So Avril Lavigne has made a new music video, about which there are several dozen completely accurate, utterly withering comments to make. She’s trying to out-Miley Miley; she’s aiming for Gaga but barely achieving Xtina; Kesha wants her dollar sign back; this is literally just “Hollaback Girl.”

There are serious questions about whether it’s offensive (expressionless Asian dancers, Tokyo-as-prop) or offensively obvious (this one’s for you, large Japanese fanbase!). There are even more serious questions about the title, “Hello Kitty,” which is also like half of the lyrics, and which everyone agrees is a double entendre.

Lavigne herself told DigitalSpy that the song is both “flirtatious and somewhat sexual” but that the song is “genuinely about my love for Hello Kitty as well!” This statement strikes me as much more than just an ambient piece of pop star rorschachiana, the media-trained instinct towards vagueness and ambiguity. This strikes me as the very core of Avril Lavigne and everything she still kind of represents.