a full-color feature of her own.

Throw in some Grease-style dancing, a fabulous all-leopard ‘fit, and witty subtitles, and you’ve got yourself a mini-movie as irresistible as the romance Cabello sings about.

“My Oh My” follows a slew of cinematic videos Cabello’s rolled out as part of her Romance era. She channeled a campy telenovela in “Liar,” wandered a flowery dreamscape in “Living Proof,” danced with some clones in “Shameless,” and, of course, got steamy with Shawn Mendes in “Señorita.”

Next up, Cabello will launch her Romance Tour in May — but not before filming Disney’s live-action Cinderella, which she’s been teasing on social media recently. “My Oh My” proves she’s certainly got the acting bug, so consider us thoroughly hyped.

5SOS And Hilary Duff Are Leading Pop’s Third Eye Blind Revival

In 2017, four guys toured the United States performing Third Eye Blind‘s self-titled album in full, ripping through everlasting radio hits like “Semi-Charmed Life” and “Jumper” to celebrate the 20th anniversary of its release. But they were not 3EB, not anymore. They were XEB, a group staffed with prominent ex-band members whose musical contributions had helped define the sound of the band for a combined 17 years.

At the same time, the canonical Third Eye Blind made its way across the country, led by sole original member Stephan Jenkins and Brad Hargreaves, who’s drummed with 3EB since ’95. They were ostensibly promoting a 2016 EP called We Are Drugs. But the group was also simply doing what they’ve expertly done since even before I packed into a university gym to shout along to their songs with hundreds of other kids who couldn’t legally drink yet at my first show in 2007: hitting college towns and casino stages with a career-spanning set of radio-dominant riffs and shit-talking, yet sensitive lyrics. It is the Third Eye Blind way.

That there could be two versions of 3EB touring simultaneously speaks to a larger truth — people love these songs. Their self-titled album has the hits, but subsequent drops like 1999’s Blue, 2003’s Out of the Vein, 2009’s Ursa Major, and even 2015’s Dopamine all have unsung bangers. The band’s influence reaches well beyond those who bought the first CD at Media Play in 1997. In fact, over the past few years, an onslaught of young 3EB-inspired acts have brought their own heart-rending power-pop to the indie scene. Now the mainstream is having its turn.

Hilary Duff and her husband Matthew Koma have teamed up with electronic-minded producer RAC for a new Third Eye Blind cover, out today (February 12). Duff takes the high chorus of “Never Let You Go” the way Jenkins did, turning the title phrase into a desperate declaration, as RAC softens the song, turning it blissed out and festival ready. “To say that @matthewkoma and I are fans of 3EB is a massive understatement,” Duff wrote to announce the single. “These records actually play a huge part in our love story.” If the rest of the story involves putting “I Want You” on a romantically curated playlist or singing along to “Wounded” on a road trip, they likely share that tale with scores of 3EB-appreciating love-drunk millennials.

When marquee pop acts aren’t straight-up covering Third Eye Blind, they’re finding a lot to play with inside their sonic toolkit. Last week, 5 Seconds of Summer dropped “No Shame,” a breezy departure from the gritty, industrial playground they reached into for 2019 singles “Easier” and “Teeth.” While the latter explicitly draws from Nine Inch Nails and the former bordered on nu-metal, “No Shame” finds the quartet in the vicinity of 3EB’s more contemporary work — vocalist Luke Hemmings’s bouncy delivery of the chorus line, “I only light up when cameras are flashing,” would fit nicely on 3EB’s Screamer. When he later sings, “Go on and light me like a cigarette / Even if it might be something you’ll regret,” I hear shades of Jenkins’s best trick: a minefield of sensitive diary lines (“I’ve never been so alone / And I’ve never been so alive”) mingling with smart-aleck smack (“When you start talking I hear the Prozac”).

“Somebody once described our music as pretty little songs with dirty little words, which I thought was great,” Jenkins said in 2009. It was always a bit more complicated than that. By all accounts, the three ousted members who later formed XEB (Kevin Cadogan, Arion Salazar, and Tony Fredianelli) helped cement the cosmic identity of their original band, including in the songwriting, alongside everything Jenkins did as its face. But that duality has been and will likely always be a huge part of their legacy. So will the whooshing guitar swirls, crisp bass lines, and punchy, Eric Valentine-produced drums that make up the foundation on which Jenkins could smirk, “Doing crystal meth will lift you up until you break,” on their most famous song.

You can find those musical cues all over the indie-rock landscape, particularly among the younger generation. A few years ago, arty band Crying released “There Was a Door,” which sounded like 3EB’s “Losing a Whole Year” if the half-raps were mumbled and the riffs got struck by lightning. The emo-leaning Future Teens injected “The Background,” a Third Eye Blind crier rendering images of hospitals and numbness, with an adolescent fury missing from Jenkins’s more mature telling. Chicago power-pop wiz Jupiter Styles made his very own “1000 Julys” on “Peace, Dog.” “People always compare me to Third Eye Blind, and I always say that’s probably accurate because I listened to a lot of Third Eye Blind growing up,” Styles captain Sean Neumann told MTV News last year.

Once you start, it’s easy to hear 3EB echoes everywhere. You tap play on I’ll Show You Stronger, the warm 2019 debut from songwriter Alyse Vellturo’s project Pronoun, and hear the twinkles of the Blue and Out of the Vein albums — an influence she freely admits. Her gauzy ode “Run” gathers its energy the same way eternal jams “Wounded” and “Blinded (When I See You)” do, with charging drums and galaxies of layered guitars. That’s a similar trick pulled by Long Island emo and pop-punk master Jade Lilitri across his Oso Oso catalog, especially on last year’s excellent Basking in the Glow. “We were goin for a mix of completely ripping off Third Eye Blind and [Brand New’s Your Favorite Weapon] minus the being angry/ telling people to crash their car,” he tweeted in 2017 about past releases. “Impossible Game” goes there, too.

A love for Third Eye Blind doesn’t always materialize in a band’s actual music. Sometimes it feels nice to listen to them in the van or to tune your guitar down to really nail the opening of “Narcolepsy.” Sometimes it’s just for fun.

On Halloween in 2018, Philadelphia sound experimenter (Sandy) Alex G played a messy, incredibly fun set of 3EB covers at a house show in Rochester, New York — my hometown, and where I saw my second-ever Third Eye Blind show. (I caught a guitar pick thrown by Stephan Jenkins, which I still have.) Alex’s band’s set was marked by regular pulls from a whiskey bottle, forgetting tons of lyrics, and incredibly tight harmonies on “Semi-Charmed Life”‘s doot-doo-doos. Concurrent with all this chaos, Alex and his band summoned the requisite energy to bring those beloved songs to life; the crowd exploded at the opening drum fill of 3EB’s biggest hit.

This time, none of the performers were ex-members of Third Eye Blind. But they certainly were fans.

Taylor Swift’s Miss Americana Is A Coming-Of-Age Story, Says Director Lana Wilson

You think you know Taylor Swift, but, to quote a bygone MTV series, “you have no idea.”

Enter Miss Americana, the new documentary from Emmy-winning director Lana Wilson, which attempts to fill the blank spaces in the Swiftian mythology. The film, which premiered last month at Sundance and is now on Netflix, charts the pop star’s transformation from a people-pleaser who measured her worth in pats on the head to a 30-year-old woman who’s stopped worrying and learned to speak her mind.

“When I started, there wasn’t a set, ‘This is the story,’ or anything like that,” Wilson told MTV News about the doc. “I just started filming immediately after meeting her and then just filmed, filmed, filmed, and saw what emerged.”

Wilson followed Swift everywhere, intent on capturing what she calls “the contrast between the ordinary and extraordinary” of the superstar’s life. That means seeing Swift command the stage during her spectacle of a stadium show, trailed by remarkably more thrilling footage of her curled up on a studio sofa, fumbling through rough drafts of eventual hit songs. More vitally, we get a glimpse into her mindset as she resurfaced from a period of self-imposed exile to grapple with a sexual assault case, an eating disorder, an impassioned political awakening, and, oh yeah, the making of last year’s swooning No. 1 album, Lover.

Below, Wilson tells MTV News about how Miss Americana is a coming-of-age story, the delicate balance of portraying Swift’s romantic relationship, the studio footage she left on the cutting room floor, and the now-infamous “cat backpack.”

MTV News: This film made me really excited to see what kind of artist Taylor Swift is going to be in her 30s, now that she’s seemingly more comfortable speaking her mind and isn’t as worried about being a quote-unquote “good girl.” Do you see it as capturing a turning point in her life?

Wilson: Absolutely. I think it’s a coming-of-age story about this woman at a pivot point in her life and career. Taylor went through all of this pain and then stood up and became the person she wanted to be, but didn’t have the ability to be for so many years, because of the leash that she put on herself. To be able to take that leash off, I think it’s really amazing for people to see that. It’s amazing from a documentary director’s perspective when you get to go with a subject who really changes in the time that you film with them. That’s what I was lucky enough to get to see.

MTV News: You do get that sense that she doesn’t feel the need to constantly reinvent herself anymore. How do you think the film sets a tone or an expectation for her going forward?

Wilson: I think she’s always going to artistically challenge herself no matter what. What I saw when I saw her writing songs, and even from the videos of her when she’s 11 years old writing her first songs on the guitar, is that she’s someone who is always going to write something she hasn’t written about before and do something new and experiment. I do think she’s more comfortable with who she is now, though. It’s about her journey to self-acceptance. She’s less focused on being the person other people want her to be and more focused on being the person who she wants to be and who she is.

MTV News: You definitely saw that throughout the film. At the same time, I loved seeing those moments where she’s insecure, like when she finds out that Reputation didn’t get nominated for a Grammy or when she’s criticizing the way her face looks while shooting the “ME!” video. She even says at one point that she feels like there’s a better version of herself out there. Why do you think those moments are important to see as well?

Wilson: I think when you see any insecurity coming out of the mouth of a superstar, that’s a really powerful thing. And in fact, how we deal with insecurity is really what defines our strength. Taylor writes so candidly in her lyrics about the hardest times and the times when things didn’t go well. That’s what her fans love her for. We all want to feel less alone, and that’s one reason why people turn to art. It’s great for people to see that their heroes are human.

MTV News: I found it really effective how her ages showed up on screen throughout the film. It really made you realize that she was so young when all of these big, formative life events were happening to her. Why did you decide to highlight her ages like that?

Wilson: That was my editor Greg O’Toole’s idea, and I thought it was brilliant. It changes the way you see everything. When we think about Taylor Swift, I think we tend to forget how young she was when she started. You feel that amazement of, “Wow! She was writing those songs at that age?!” But then there’s also, “Oh my god, she had to go through that when she was a teenager?!” You see the good things and the hard things at once. It gives context, but it’s also this reminder throughout the film that this is a coming-of-age story.

MTV News: Totally. When it came to portraying Taylor’s relationship with her boyfriend, that three or so minutes where he’s shown backstage and then you see cell phone footage that looks like it was shot by him — I found that particularly moving and a nice way to acknowledge something that is an important part of her life but is also sacred and private. What kind of care went into achieving that balance?

Wilson: It really was a balance. Taylor’s had so many relationships go through the public ringer, so it was important to respect her desire to keep her relationship private, while still acknowledging the important role that relationship plays in her life. I remember we had done the first rough cut and we had this whole section of her writing Reputation. She was like, “I do have a few videos on my phone that I think could capture the fact that while I was out of the public eye, it was one of the happiest times of my life.” When I saw those videos, I was so moved by them. Especially by her singing “Call It What You Want” when she’s in the slippers. I was like, “This is everything. This is all we need to know.” It’s really special. You don’t even have to see her boyfriend’s face; you could feel it.

MTV News: I loved that scene and I loved the song choices in general. “Out Of the Woods,” “Getaway Car,” “Call It What You Want”… I thought it was really cool how you didn’t just use “Shake It Off” and all the big hits.

Wilson: I so appreciate you saying that because not a lot of people have commented on that. I really did not want to do, “here’s all of Taylor’s greatest hits in the first 10 minutes of the movie,” which you often see in this type of project. I wanted to use songs that were emotionally and thematically related to what was going on in the story at that time. With “Getaway Car,” it’s this moment of total freedom for her in the story of the film. Or “Clean,” after the sexual assault trial, for example.

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MTV News: When you’re making this kind of film and you’re capturing Taylor during such a long stretch of time, how do you know when it’s done? What was the moment when you realized you had enough of the story you wanted to tell?

Wilson: My sense was that we had to film through the Lover album release. I think you feel at that point in the film that Taylor isn’t as concerned with what people will think of the album. It’s more like, it was a joy for her to make and to put out into the world. She went through this period where she went away from the public eye, but she wants to keep entertaining people and making music, and nothing is going to stop her from that. I loved the idea of ending the movie with her walking onstage, and that idea of this bravery she’s had since she was 12 years old, of walking out to perform. I wanted to end it with her going back out into the world again to face the public, but you have the sense that something’s a little bit different about her now. That’s the sense I hope the audience has.

MTV News: Was there anything you had to leave out of the film that you were particularly bummed about cutting?

Wilson: There was so much more songwriting and recording in the studio. It’s so special to see something come from just the seed of an idea — a fragment of a melody or a lyric typed in her phone — and get to then hear it as a finished song. That’s some of my favorite stuff in the film, but there was a lot that we had to leave on the cutting room floor, heartbreakingly.

MTV News: I’d imagine. Do you think that footage will ever be used for anything?

Wilson: I don’t know. People have asked me about it, so it’s giving me hope that maybe we could just release the 40-minute version of Taylor writing “Only the Young” as a standalone film or something.

MTV News: Honestly, I would watch. A lot of people would watch!

Wilson: I think a lot of people would.

MTV News: Last question: How long did it take for Meredith and Olivia to warm up to you?

Wilson: I don’t know if they ever did, honestly! They’re very cute and they’re quite friendly. They’re often hiding under things. They just kind of pop out from somewhere, so you do have this feeling of, “There are cats everywhere!”

MTV News: I loved the screen time they got. Especially the cat backpack.

Wilson: I remember watching the cat backpack scene with one of my editors and I was like, “Is this too long? Are we spending too long on the cat backpack?” He looked at me and he was like, “Definitely not.” And he was absolutely right.

King Princess Makes Rock Her Kingdom In ‘Ohio’

King Princess has figured out the art of the tease. She’s released the wildly old-timey video for “Ohio” today. The song is actually out now officially, but fans have been hearing her perform it since the release of her 2018 EP, Make My Bed. Everyone’s always wondered when the track would be out in high quality and, now, it’s finally here. Equal parts soul, blues, funk, and pyrokinesis, King Princess’s “Ohio” will melt your smartphone, car speaker, and whatever other listening devices are in the immediate vicinity.

I mentioned this clip as a video up top, but it isn’t really in the traditional sense. It’s more of an unraveling of King Princess’s psyche in real-time on stage. It starts off with the singer in retro garb, wooing the audience of an intimate venue with “Ohio”‘s warm and emotional opening. “How’s it been in Ohio, babe?/ Do you think about me/ When you’re going home,” she sings to a partner. The song’s about King Princess missing her lovely girlfriend who’s moved and left her alone. Instead of wallowing in her misery though, King Princess flips a switch, turning this initially whispering gem into an explosion of sounds, colors, moods, and voices.

Once the song changes into a screaming contest for guitars, the video changes too. King Princess sheds her hair and we’re shown her gigantic performance on a stage through rapidly changing cameras and lights flashing as fast as possible. This fiery show features her laying on the stage, seemingly overwhelmed by the sheer chaos of the moment. And just when you think it’s over, she jumps back up and the lights kick up the intensity. Guitars get smashed and drum sets get destroyed. There aren’t too many words that can describe the genuine beastliness of the moment other than the fact that it’s fucking awesome.

“Ohio” is set to appear on the deluxe edition of King Princess’s debut studio album, Cheap Queen, that’s set to come out on Valentine’s Day. Billboard reports that the new version of the LP will feature unreleased songs like “Best Friend,” “Back of a Cab,” “All Dressed in White,” and more.

Check out the fireball that is “Ohio” up above.

Kim Petras Gives A Big ‘Fuck You’ To Love On New Song ‘Reminds Me’

If being bombarded with teddy bears and candy hearts all week is making you want to puke, Kim Petras has the anti-Valentine’s song for you. On Tuesday (February 11), the German pop star dropped “Reminds Me,” which is basically the thematic cousin to last year’s sulky but slinky “All I Do Is Cry.” Here, Petras asserts that she doesn’t want to keep crying, but after so many sleepless nights thinking about her ex, she’s on her last leg.

“I can’t play that song ’cause it reminds me of you / I can’t watch that show ’cause it reminds me of you,” Petras begins, spilling her thoughts over a springy R&B beat. As per usual, it’s her vocals — one minute, chilly and distant; the next, anguished and in your face — that cut the deepest. “I’m stuck, fucked up, fuck love … You left me cold, you left the pain, you took my soul,” she vents on the ice-cold breakup bop.

“Reminds Me” is Petras’s first new song of 2020, following her stellar breakout year. Her debut album, Clarity, arrived last June, followed by the Halloween-themed Turn Off The Light project in October. But 2020 is looking even bigger and brighter for the 27-year-old. Along with hitting the stage at Coachella in April, Petras announced on Tuesday that she’s joining the European leg of Camila Cabello‘s The Romance Tour.

Hopefully Petras will keep up the momentum and continue blessing us with more music as the year rolls on. In the meantime, revisit her recent interview and stylish photoshoot with MTV News.

Wiz Khalifa, Ty Dolla $ign, And Lil Yachty Brought The Spirit Of Sonic The Hedgehog To Kimmel

Wiz Khalifa, Lil Yachty, Ty Dolla $ign,  and Sueco The Child were the musical guests on last night’s (February 10) episode of Jimmy Kimmel Live! and dashed around the stage for a zippy performance of their recently released Sonic The Hedgehog collab, “Speed Me Up.” Their motor-mouthed verses carried the spirit of the anthropomorphic blue hedgehog onto the stage and if it were as if it, itself, was Kimmel‘s first digital guest.

When Sonic runs in the videogames, his feet propel him so fast that, sometimes, clouds of smoke are left in his wake when he takes off. So for Wiz Khalifa and the crew’s “Speed Me Up” performance, the stage wasn’t filled with mist; it was Sonic’s natural exhaust.

Behind them, a giant screen showed clips from the official music video as well as the movie. Wiz shuffled around stage first, joined by Lil Yachty who rapped dizzyingly fast without stumbling over his words. Ty Dolla $ign came third and switched up some key lyrics to pay homage to Kobe Bryant who died last month, singing “Rings on me like Kobe Bryant, rings on me like number 8.” Sueco The Child appeared last and ended the race in a four-way tie. I’m sure they all need a breather, and a bottle of water, after this sprightly spit fest.

Wiz Khalifa and the guys released the video for “Speed Me Up” in January. The visual finds the four digitized into cohorts of Sonic and race through colorful, movie-inspired levels.

Sonic The Hedgehog will be out on Valentine’s Day so, if you’re single (or have the coolest partner in the world), you’ll be in for a treat. Its star hero will have its revamped design after it was initially criticized following a trailer that dropped last April.

Check out Wiz Khalifa, Lil Yachty, Ty Dolla $ign, and Sueco The Child’s “Speed Me Up” performance on Kimmel up above.

Billie Eilish’s ‘Bury A Friend’ Was Inspired By Sleep Paralysis

Billie Eilish‘s “Bury A Friend” details a strange and slightly horrifying relationship that the singer has with a monster that lurks beneath her bed, who also happens to be her. In its video, you can see her doppelganger, with soulless holes for eyes, threatening to swallow the singer whole. It’s everyone’s worst fear: a monster, near them, when they’re at their most vulnerable while tucked tightly into fresh bedsheets. And according to Eilish in a new interview with Ok! Magazine, it’s this fearful, sleep-related thought that inspired the song.

What’s worse than a monster under your bed? Not being able to move. You’ve experienced the uneasy feeling at one point or another and, each time, you just want to hide under the covers. For everyone, it’s different. But, often, people see, what they believe, are spirits, demons, or other denizens of the night that can keep you awake, and frozen, until the morning comes.

Eilish elaborated on this feeling in her interview. “I have these terrifying dreams,” she said. “Sleep paralysis,  night terrors. It’s like the whole night is terrifying and then I wake up.” She continued on, tying it into “Bury A Friend.” “I probably wouldn’t have made that song the way it is if I hadn’t had sleep paralysis and nightmares.”

It turns out, in this case, that sleep paralysis is good. “Bury A Friend” peaked at No. 14 on the Billboard Hot 100 and has been certified platinum. The album it comes from, When We Fall Asleep, Where Do We Go? has not only went double platinum, but it’s also won the trophies for Best Pop Vocal Album and Album of the Year at the 2020 Grammy Awards.

Billie Eilish, Beatles Superfan, Covered A Classic For Her Oscars Performance

Last year, Billie Eilish told MTV, “I think if you listen to my music… there’s so much Beatles inspiration in there, if you really listen for it.” On Sunday night (February 9), the 18-year-old wunderkind brought that love for the Fab Four to the Oscars stage, beautifully covering “Yesterday” for the awards show’s In Memoriam tribute.

With her brother and collaborator, Finneas, accompanying her on piano, Eilish sat on a stool for the moving performance and stunned the crowd with her delicate, whispery vocals. “Now I long for yesterday,” she sang, as images of deceased legends — including everyone from Kobe Bryant to Doris Day — flashed on the screen behind her. She even pulled off a dramatic costume change for the occasion — after posing in a white pantsuit for the carpet, she and Finneas sported matching all-black outfits for the stage.

Eilish once sang, “You really know how to make me cry,” and she definitely managed to get the tears flowing with her Academy Awards debut.

Earlier on Sunday, Eilish teased her Beatles cover by writing on her Instagram Story: “Honored to be performing during the in memoriam segment for the oscars tonight covering a song i’ve always loved.” Her Oscars moment comes just two weeks after she gave a similarly heartbreaking performance of “When the Party’s Over” at the Grammys. On that night, she swept the big four categories, winning Album, Record, and Song of the Year, as well as Best New Artist. Clearly, her awards show party is far from over.

Justin Bieber, His Mustache, And Quavo Serenaded The Audience With An Awesome SNL Performance

It’s been seven long years since Justin Bieber performed on Saturday Night LiveHe had a pompadour haircut back then and he handed roses to girls in the audience like a true teenage heartthrob. He made his highly-anticipated return to the show last night (February 8) and gave two thrilling performances that debuted his pompadour-like mustache. Ahead of the release of his return album, ChangesBieber pulled out all the stops.

Bieber’s first performance was for “Yummy” which was built around the stage being shaped like a green box. Initially, he was joined on stage by three instrumentalists bringing a tender mood to the vibrant song. After the brief intro, backup dancers made their way to the stage, flanking him on both sides. They began to follow a hip-hop-influenced routine that Bieber couldn’t help but jump into, fluidly matching their movements and intensity while an enormous grin enveloped the bottom half of his face. It must have felt great to return to the show’s legendary stage with a show of this magnitude.

Later in the night, Bieber’s box-shaped stage turned into a living lyric box for “Intentions.” You read that right. As Bieber and his array of dancers flung around the dimly light stage, blue and pink neon lights would take the shape of words from the song, allowing fans to sing along if they hadn’t heard it yet (after all, the song did just release a day before the show). Quavo came out on stage halfway though, swapping out with the backup dancers. The rapper seemingly absorbed their collective energy and became a dance machine, advising Bieber, towards the end, of which way to move his body as the two performers swayed side-to-side. Following a brief period of prancing up and down like they were shaking a soda bottle, the pair hugged it out before heading off the stage.

Both “Yummy” and “Intentions” are set to appear on Bieber’s forthcoming album, Changes, that drops on Valentine’s Day. The LP will also feature “Get Me,” his collaboration with Kehlani. Bieber also released a remix of “Yummy” that features Summer Walker. The way that it’s named though, suggests that more than one rendition will be coming out.

Check out Justin Bieber’s return SNL performances up above.