Love and sex appear and are described in Miley Cyrus’s ‘Wrecking Ball’ through the visual/textual language of “clawing”, “hitting”, “breaking”, "warring" and “wrecking” and in the official video we see a simultaneously forceful and utterly vulnerable Miley seducing, making love to, and totally destroying the room she is in as well as the wrecking ball she’s employing for her act of erotic demolition. This video gave rise to a surge of media and online debate (most notably an open letter from Sinead O’Connor: http://www.theguardian.com/music/2013/oct/03/sinead-o-connor-open-letter...) about how Miley, in making this video, is “wrecking” her image, her life and the mental stability of twenty-first century young women in general. We don’t want to rekindle the discussion of whether Miley is positionable herself as a suitable role model, but rather we wish to investigate the ethics and erotics that are involved in Miley’s performance of “wrecking” in the first place. In our clip, the official video for ‘Wrecking Ball’ is neighboring on the director’s cut version. This double vision creates an alluring set of affective contrasts. In one version Miley is smashing up the room, whereas in the other the only motion that detracts from her moving lips is a single tear that she quickly wipes off her cheek. The affective power of these twinned clips lies in their extreme in/action. There is simultaneously the sense of cathartic emotional release and complete stillness - tearing up and a tear. Possibly, this is another aspect of Miley’s ‘stuckness’ discussed earlier in this theme week. As she’s riding her wrecking ball, smashing all the surrounding regimes of the normal, she also remains in the one room, stuck in the wreck of her own past. There is an acute vulnerability in her naked foetal pose on the floor in the official video, but the nakedness of her emotion is never more stark than in the director’s cut. One single tear speaks louder than any number of sledge hammers. Jack Halberstam has written about Gaga Feminism as an erotics of surfaces and of flaws and flows, a gender politics which is responsive to the cracks in the walls of the sex/gender system in our current moment of trouble for the normal. Gaga feminism is marked by excessiveness, loss of control and “a maverick sense of bodily identity”. Halberstam labels this a punk aesthetics, a wild feminism, a practice of going gaga. We might also call it Miley Feminism, an an-archic eroto-(aesth)ethics of wrecking, tweaking and twerking, fucking with normative regimes. Miley Feminism promises and holds out a queerly undefinable future in its gestures towards ever new forms of revolt.