Fall has gone, but its visuals still linger.

As we start the new year, there is no better time to reflect on the past quarter. This past fall, female artists took over the music video scene, diving into topics from self-worth to love. Accompanying some of the biggest releases of the quarter, these videos immortalize the season’s sound.

Continue reading to know Daily Bruin’s favorite music videos from the fall.

“NOBODY’S GIRL” by Tate McRae

Tate McRae may be “nobody’s girl,” but her latest music video is everybody’s new obsession.

Following the release of the Canadian singer’s third studio album, the video premiered Nov. 20. The “NOBODY’S GIRL” music video builds on the song’s anthem of self-liberation and independence, drawing upon dreamlike visuals to position McRae as an angel in another world.

With the overwhelming success of her first arena tour titled the “Miss Possessive Tour,” McRae makes it clear that she knows how to entertain. Drawing upon her experience as a competitive dancer, the VHS-style video emphasizes the artist’s ability to move. Shots of dancers grabbing onto her from behind opposite solo shots of McRae wrapped in a white sheer dress, to represent the contrast between feeling stuck and full independence. As she lip-syncs the lyrics, “I am nobody’s girl, I love it so much,” McRae reveals her worth doesn’t come from being attached to someone else. Muted tones of white and yellow on a black background make her apparition-like look pop. Toward the end, she’s seen sitting in a bed lit by an open window and in a forest, representing a return to reality.

Closing out the video having grown a pair of angel wings, McRae proves she is her fans’ angel-in-disguise.

– Kai Echeverria

[Related: Concert preview: Experienced, newly established artists bring genre-spanning setlists to stage]

“Stranger” by Doja Cat

Doja Cat is no stranger to the power of a striking music video.

The Grammy winner’s latest music video for her song “Stranger” is packed with imagery associated with her fifth album, “Vie.” The clip for the LP’s sixth track was released Sept. 29 and presents imaginative symbolism of Doja Cat falling in love as she falls from an airplane. Appearing in a variety of elaborate bridal outfits, Doja Cat raps lyrics such as “Nothing you do could freak me out” and affirms her commitment to her partner.

After falling back down to Earth, Doja Cat’s yellow parachute becomes caught in a tree – the same visual as the “Vie” album cover. Several scenes follow where she rides with a partner on a motorcycle and runs through the desert with the train of her dress billowing behind her. The video ends with a “to be continued” sign after Doja Cat is shot in the heart by an arrow, suggesting the possibility that more visuals accompanying “Vie” might be on the horizon.

As the artist promotes her LP on her “Tour Ma Vie World Tour,” her pairing of compelling visuals and lovestruck wordplay remains as strong as ever.

– Reid Sperisen

[Related: Album Review: ‘Don’t Be Dumb’ strikes all the right chords, exceeds cinematic expectations]

“The Fate of Ophelia” by Taylor Swift

When launching any one of her eras, Taylor Swift has made a dramatic visual shift.

Accordingly, the music video for “The Life of a Showgirl” lead single “The Fate of Ophelia” is overflowing with glamorous iconography that heralded the arrival of her 12th studio album. The video was first screened in theaters as part of “The Official Release Party of a Showgirl” before being released on YouTube on Oct. 5. The clip – which was filmed at the Los Angeles Theatre and features some of Swift’s backup dancers from “The Eras Tour” – has since collected more than 236 million views as the track has spent 10 weeks atop the Billboard Hot 100.

Swift begins the clip in a scene reminiscent of Friedrich Heyser’s painting “Ophelia” before transitioning through a variety of glittery costumes referencing past iterations of the showgirl, donning different wigs to evoke stars such as Marilyn Monroe and Elizabeth Taylor. Eagle-eyed Swifties are sure to notice Easter eggs such as a clapperboard for a character named “Kitty Finlay” and Swift catching a football before she submerges in a bathtub in a pose resembling “The Life of a Showgirl” album cover.

As “The Fate of Ophelia” has become Swift’s longest-running number one song, its video has become one of her most replay-worthy.

– Reid Sperisen