We tried to decode Justin Timberlakes new dystopian video. Heres what we came up with.

In this week’s installment of “What on earth is Justin Timberlake doing?” the singer finds himself wandering a dystopian land with music producer Pharrell Williams, Mexican actress Eiza González and plenty of, as he’d sing, suppl-aye-aye-ayes.

“Supplies,” released Thursday morning, is the second of four singles from Timberlake’s upcoming album, “Man of the Woods.” The first, “Filthy,” had us wondering whether he would ditch the country vibe of the album’s teaser in favor of a futuristic, electro-synth sound. This one hasn’t convinced us otherwise.

The video itself is another of Timberlake’s mystifying attempts to make a political statement. “Supplies” begins with him slouching in an armchair, staring at TV screens displaying images related to today’s hot-button issues: the #MeToo movement, anti-racism protests and gun control. His expression is blank, perhaps reflecting the confusion viewers feel throughout the remaining four minutes of the video.

So, what could it all mean? Join us as we explore the possibilities.

We begin with the aforementioned screens. Note the American flag overlay, and the image of Donald Trump toward the top left. Can you be a Serious Artist in today’s world without bringing the president into the conversation? Timberlake would probably say no. (Mr. Woke’s thoughts on working with Woody Allen remain to be heard.)

González first appears in a black hood as Timberlake sings, “Saw you being caught up by some guy you used to know/Stepped in between the both of y’all/ Said, ‘I’m leaving, do you wanna go?’ ” Before the pair departs, González punches some guy who looks like he’s been coated in plaster. Ladies can fight their own battles, and Timberlake is aware.

Timberlake will be “the light when you can’t see” or “the wood when you need heat.” He will also be the one to dance alongside a prison wall in the dead of the night, accompanied by human figures made of light and shadow like he’s a grown-up Peter Pan.

It’s time for the chorus! Timberlake and Williams, his shadowy friend, have supplies. These supplies are presumably flashlights and burning flags, which are helpful for when you want to read a book at night. They are standing in front of the Los Angeles Public Library, after all.

Our warbling protagonist and González watch as a random congregation bows down to a pyramid displaying the Eye of Providence. It is unclear whether this is a reference to the Illuminati — have at it, Beyoncé conspiracy theorists — or U.S. currency. We’re guessing the latter, as González lights the pyramid on fire and, as it bursts into flames, dollar bills fly everywhere.

A sparkly González is welcomed to the resistance, and she takes her rightful place on a red wicker throne. The word “revolution” appears behind her, hitting us over the head with Timberlake’s political mission.

The crew zooms through Los Angeles with González behind the wheel. Funnily enough, the actress appeared in “Baby Driver” but was stuck in the back seat the whole time. Timberlake dangles out the door, like the rebellious person he’d like us to believe he is.

A number of potentially dead people float among the neon lights as our two heroes pluck their glow stick necklaces off and make them fall to the ground. Rude.

This is as good a time as any to mention that the lyrics do not match up with this video at all. Timberlake tells the “girl” he refers to in all of his songs that he wants it “all on the table,” and she shouldn’t “leave a single detail out.” This is probably about sex, but it also sounds like she has dark secrets to tell. Will they be as painful as these fiery rings circling dangerously close to his face?

After a brief stop in that room with the screens, we end up in a dusty land that can best be described as “WALL-E” meets “Mad Max: Fury Road.” Timberlake and González appear to be babysitting random children, one of whom is wearing an oddly shaped red hat. That child walks up to the camera and utters the meaningless commands, “Just leave. Die already. You’re still asleep! Just leave. We’re good.”

Read more: 

How to interpret ‘Filthy,’ Justin Timberlake’s strange new robot music video

Breaking down Jay-Z’s ‘Family Feud,’ the star-studded music video featuring Beyoncé

Justin Timberlake says he’s made peace with Janet Jackson

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