We don't know for sure yet what we'll see when Britney Spears releases her video for "Work Bitch" on Tuesday (October 1), but from what the director tells us, it's going to be quite the spectacle!

"Work Bitch" is, of course, the lead single off Spears' upcoming album, due December 3, and Ben Mor has revealed to MTV News that the Britney Army should expect lots of dancing, several location changes and a closet full of cool costumes.

"I think this is a more adult Britney, definitely a more adult Britney," he teased. "You can't have soft visuals for a song called 'Work Bitch,' and we sure as hell didn't."

The visual for Spear's lead single — debuting on the CW network — will also hint at the next era in the pop star's life.

"I think it sets a high bar. I think you can only go bigger and bigger," said Mor, who has previously worked with Brit on her will.i.am collaboration "Granted, that I got the opportunity to do a legitimate Britney Spears first release [video], which is a huge deal, we pulled all the stops.

"There's definitely a lot of surprises that I think people are going to flip over," he added. "[We] wanted to set the bar as high as we can, [and] now, just hopefully match it or better it next time. There's no going backwards."

Mor, who cited "Slave 4 U" and "Toxic" as his favorite Spears videos, said the singer was incredibly hands-on and collaborative on the "Work Bitch" shoot, sharing her ideas ...

With music from megastars like Justin Timberlake, Lady Gaga and Katy Perry coming fast and furious this fall, there's been no shortage of highly anticipated releases to look forward to. But even with so many heavy-hitters hitting on the charts, we couldn't help but notice a certain newbie holding strong with the vets: Last week, Lorde leaped to #1 on the Digital Songs chart with "Royals," topping even Katy.

And the New Zealand newcomer is just one of a batch of brand-new artists that shouldn't be overlooked. They're the Fresh Faces of Pop, and though some are barely old enough to drive — Lorde's just 16! — there's no question they're ready to take their places alongside the pros.

Leading the pack is Ariana Grande. The Nickelodeon star's album Yours Truly debuted at #1 on the Billboard 200, introducing fans to a whole new side of the actress-turned-singer.

"I'm just excited because for the longest time my fans have known me as my character Cat on Nickelodeon and now, this is, like, me," Grande told MTV News. "People got to know me first as an actress but my mom says, I'm not, like — I'm a singer who acts on the side but now they'll get to know Ariana, the brunette girl from Boca [Raton Florida], who loves music more than anything."

Lorde has been shaking up the charts: Her hit "Royals," not only landed at #3 on the Hot 100, it's helping change the way people perceive pop too.

"It's really difficult because for so long pop music has ...

With just hours to go before the Monday (September 30) deadline to sign off on the nation's budget, the threat of a government "shutdown" is looking increasingly possible. Basically, if Republicans and Democrats can't stop squabbling over the terms of the Affordable Health Care Act (commonly referred to as Obamacare), business will grind to a halt.

Republicans are digging their heels in by refusing to let the entire budget go through until changes are made to the Health Care Act, which is set kick off enrollment on October 1. If the two sides don't reach an agreement by midnight, though, we'll face the first shutdown since 1995, with more than 783,000 government workers ordered to stay home.

How long will it last? We don't know. Will it be anarchy and looting in the streets? Probably not, but things could get pretty ugly if you're planning to visit a national park, avoid a new strain of the flu or have your trash taken out. Just in case of the worst-case scenario, MTV News has put together our all-star dream team of pop culture avengers you'll need on your side to survive the shutdown.

Batman And Superman, Trashmen
The Problem: According to the Washington Post, a shutdown will halt garbage collection in Washington D.C., which produces 500 tons of garbage a week. That's a lot of pizza boxes piling up on the curb.

The Solution: Finally, a reason for all those fanboys to stop complaining about Ben Affleck donning the batcowl! We're normally against burning garbage, but between Supe's heat vision and Batman's ...

Miley Cyrus wasn't content to let you listen to 30-second snippets of her Bangerz album, so now she's giving you a full and proper preview.

Her hotly-anticipated album is streaming right now on iTunes, one week ahead of release (and two days before the premiere of her MTV documentary ) And much like we gleaned from those small sneak peeks, Bangerz definitely, downright defiantly lives up to its name.

On "SMS," Cyrus dismisses an indecisive lover, raps with a twang and drops an f-bomb and over a roiling, raucous Mike WiLL beat and some slurry vocal samples (Britney Spears adds some serpentine vocals of her own). Oh, it kind of sounds like Salt-n-Pepa's "Push It" in parts, too. mixes hip-hop with hoedown, and finds Cyrus rapping about driving so fast she relieves herself — and trading verses with Nelly and Pharrell — and "Love Money Party" gets a big-time boost from guest star Big Sean.

There are also rebellious moments, too, like "FU," where Cyrus plays the part of the jilted lover to the hilt, over a theatrical beat, and "Do My Thang," her bid for a self-empowerment anthem. And those songs pair nicely with Bangerz's marked mature moments, like album-opener "Adore You," where she somberly sings, "Baby, are you listening?/ Wonderin' where you've been all my life," over plaintive pianos and softly shuffling drums. And then there's "My Darlin'," a slowly simmering, boozy-and-woozy broken-heart ballad that features Future; and "Drive," which details a decaying relationship over a cold, coiled electronic beat. They're markedly ...

"Everybody Wants To Rule The World" — Lorde's contribution to the — might seem like a song that the 16-year-old musician would pen, but in actuality, it's a cover of Tears For Fears' 1985 hit.

When the "Catching Fire" soundtrack listing appeared last week, outlets speculated that the Lorde song was a cover. Now, MTV News has confirmation from the "Hunger Games" team that Ella Yelich-O'Connor has, indeed, done her own spin on the New Wave classic.

Although the song quite handily fits into Lorde's obsession with royals — with the whole "rule the world" line — it's also the perfect accompaniment to a film about an oppressive government obsessed with wealth and image.

"The concept is quite serious — it's about everybody wanting power, about warfare and the misery it causes," the band's Curt Smith said back when the song was released.

When it comes to the "Catching Fire" soundtrack, Lorde is in good company — the track listing also features the likes of Coldplay, Patti Smith and Christina Aguilera.

This isn't Lorde's first '80s cover, either. She previously put out a gorgeous re-imagining of The Replacements' sad, sad outsider anthem "Swinging Party." "As soon as I heard the song it was so powerful lyricall. It's so beautiful and everything is a little bit tongue-in-cheek," Lorde told MTV News. "It feels so sad as well. I love that. If I had written the song, I would be a very happy woman. I had to cover it."

Speaking of covers, Rebecca Black also recently posted the following cover of "Royals" to ...

Wayne Coyne has always been daring when it comes to getting weird — from the very NSFW video he made with Amanda Palmer to the 24-hour song he embedded in human skulls. That's why it's a little surprising that the Flaming Lips frontman told MTV News that he regrets posting the racy photos that got him kicked off Instagram.

"I do regret that I was a little too free with my Instagram, because I see now that I had so many cool things on there that people could see what we were doing and see what we're about — cool things that I think people would really like," Coyne told MTV News. "A little bit of regret, yeah."

The other week, Lips fans were shocked and horrified when they found that Coyne's popular Instagram account had been kiboshed, with fan site The Future Heart even petitioning for its reinstatement. Coyne speculates that it was a recent set of photos that did him in, specifically snaps from his Oklahoma gallery The Womb depicting the bar area, which was modeled on the Milk Bar scene in Stanley Kubrick's "A Clockwork Orange." In that film, milk was dispensed via, well, where milk comes from. In Coyne's iteration, juice was dispensed from another orifice. "It's funny when you're there, but I can see when I posted it it just looked sort of disturbing and pornographic," he said.

When asked for comment, an Instagram rep responded: "Instagram has a clear set of community guidelines which make it clear what is and isn't ...

If you stayed up late on Saturday night to catch Arcade Fire's wonderfully weird special, you probably awoke on Sunday morning — or afternoon — thinking two things: 1) Wait, Michael Cera is bilingual?!? and 2) Hey, those guys (and girls) actually looked like they were having fun.

That's an oversimplification, of course, though how else can one sum up what was certainly one of the oddest things to be broadcast on network TV in quite a while, 30 minutes of comedy bits, celebrity cameos (James Franco as Keanu Reeves, Jason Schwartzman as a centaur), faux film trailers and sitcom parodies wrapped around a trio of never-before-heard songs from the band's Reflektor album? It was tough, but after repeated viewings, I think I've managed to figure out what "Here Comes The Night Time" was truly about:

Arcade Fire are having their U2 moment.

And I'm not saying that just because Bono made a cameo in their special, either (though that certainly doesn't hurt my hypothesis). In terms of style, sentiment and seemed intent, "Here Comes The Night Time" appeared to be the dress rehearsal for Arcade Fire's very own Zoo TV Tour, U2's epic, '92-93 trek that spun media, iconography, and music into something entirely new: an arena-sized spectacle that was part pop art, part satire and all spectacle. It represented rock at perhaps its most self-aware, self-aggrandizing (and self-effacing), the production in which U2 poked holes in the public's pre-conceived notions, simultaneously embracing the scope of their fame and mocking it through oversaturation and sensory overload.

Again, that's ...