We can never know Margot Tenenbaum. Played at a glacial, glamorous remove by Gwyneth Paltrow in Wes Anderson’s The Royal Tenenbaums, she is, in her own way, trapped in the box. On her new single—a piano ballad of dubious sincerity—Canadian DJ and songwriter Brat Star invokes Paltrow’s greatest role as one-third of a holy trinity of disaffection. “Lonely like Eleanor Rigby, still cutting people off,” she sing-raps, sounding a bit like Frankie Cosmos’ Greta Kline and a bit more like SNL cast member Jane Wickline. “Like Edward Scissorhandy, yeah her friends have it rough.” Whether those are good lyrics is almost beside the point; they’ve Stockholm syndromed their way into my heart.

The influence of Lana Del Rey goes without saying—in a chirped “honey!”, some blithe street rap posturing (“Her exes were crazy, she shot them with uzis, said they were fugazi”), and the transmutation of cultural icons into personal totems. The first half of “Margot Tenenbaum” is a Möbius strip of chopped orchestral crescendos and bass blips courtesy of Toronto-based producer Loukeman. Then the clock starts ticking. Anderson’s early films are still his best because their artifice inevitably gives way to sentiment. “They should teach this in school/How to finally be cool/With just doing you,” Brat Star laments. She’s further along than most of us.