after which it continued dropping before exiting the top 20 on February 21, 2004. In total, it spent twenty-six weeks on the chart. It spent eight weeks on the Bubbling Under Hot 100 Singles, which acts as an extension to the Billboard Hot 100 chart; it peaked at number two on December 20, 2003. In the United Kingdom, "Feeling This" debuted at number 15 on the UK Singles Chart for the week ending date November 30, 2003. It dropped to number 35 the following week before exiting the chart on December 28; in all, it spent ten weeks on the chart. Critical reception "Feeling This" received favorable reviews from music critics. Kelefa Sanneh, writing for The New York Times felt the song was an "appealing hybrid," while noting the growing popularity of emo could have influenced the "more anguished" tone. Greg Kot of Entertainment Weekly praised the vocal harmonies, calling them reminiscent of Queen. Joshua Klein of The Washington Post similarly complimented the interplay between DeLonge and Hoppus and its "multiple-perspective portrait of first love." Andy Doerschuk of Drum! praised Barker's "fat, syncopated beat" and noted elements of Bonham as well as James Brown's drummers. Rolling Stone Jenny Eliscu made note of its "catchy hooks", while Stephen Thompson, writing for The A.V. Club, considered it among many songs on the album that were "straightforwardly conventional." Music video The video follows students at a dystopian-based correctional facility who rebel and take over the establishment, intertwined with shots of the band performing outside the prison in a cage, providing a "soundtrack to the chaos." Hoppus described their idea for the facility: "It's kind of a combination of prep school and reform school, and it's very repressed and kids are being held down. There is a lot of authority and a lot of strict regimen, and the kids lash out and take over the school and destroy the place with Prison riot." The band's main goal for the video was for it to resemble an art piece, much in the same way they viewed the production of the album, to keep in line with tone. To this end, they enlisted director David LaChapelle. LaChapelle's input—which "ranges from an evil prison warden cracking a whip at marching school kids to escapees ripping their uniforms and doing acrobatic moves down the hallways"—was regarded by the band as "completely wacked out and twisted, which is exactly