The single at least one of you requested…

[Video]
[5.82]

Ian Mathers: I say, I am beginning to get an inkling that this song intends us to think that it is subtextually referring to one Justin Bieber!
[3]

Michael Hong: Proof that a breakup track doesn’t have to be forced and predictable to demonstrate confidence. Chopped background vocals, a chorus that creates euphoria through its blurred loop, and Selena Gomez twirling the production around her voice like a loose strand of hair — it’s an amalgamation of Gomez’s excellent 2017 singles, and an absolute earworm.
[7]

Joshua Lu: Selena Gomez’s comeback singles are like a display of Julia Michaels’s range as a songwriter, a dichotomy that brings to mind Revival‘s “Perfect” and “Hands to Myself” — or Nervous System‘s “Worst In Me” and “Pink.” Julia’s entire mainstream career beginning in the interim does affect the song’s present-day freshness. But “Look At Her Now” paves new ground as much as it retreads old styles. Flattening synths push those “Issues”-esque string plucks into the backdrop, and Selena’s stutters are more rapid and more nonsensical,  and thus more captivating. It’s quirky, catchy, and when those background vocals come in during the second chorus, surprisingly transcendent. Sure, Julia and Selena work an awful lot together, but can you fault them when their output is still this good?
[7]

Thomas Inskeep: Sleek minimalist synth-pop fits Gomez better than more traditional top 40 pop/EDM; this sounds like the next logical step after her Talking Heads-sampling critical triumph/commercial flop from a couple years ago. Then you realize that Ian Kirkpatrick produced both this and “Bad Liar,” along with Dua Lipa’s superb new single, and it makes more sense. Now, how do we keep Gomez in this lane and away from losers like Kygo? 
[7]

William John: There’s an explosive song hiding in here, and you can glimpse it occasionally — in the flash of spidery synth during the first chorus, or at the very end where it all suddenly coalesces, as if a river has turned a bend and unexpectedly encountered the ocean. But it’s shielded by muffles and hums, the curse of the anti-chorus, and the kind of frustrating restraint that, for me at least, plagued “Bad Liar“.
[5]

Katherine St Asaph: Selena Gomez’s musical style, primarily Julia Michaels-written wallflowercore, hasn’t much resembled a brash, confident kiss-off since “Come and Get It,” let alone a song about a relationship between two people “a little too wild for each other.” So how does she pull off one of those songs when her recent tabloid narrative breakup calls for it? By removing herself as much as possible. Most obviously, “Look At Her Now” is in third person, creating the same distancing effect as “This Is What You Came For“: a song less about getting over someone than gazing, awed, at a girl who has. (So make of that what you will.) Michaels’ lyric skims over the drama and past the infidelities — the second verse, in its “an incident happened, neither good nor bad”-ness, sounds kind of like carefully phrased PR from a politician caught in an affair. Gomez’s vocal does the same, emoting only intermittently and swallowing lines you might expect not to be swallowed, like “oh God, when she found out!” (To be fair, the cause may be the vocal comping being… noticeable.) The confidence is delivered by other voices, literally: samples of a child’s bratty taunts, some chopped, wordless (and uncredited, obviously) toasting. Gomez is trying to have it both ways: writing a confessional, singer-songwriterly track that’s still EDM- and R&B-adjacent, even if it means smothering a conversational vocal in so much processing and embellishment it no longer sounds conversational, or turning over the whole chorus to anonymous somebodies-else. Still, if dreary piano ballads have a low ceiling, wistful pop songs have a high floor.
[6]

Oliver Maier: The third-person narration and Gomez’s hushed, reverential delivery on the verses imply some kind of profundity that the mindless, irritating anti-chorus seems hell-bent on rebuffing. Maybe that’s the point, by some galaxy-brain rationale.
[3]

Natasha Genet Avery: I’ve always staunchly defended Selena Gomez, insisting that what she lacks in talent, she makes up for with excellent taste. After hearing these “mm-mms,” I guess I’ll see myself out.
[3]

Wayne Weizhen Zhang: God bless Selena Gomez for taking words thrown together in a blender and singing them with such bluster and joy that you don’t have time to think about how ridiculous they are: “Once again, I’m yours in fractions,” “You and me bleed the same light,” “I’m slipping down a chain reaction,”“Just like the Battle of Troy, there’s nothing subtle here,” “I’ve been running through the jungle, I’ve been running with the wolves,” “Syncopate my skin to your heart beating,” “Metaphorical gin and juice,” “Bowery/Whiskey neat,” “You are the thunder and I am the lightning,” “Your lies are bullets, your mouth’s a gun,” “Let the chemicals do its stuff til the energy is too much,” “Taki taki,” pretty much every word of “Fetish.” When Selena released a new dance track, I had my fingers crossed that I might get a shiny new toy, and boy, oh boy, did she not disappoint. “MM-MM-MM-MM-MM-MM-MM-MM…WOW” is everything I could have wanted it to be and more. She’s gone post-verbal, folks!  
[9]

Alex Clifton: I thought the “mm-mm-mm” chorus was a cop-out the first time I heard it, but it fulfills the same function as the “ba-de-yas” of “September” — words aren’t necessary when you’ve got a song like this. It’s deservedly smug and dismissive, perfect for deflecting any shards of bad memories from the past from her current happiness.  If “Lose You to Love Me” was Selena at her most vulnerable, then “Look At Her Now” builds her back up into being the dance-queen badass that I always knew she was, but with the confidence to match.
[7]

Jackie Powell: Ian Kirkpatrick’s Jackson Pollock-style overdubbing of Gomez’s and Michaels’ vocalizations during the chorus places the listener dancing in the club rather than crying, and the heavy bass synth loop on the bridge adds color that complements the vocal brightness of “she knows she’ll find love.” The subject matter is a blatant follow-up to the introspective “Lose You to Love Me,” but the wise writing from Julia Michaels and Tranter adds substance. This is the next stage of grief. Is it acceptance? I’m not sure. But the emotional snapshot is realistic and relatable. The couplet I’m drawn to the most is in verse two, when Gomez chants “What a thing to be human/Made her more of a woman” with the utmost conviction. The way she talk-sings the word “woman” is alluring but also so sanguine. In the Sophie Muller-directed visual, it’s almost as if Gomez is channeling her inner Diana Prince in the1984 Wonder Woman poster; a blast of color coupled with a metallic outfit screams Amazonian energy. Apparently this is a track for her “ride-or-dies,” which I assume would include Michaels. I mean, who wouldn’t want to see them as Amazon goddesses? You must be related to Ares if you don’t.
[7]