The Ultimate SEVENTEEN MV Ranking
Ranking SEVENTEEN’s music videos from 2015’s “Adore U” to 2025’s “THUNDER”!
#46: “My My”
This is “Oh My!”-lite; it has the same vibe of “Oh My!,” but with much less to take in visually! In “My My,” the members go camping together and ride a flying boat. In “Oh My!,” they throw a surreal slumber party and take a trip above the clouds for a wider range of activities!
#45: “Pinwheel”
This video’s symbolism is meaningful but relatively surface-level: a compass, literally sitting on a fence… The context runs much deeper and leaves room for more interpretations in other SEVENTEEN videos.
#44: “THANKS”
This video is underwhelming when held to SEVENTEEN’s specific bar, with nothing particularly original about its settings, attire, or plot. However, its choreography puts it a notch above “My My” and “Pinwheel.”
#43: “CHEERS”
“CHEERS” sticks to one main theme: flashiness! The subunit’s boastful demeanor matches their bold fashion, which includes bright suits, embellished hats, red leather, and animal-print pants. Their confidence is admirable, but it takes on more unexpected and ambiguous forms in other videos. After all, there is no mystery here as to what they mean when they dance in front of a sign that says “BREAK THE RECORDS”!
#42: “Power of Love”
The color-changing scenes and symbolic value make “Power of Love” nice to watch, but rewatches are unnecessary. It is apparent right away what is meant by the members starting in separate locations but gathering together by the end. Similarly straightforward is the meaning of one member in a winter setting joining hands with another member in a spring setting. Regardless of season or location, the group members come together.
#41: “Not Alone”
The “Not Alone” video’s lovability inherently involves the context in which it was released. In the spring of 2021, as parts of the world still had pandemic-related quarantine rules in place, SEVENTEEN shared the message that “We’re in the same boat!” Scene after scene shows the members staying connected while physically apart. They do so in classic SEVENTEEN ways, including celebrating a birthday over video chat and watching a virtual fireworks show together.
Other artists released “We’re all in this together” quarantine-era videos, too, but SEVENTEEN’s stands out for how it goes the extra mile to make “home” look ideal. They invite the audience to follow their lead, turning home into a cozy indoor campsite, a wide-open art canvas, or a play space for time with a puppy!
#40: “Pretty U”
While not particularly eventful for viewers, filming was obviously a blast for SEVENTEEN! They show genuine joy in each other’s company, and their day together is well-spent. It involves impromptu art projects, throwing a party, and goofing off by the lake. They end lying on the ground, smiling and covered in chalk, a cute final moment out of many that show a pure and authentic friendship.
#39: “CHANGE UP”
“CHANGE UP” makes a video focused on poses more than plots as interesting as that premise allows! It plays with perspective in many categories: pacing (for example, through a rapid montage of clips), line-of-sight (through some bird’s-eye shots), distance (there is a scene where WOOZI sings from inside of a mirror), and proportionality (S.COUPS either shrinks to fit on a normal-size record player or appears on a giant one).
#38: “LOVE, MONEY, FAME”
While “LOVE, MONEY, FAME” does well at reinforcing the messages that define the corresponding album and teasers, it does just that: reinforce what is already communicated via other elements of the comeback. On the other hand, there are some new Easter eggs worth appreciating, like the fact WOOZI films something for Channel 13 (SEVENTEEN has 13 members), and the fact the clock in MINGYU’s car says 5:26 (SEVENTEEN debuted on May 26). Other SEVENTEEN-isms include a literal and figurative “Let viewers fill in the blank” premise (with the “LOVE IS ___” statement answered differently by each member) and the use of capitalization to make a point (WOOZI is on the FameUs Show; the title gives equal importance to “Us” and “Fame”).
#37: “F*ck My Life”
As written about previously, this video is an homage to The Truman Show and leaves viewers with a “Woah…” reaction similar to the one caused by watching the movie. In both, a sense of certainty in what is “real” and to be believed is shaken. The Truman Show and the SEVENTEEN Music Video Universe as a whole have enough thematic overlap to make this tribute inevitable in hindsight. The reason “F*ck My Life” does not rank higher on this list is simply due to SEVENTEEN having many videos that are more inventive.
#36: “Darl+ing”
[From April 2022] “Darl+ing” is absolutely adorable! Teddy bears and flowers fill the rows of a church, a fitting location due to SEVENTEEN’s angelic voices! The members have fresh faces, warm smiles, and cozy outfits while dancing in a field to this song about a crush. If this all sounds like too much cuteness, worry not! The introduction adds a mysterious element to the story, set in a dusty landscape that is a recurring setting. “Darl+ing” indicates something is amiss in their paradise, but oddities take a backseat to their present joy, keeping this video both interesting and just plain sweet.
#35: “LALALI”
“LALALI” has the same look-at-me attitude as “CHEERS,” but applied to greater and more entertaining extremes! Each subunit member demonstrates a seismic impact in a different but just-as-bonkers way! MINGYU triggers a literal ripple effect on land and sea, first by jumping off a high perch and causing the ground to reverberate, then by leading a pack of jet skis. VERNON conjures up a uniformed pack of followers, and that is just the second most bizarre thing he does, because he leads a granny rave after taking his mic out of the “mic”-rowave! S.COUPS stays “cool” in a furry coat while in a sauna. Lastly, WONWOO assumes the position of an arm-wrestling contestant, although the quizzical onlookers do not take his offer. Yet another unnecessary oddity is added to the mix repeatedly: a pant leg becomes a movie projection screen, something falls out of the sky post-credits… viewers have to wonder what on Earth is going on until the very end!
#34: “Happy Ending”
As SEVENTEEN frequently do, they break the fourth wall in “Happy Ending.” The “show within a show” premise is obvious, and there are even times when camera-people are left in the shot. WOOZI and JUN play movie viewers, S.COUPS plays a crew member, and others play actors who play other characters! Which scenes are for the movie within the movie and which ones are not remains fuzzy, thanks to the scene flipping 180 degrees multiple times. The song’s takeaway is that one should not fret over small missteps and instead keep the big-picture “Happy Ending” in mind, and this video’s discombobulating nature aligns with that advice.
#33: “Getting Closer”
The “Getting Closer” choreography aced its assignment. The members sing about a lack of control while moving mechanically, as if mere cogs in someone else’s machine. Their moves convey both strain and strength, and the “staying the course whether we want to or not” feeling is amplified thirteen-fold thanks to their synchronization. “Getting Closer” has nothing to dislike about it; it is just not higher on this list because its dance routine is as impressive as SEVENTEEN’s typical ones, not more impressive.
#32: “Adore U”
While SEVENTEEN have many more cinematic and narratively rich music videos, this debut one has inherent nostalgic and enduring appeal! They introduced themselves to the world with radiant smiles, boundless energy, and a desire to make up adventures as they go (which explains the green screens and real-time plot-choosing, from a boxing match to a birthday party). They also make quite the fashion statement, with all-white outfits except for pops of color from red sneakers. “Adore U” represents a blank canvas on which SEVENTEEN had just begun to dream and doodle!
#31: “Oh My!”
“Oh My!” has the cherubic cheeriness of “Adore U,” but with more amusing antics and fun frivolity! At the slumber party of every kid’s dreams, the members have pillow fights, use playground equipment, enjoy a rooftop banquet, treat their bedsheets like parachutes, and watch fireworks together. The choreography is also super-cute, including a move during the chorus that mimics Cupid shooting an arrow!
#30: “CALL CALL CALL!”
“CALL CALL CALL!” has the relentlessly high energy of “Adore U,” but with a cooler look! It moves at a rapid clip, with changes throughout it in terms of screen ratio, filters, settings, and outfits. From scenes in sharp suits to ones in flashy motorcycle jackets, the members keep their presence loud and clear. This is befitting a song about treating even little troubles like big deals; they sing about being at the ready to lend an ear the second one needs it. Adding to the sense of urgency is a dramatized, slow-motion scramble to reach a ringing phone!
#29: “Home”
This video extrapolates to the max on the prompt “What does ‘home’ look like to you?” The members find “Home” through navigating a series of hallways and doors, some “normal” and some leading to places like the ocean. Which paths lead to somewhere outdoors versus indoors remain mysteries, and some doorways just lead to more doorways! Sometimes, “Home” is somewhere new, hence why S.COUPS appears near streetlights. Other times, “Home” is where the past is, hence why DK and JEONGHAN appear with a basketball, a main prop in earlier SEVENTEEN videos. Regardless of how each member visualizes “Home,” their interactions with each other show agreement that “Home” should include loved ones. People who at first appear isolated then appear to be with others. The opposite also happens, like when walls surge forward to separate HOSHI and THE 8 from the members to their left and right. “Home” shape-shifts as SEVENTEEN’s perceptions of it change. The video takes a novel approach to the thought that “Home” can appear or disappear when and where one does not expect it.
#28: “Eyes on you”
While “Eyes on you” has an extra dimension of meaning now, as it parallels the 2025 video “THUNDER,” it also contains moving messages on its own. The members show up for each other in a range of circumstances: THE 8 gives JEONGHAN a ride (and notably, both of them have cuts on their faces, as if they can literally feel each other’s pain); JOSHUA rescues HOSHI from a disturbing mid-party flashback, pulling him out of the overwhelming crowd that has triggered it; and DINO shows up for VERNON after it is implied that VERNON has gotten a breakup text. The one-on-one examples of loyalty and thoughtfulness show the importance of relationship quality over quantity, and by prioritizing the former over the latter, the latter rises on its own. In other words, the higher the quality of one’s company, the higher the quantity of people who are drawn into one’s orbit. SEVENTEEN show this by hosting an alternative to the “cool kids’ party” that eventually attracts a bigger crowd than the original one. “Eyes on you” sends a great message about community-building in ways that both complement the SPILL THE FEELS era’s takeaways and are just plain cinematic!
#27: “_WORLD”
SEVENTEEN’s music frequently sends a “You define your own world” message. This time, that takes the form of filling in the blank before “WORLD”! Each viewer gets to decide what their ideal world is called, and SEVENTEEN offer examples of what that world could look like in either “day mode” or “night mode”! Besides the nice sentiment, “_WORLD” is memorable for to-the-second spot-on timing. Every move seems casual yet choreographed - “choreographed” referring to more than just a dance routine. Everyone and everything responds to a cue, as if filming a thoroughly-rehearsed one-take movie scene. Some examples: S.COUPS’s window-tapping prompts MINGYU’s exit from a taxi, and VERNON’s “come here” hand gesture prompts DINO’s scene entrance. The members’ timing is not the only timing that goes off without a hitch, as the airplane takes off and the fireworks commence right on schedule! “Choreographed” does not have to mean “calculated” in a cold and matter-of-fact way, and SEVENTEEN prove that with their warm approachability in “_WORLD.”
#26: “TRAUMA”
“TRAUMA” artfully depicts serious subject matter, most significantly via set construction. As the hip-hop subunit members speak vulnerably from separate rooms, the camera zooms back and reveals they are actually in connected rooms; removing the walls would form a single hallway. They are less alone than they feel. The unsteadiness of their interior worlds is reinforced with sand in place of a flat floor, tangled ropes (one of which is briefly used as a tightrope), and a mirror-themed room. The times they are together still speak to the loneliness within; they perform on a literal pedestal, and a long and lone fall remains a possibility.
Stay tuned for the Top 25!