I loved it. I loved every overly repetitive synthesised drone in those songs because that was who they were. The Black-Eyed Peas collectively and individually had made it. They were at the top of their game. There were no RnB/pop acts close to them in terms of success. Will.I.Am and Fergie had made huge solo careers as well. There was nothing painful for them to sing about anymore, no more trials and tribulations. They had the world at their feet. So why should we expect them to sing about the stuff that was no longer relevant to them?

A banger of a day. Be sure to note down this Saturday’s International Women’s Day March and Rally in your diaries, but if you’re not the type to schlep your megaphone all the way to Hyde Park, there are other indulgences you can dip your spoon into within the comforts of your own couch. Here’s a taster of some recent films and TV shows that not only score an HD in the Bechdel Test, but also feature exceptional leading lasses, female-driven plotlines, and complex feminist themes, in all their glory.

The soundtrack was commercially and critically successful, and it’s often used as the saving grace of an otherwise embarrassing cultural phenomenon: but I propose that the Twilight soundtrack, and others like it, should be viewed as more than as saviours of “trash” film and television.

Wilson Huang saw a movie.

Wilson Huang saw a movie.

“Chatting to a mate today got me thinking - just why is “The Principal And The Pauper” viewed as the beginning of the end for The Simpsons?”

Nick Forbutt reports on Tracy Grimshaw’s reports.

Thomasin McCuaig about the screening of Eraserhead at Verge Festival.

Marcel Mellor Hutchings sees a turning point in the Marvel Cinematic Universe.

Lawson Wrigley reviews emerging artist, Kota Banks

Contrary to popular belief, Hank Scorpio’s episode is NOT the best one of all time.