When film student Elena Rider had to make a supercut, she avoided the conventional film or TV-series approach and chose to focus on perfume commercials instead. Those expensive productions featuring expensive movie stars are often ridiculously over-the-top. Rider’s edit takes a tongue-in-cheek approach to poke fun at the genre while effectively critiquing its heavy-handed visuals and preposterous stylings. (This strategy bears resemblance to the phenomenon of musicless music videos, which replace the original soundtrack with realistic sound effects).

Technically, Rider’s work is impressive: fast cutting worthy of a supercut, paired with sharp and impactful sound design. By removing the original soundtrack (typically upbeat or dramatic music) the footage’s absurdity is emphasized, showing it makes little sense without its musical backing. Editing the clips together in a seemingly random order further emphasizes their nonsensical nature, detaching them from the original “story” of the commercials. The final sequence serves as the ultimate punchline. Stripped of music through careful filtering, the deadpan deliveries of meaningless slogans highlights the emptiness and superficiality of the content.