Comes in both d-ance and b-allad form…

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Pete Baran: So I wrote this biopic of Britney Spears early years, which I hawked around the studios for a couple of years, which got some interest by a mid-range film production company, Midtown Films. After my initial excitement, the reality of the film business got to me as my film was stuck in development hell for years. The worst moment was when Midtown was bought out by a Korean multi-national. Not only did my film get yet another rewrite, Britney’s people no longer wanted to have anything to do with it — effectively banning us from using her likeness and name. So the Hankeon Films movie “Oops!…I Did It Again”, became “K-Pop Star!!”, and this is the song they replaced “Baby One More Time” with. I took my name off the credits.
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Jonathan Bogart: There are two videos; of the two, I recommend the one where T-ara sing and dance over the one where one of them acts in a 15-minute short film about gangsters and daddies, with brief interruptions of music. Unfortunately, the 15-minute short film is more compelling than the song.
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Frank Kogan: Two versions of this, the ballad better than the dance. Takes a potentially sprightly melody reminiscent of “Hernando’s Hideaway” and “Oops!…I Did It Again” and goes effectively somber: the strings do the crying, while the voices provide soft breaths, basic exposition, and tiny tears.
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Katherine St Asaph: This is shameless turn-of-the-century Max Martin nostalgia. Apparently I have no shame. 
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Alfred Soto: At some point a producer would reexamine Glitter-era Mariah Carey: the period when Carey thought she was honoring her R&B forebears but instead recorded substandard Max Martin knockoffs. Apart from the flamenco flourishes and the beat breakdown, this sounds rather canned. 
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Brad Shoup: An exercise in ’90s Britney, with that progressive piano pounding and those button-triggered guitars. The pose suits them, but early Britney had a knack for getting lost in the drama; these women are too professional for such a thing.
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Iain Mew: This appears to be “Woman in Love” reimagined as an early Max Martin Britney production. Not sure whether to take the fact that the first result on YouTube for “Woman in Love” has Korean subtitles as a coincidence, or further evidence! Anyway, for all of its neat trickery and guitar runs, I find it hard to shake the effects of nagging familiarity from two sources and the disconnect between the two. 
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