Above is the future of all music videos.One of the most maddening music video trends in 2013 was “the interactive video.” Generally, this meant some footage plugged into some elaborate, won't-load-on-most-computers bleeding edge HTML hot mess of whatever so that you can click on the clip and stuff moves or changes or reveals other things that you can click and move and change. A few “favorites”: Kanye West's “Black Skinhead,” which allowed you to slow down the WWF wrestling video game buff Uncanny Valley Kanye jumping up and down and also take screenshots from the video and post them on Instagram; Arcade Fire's “Reflektor,” which lets you control these little weird light flickers with your mouse, and stick your dumb face in the video if you let GoogleChrome access your computer (totally separate from the actually quite good Anton Corbijn-directed regular ass music video for the song, by the way).The dumbest was Disclosure's “360 degree” video for “Latch” which just meant you could rove around live footage Google Earth-style, watching the not-all-that-compelling-in-concert U.K. pop-house bros from any angle you'd like. Imagine The Beastie Boys' Awesome: I Fuckin' Shot That! documentary without any of its handmade charm, just an excess of options, smoothed-out to the point that it's nausea-inducing. How is this stupid, ugly thing less worthy of LULZ than Kanye West's sincere troll job, “Bound 2”? This type of “interactive” bells and whistle nonsense is going to age about as well as that Wu Mansion tour on the Wu Tang Forever Enhanced CD or Make My Video for the SegaCD. We'll look back at it as a hustle—designer dork-out-fueled crumbs of entertainment that at best provide you with twenty-seconds of “Hey that was cool, I guess.”During the past couple weeks though, we've seen some actually entertaining “interactive” videos: Bob Dylan's “Like A Rolling Stone” and Pharrell Williams' “Happy.” Hopefully, these ambitious, entertaining clips that are more online art installations more than HTML5 show outs, will point trend-chasing Internet-era directors in the right direction. Dylan's “Like A Rolling Stone” video puts viewers in charge of a series of television channels, which they can click through and watch, all of them revealing celebrities and reality TV jerks – everybody from Danny Brown puckishly chomping on a corndog, to those Hank from Breaking Bad-looking finks from Pawn Stars – singing along to Dylan's 1965 rock n' roll classic. Here is the consumerist nightmare that is cable television in 2013, with every channel absorbed by Dylan, implicating his own pop culture import into this nonstop stream of everything and nothing that makes up pop culture, only now it's on your computer! There is a Dylan trilogy wrestling with his mythos and its place in Late Capitalism to be found in “Like A Rolling Stone,” that Victoria's Secret commercial he did in 2004, and his brilliant failure feature film from 2003, Masked & Anonymous.Then there's Pharrell Williams' “Happy,” which features 24 hours of footage of 400 or so different people dancing (including famous faces like Magic Johnson and Odd Future) to the song, in varying places around Los Angeles, all of it returning to Williams at the top of every hour. If you feel like it though, you can click around the footage and access particular dancers (that's the extent of its interactivity). You'd have to be a real curmudgeon to not be entertained by the all-inclusive clip, which functions as a celebration of a city, an overdose of positivity, and an askew sort of common man portraiture (every dancer was given one take, and so many mistakes and mess-ups are left in, leading to plenty of genuine personality sneaking in there). Dylan and Pharrell's videos afford viewers some agency and the chance the click around the video assists in a palpable sense of exploration. Interactivity makes these, it doesn't justify their “oh gee whiz how cool” existence.Brandon Soderberg is an interactive human entity. He's on Twitter - @notrivia