@raconteurLA Dope NEWS of the day: MVPA and MVPA Awards Return for 2020 (oh, and partner with the ) !! https://t.co/vLOL8a6N3K via 17 hours 7 min ago
@Videostatic RT : Dope NEWS of the day: MVPA and MVPA Awards Return for 2020 (oh, and partner with the ) !! https://t.co/vLOL8a6N3K via 16 hours 51 min ago

Morgan Susser

Bleachers "Rollarcoaster" (Richard Shepard, dir.)

Best use of an ice cream truck in a video since Billy Corgan peddled sweet confections in the perfect pastel world of "Tonight" for Smashing Pumpkins? I think so. Jack Antonoff and Bleachers take to the roof of a moving truck, all in the name of a girl (and a video, of course).

A risky move, especially since the truck's brakes actually went out while the band was up on the roof.

PS: How is there not an Ice Cream Truck in Master P's "Ice Cream Man" video?

Zedd f/ Hayley Williams "Stay The Night" (Daniel Cloud Campos, dir.)

Paramore's Hayley Williams has played this role for hip-hop before — see Airplanes, B.O.B. — so it's not a surprise to see her ushering an EDM artist into the anthemic stratosphere. While both Zedd and Hayley are in the video, the real stars are the dancers who perform an elaborate choreographed routine in which they realize that a relationship is over.

Capital Cities "Kangaroo Court" (Carlos Lopez Estrada, Sebu Simonian, Ryan Merchant, dir.)

It ain't easy being a zebra, even here in civilization. "Kangaroo Court" imagines us all as animals living in harmony, so long as the zebras are kept out. You'd think a little dye job could let a zebra masquerade as a horse, but this surreal clip shows that the consequences are dire.

PS: Look for both members of Capital Cities in the video — they also co-directed — in addition to parts played by Glee cast member Darren Criss and actress Shannon Woodward.

Panic At The Disco "This Is Gospel" (Daniel Cloud Campos, dir.)

This is Gospel is pretty amazing. Director Daneiel Cloud Campos has singer Brendon Urie caught between life and death, not necessarily afraid, but also clearly not into either options. The predicaments plays out through a series of metaphorical set-ups — the water and rope sequences are particularly beautiful — until it reaches the white screen of death.