When I first saw an Instagram post announcing the return of my all-time favorite boy band, the Jonas Brothers, I was beyond ecstatic. Memories of dragging my mom to a whopping three concerts and meeting the band in person came flooding back. Understandably, I had very high expectations for the “Sucker” music video, which was released on Feb. 28. The video met these expectations and continued to speed by, maybe even going a little bit too far. The castle, the bathtubs, the interpretive dancing at a dinner table and most notably, the tight pants were simply too much, and not in a good way. Although the video’s originality ensures the Jonas Brothers a place back in the spotlight, the overall extravagance was distracting and evoked nostalgia for the band I loved throughout my childhood.

A main component of the music video is its evident influence from British culture. However, although this theme was unique, it was widely over-exaggerated. I think it is accurate to assume that nobody could have guessed the extent to which the video would spoof and witlessly mimic British culture. The video included several perceived symbols of England such as Corgi dogs, a breed commonly owned by the royal family, tea parties and fencing. The use of showy costumes and dramatic acting escalated these symbols to the extent of inaccurate cultural appropriation. Although the originality of this concept made the video stand out from those of other pop artists, it felt like the Jonas Brothers went a little too far in their attempt to do so.

I also quickly noticed colorful, poofy and ruffle-filled costumes that my mom most accurately described as “Hunger Games-esque.” Both the female costumes worn by Sophie Turner, Priyanka Chopra Jonas and Danielle Jonas, spouses of the band members, and the brothers themselves were influenced by traditional, classic styles, such as tuxedos and ballroom gowns, yet took this concept to the next level through the use of ruffles, sequins, and bright colors. The overall extravagance of the outfits was so extreme, it was difficult to take in an entire ensemble in a single, quick shot. Because of this, the costumes often distracted from other, arguably more important aspects of the video, such as the brothers themselves. The most confusing looks were Nick’s sleeveless red tux, Turner’s high-low style heart shaped dress, Kevin’s sparkly suit, and seriously Joe, leave those pink skinny jeans at Camp Rock where they belong.

Lastly, it was extremely disappointing to observe the Jonas Brothers, who once proudly wore purity rings, relying on one of the most overused music video topics of all time: sexual attraction. This was mostly portrayed through intimate interactions between the band members and their respective spouses, however, shots of Joe hanging in ropes in his underwear and Chopra Jonas taking off clothing (on multiple occasions) made this theme especially apparent. Although the concept does tie in with suggestive song lyrics such as “I’m feeling heat in December when you’re ’round me,” the song could also be interpreted in more of a soulfully romantic way, and I would have preferred the brothers to use that as an opportunity to set their video apart from others by depicting the more emotionally-intimate side of a relationship.

Altogether, the “Sucker” music video effectively projected the message that the Jonas Brothers are no longer the guitar-strumming, curly-haired, Disney channel stars I once loved. Extremities in all aspects of the video made the final product unnecessarily over the top, flashy, and simply too much to take in during the three minutes and 19 seconds of run time. While the song and video likely put the band back on the pop culture radar, I am sad to admit that based off of this video, I am not a Sucker for the Jonas Brothers 2.0.