TIME Music

Jennifer Lopez Twerks Onstage With Iggy Azalea at the American Music Awards

The performance celebrated all things "Booty"

Jennifer Lopez, year after year, shows younger artists how it’s done at the American Music Awards.

Performing single “Booty” with Iggy Azalea, the indefatigable singer/actress/reality-show judge danced (including, yes, a song-ending twerk) like her career depended on it. The performance was the most dynamic of the night. Watch it up top.

TIME Music

NFL Officially Announces Katy Perry to Play Super Bowl Halftime Show

The announcement came mere minutes before Taylor Swift accepted a special prize at the American Music Awards

The NFL has made official what had been widely reported more than a month ago: Katy Perry is to perform at the Super Bowl next year in Glendale, Ariz. The announcement late Sunday came with a would-be viral video in which Perry sketches out her dream halftime show, one with extinct wildlife, edible glitter, and “like a thousand” of the sort of fluffy white kittens Taylor Swift finds herself surrounded by, too.

Perry, famous for hits including “Firework” and “Roar,” is currently on tour promoting her album Prism in Australia, but even in absentia, her announcement was cannily timed; it came in the minutes preceding putative enemy Swift’s winning a lifetime achievement award at the American Music Awards. It was classic counterprogramming on the NFL’s part, at least, and proof that the run-up to the Super Bowl will be an interesting one.

TIME Music

Taylor Swift Defends Albums as ‘Art’ at the American Music Awards

Slyly alluding to her ongoing issues with Spotify, she asked for the album as a form to be "respected"

Taylor Swift accepted from Diana Ross the Dick Clark Award for Excellence, a new lifetime-achievement prize, at tonight’s American Music Awards — and in Swift’s telling, the presenter choice wasn’t as random as it seemed.

Ross “stood up for herself so many times, in a time when it was not popular for a woman to stand up for herself,” Swift said. It read like a subtle dig at her recent detractors in the streaming-music industry, like Spotify, who’ve grown frustrated at no longer being able to provide Swift’s music to free users — and the dig was made more explicit by Swift thanking her fans who “believe in the same thing I believe in, that music should be consumed in albums and albums should be respected as art.”

Check out Swift’s full speech above.

TIME Music

Watch Nicki Minaj’s Dressed-Down ‘Bed of Lies’ Performance on the American Music Awards

For once, the song was the star

Nicki Minaj showed the world what The Pinkprint is going to look like with a striking performance of “Bed of Lies” at the American Music Awards. The artist, known for her theatrics, kept the high dudgeon to a minimum, standing by a piano as Skylar Grey played.

It was a performance whose dominance came from just how willing Minaj was to let the song be the star. Watch up top.

TIME Music

Watch Lorde Perform Her ‘Mockingjay’ Theme Song, ‘Yellow Flicker Beat’

A TV debut for the haunting song

Lorde’s new song, “Yellow Flicker Beat,” plays over the credits of America’s current number-one movie, The Hunger Games: Mockingjay—Part 1. And in performing it, the New Zealand-born singer stole the show at the American Music Awards, prompting a front-row freakout from her friend Taylor Swift.

Watch a live rendition of the song that’s been haunting you ever since you saw Katniss and Peeta’s final moments in Mockingjay.

TIME Recaps

The Walking Dead Watch: ‘Crossed’

Walkers - The Walking Dead _ Season 5, Gallery - Photo Credit: Frank Ockenfels 3/AMC
"Who's bad?" Frank Ockenfels 3/AMC—© AMC Film Holdings LLC.

Things go all fubar before the mid-season finale. Plus, watch for extremely melted zombies

“Crossed,” the seventh episode of the fifth season of AMC’s The Walking Dead, might as well have been titled “Aftermath.” Nearly all the show’s characters find themselves reeling from the multiple denouements in last week’s episode, “Consumed.” All of them are more or less groping to find the boundaries of morality, the show’s most consistent theme.

The episode begins with the rage of Sasha, the latest of our unmerry band to have been pushed beyond the edge. Still distraught over the loss of her boyfriend Bob, she is taking it out on a church pew with an ax while the rest of the group fortifies the abbey in preparation for a standoff to come. The organ pipes are becoming battlements, the kneelers deadbolts. Gabriel, the milquetoast priest with qualms about killing the undead, looks around and asks worriedly, “Are you going to take the cross too?” “If we need it,” Daryl replies, implying it has little value beyond its physical utility.

This augurs the moral searching of the other characters throughout the episode. In a world where the clergy is futile and religious icons are only as good as the literal material they’re made out of, it’s up to every individual to settle their own codes. This is underscored (maybe) by Gabriel trying, manically, pointlessly, to scrub dried blood out of the church’s hardwood.

(Side note, the liturgical readings posted inside the church are all topical. They include: Matthew 27:52And the tombs broke open. The bodies of many holy people who had died were raised to life. And Luke 24:5In their fright the women bowed down with their faces to the ground, but the men said to them, “Why do you look for the living among the dead?”)

At the hospital, Beth learns that Carol has suffered serious injury (duh) and may not recover without the right medication. Not wanting to waste resources on a seemingly lost cause, Dawn orders her taken off machine care. But later, Dawn also gives Beth the key to the medicine cabinet, suggesting she’s got to pose as a strongman to stay in control. Dawn is a new kind group leader. Though she seemed a run-of-the-mill tyrant at first, she increasingly appears to be just a figure head, barely keeping the hospital collective together. “You don’t know how fragile this thing is,” she tells Beth (who’s scars have reached Chucky frequency).

At the stalled fire truck, a concussed Eugene is baking in the sun. A PTSD-ed Abraham is looking off into the distance, spaced way out. In the mean time, Glenn, Tara, and Rosita take trip to the local pond to stock up on water and do a little impromptu fishing. It’s all very Stand By Me and the trio seems the least conflicted of any of the current sub-groups, amiably deciding to forge ahead even in the wake of the charade that was Eugene’s “mission” to Washington.

At the church, Carl tries to convince Gabriel he can teach him to protect himself from the undead. When Gabriel expresses discomfort at the conflict that ended the lives of the Termians, Carl points out they were “killers,” and Gabriel retorts, “So are we.” (Throughout, the confessor is on his knees and the teenager shaped by the post-apocalyptic world is towering above him in role reversal.) Gabriel retires to a backroom where he pulls up the floor boards and takes off. On his way to exile, he lands on a nail creating some Stigmata light for the road. When he encounters a roaming walker, he can’t bring himself to bash her brains out.

The main tension (and action) is with the fourth group—Tyrese, Sasha, Rick, Daryl and Noah—who are on a rescue mission to retrieve Carol and Beth from the hospital. Rick’s plan: slip in, special forces style, killing whoever gets in the way. Cold, ruthless, pragmatic. Tyrese’s plan: capture two of Dawn’s officers and diplomatically negotiate a trade. Measured, generous, idealistic. To Rick’s mild annoyance, the group sides with Tyrese’s more humanistic plan. Again, testing of boundaries…

Things go wrong pretty quickly. Though the group manages to ambush two of the hospital’s police officers, they’re quickly saved by a backup force. The shootouts that follow take place in a wasteland of badly burned walkers, many of which are melted to the pavement. This is the napalm-scented hell awaiting those who were evacuated from the hospital in the midst of the outbreak. Ultimately, Rick’s group gets its hostages.

One of them, Officer Bob, seems like a pretty good guy. Earnest, trustworthy. He convinces Sasha to put one of his former colleagues, now rotting and writhing outside, out of his misery. But as she’s lining up her shot, Bob bashes her against the window and scuttles off.

Zombie Kill Report
1 double fingers to the eyes by Daryl; 1 silenced shot to the skull by Rick; 1 knife to the head by Glenn; 1 knife to the head by Rosita; 1 knife to the head by Tara.
Estimated total: 5

TIME Music

Watch Imagine Dragons Unveil Their New Single, ‘I Bet My Life’

The follow-up to their huge "Radioactive"

Imagine Dragons debuted their new single, “I Bet My Life,” at the American Music Awards. Following the group’s massive success with “Radioactive,” the new single would seem to be slightly more folk-inflected, in the Mumford & Sons style that’s become so popular.

That didn’t stop the theatrical group, though, from bringing in explosive visuals and a backing choir. Watch up top.

TIME Music

Watch Taylor Swift Go Crazy on the American Music Awards Stage Performing ‘Blank Space’

She lights a rose on fire!

Performing her new number-one single “Blank Space” as the opening act of the American Music Awards, Taylor Swift made it clear she’s not one to be trifled with.

As though by magic, Swift, playing off her boy-crazy persona, set a rose on fire and sent a potential lover flying in the air. She also pulled a bunch of Miss Havisham-worthy faces. Check them out above.

TIME Music

Here Are All the Winners of the 2014 American Music Awards

Liam Payne, Niall Horan, Louis Tomlinson, Zayn Malik, Harry Styles
Liam Payne, from left, Niall Horan, Louis Tomlinson, Zayn Malik and Harry Styles of the musical group One Direction arrive at the 42nd annual American Music Awards at Nokia Theatre on Nov. 23, 2014, in Los Angeles. John Shearer—Invision/AP

Updating live throughout the show

Tonight’s American Music Awards honored the most popular acts of the year, based on polling data and chart performance. Here are the artists who took home the trophies:

  • Favorite Pop/Rock Band/Duo/Group: One Direction
  • Favorite Rap/Hip-Hop Album: Iggy Azalea, The New Classic
  • Favorite Latin Artist: Enrique Iglesias
  • Favorite Pop/Rock Male Artist: Sam Smith
  • Favorite Country Male: Luke Bryan
  • Favorite Album – Pop/Rock: One Direction, Midnight Memories
  • Favorite Female Artist – Pop/Rock: Katy Perry
  • Favorite Alternative Artist: Imagine Dragons
  • Favorite Artist – Rap/Hip-Hop: Iggy Azalea
  • Dick Clark Award for Excellence: Taylor Swift
  • Favorite Country Album: Brantley Gilbert, Just As I Am
  • Artist of the Year: One Direction
TIME Television

Watch Cameron Diaz Rap About Being Home for the Holidays on SNL

3 highlights from the episode that featured Bruno Mars and Mark Ronson as musical guests

Cameron Diaz didn’t just promote the upcoming Annie remake when she hosted Saturday Night Live this weekend, she also brought a little taste of the movie (which hits theaters in December before Christmas) to the episode that featured Bruno Mars and Mark Ronson as musical guests.

In the above clip, “Back Home Ballers,” Aidy Bryant (aka Lil’ Baby Aidy) and her crew follow up “(Do It On My) Twin Bed” with a rap song about traveling home for the holidays and enjoying a lazy Sunday or two in the company of mom and dad. Diaz tests out her rapping ability, but it’s Leslie Jones’ verse about bowls (yes, bowls) that is the true scene-stealer. Here are two other highlights:

“New Annie”: Jones continues to make it clear why she was upgraded from the writers’ room to the SNL stage with a hilarious twist on the upcoming Annie movie (that finds Diaz previewing her take on Miss Hannigan).

“Capitol Hill Cold Open”: SNL pokes fun at President Obama’s executive orders habit with a Schoolhouse Rock parody starring Kenan Thompson as a bill that apparently can’t get no respect.

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