Well, truth be told, the winner was going to be that T-mobile viral video, but then we found this, with Kate Middleton playing the role of Kate$ha (geddit).

Enjoy the big day!

The first, and probably last, time this blog will use the phrase 'barbershop quartet'. But of all the parody/fun royal songs we've seen so far, this is by far the cleverest when it comes to lyrics.

This is a bit different. A bit like most good cartoons, it's what goes on in the background which is funniest.

This one is a bit of a slow burner. Let it get to 57 seconds and you'll spot the song. Let it get to 1min 15secs and you'll love it.

What better way for Remote Control to celebrate the forthcoming royal wedding than to dig into Youtube and find a parody a day?

Today's is, admittedly, by someone who doesn't really look like Kate Middleton at all, but the lyrics - adapted from Bruno Mars' hit 'I want to be a millionaire' are quite funny.

I don't often blog about programmes I haven't watched - there's not much point in that.

I've made a point of avoiding Eastenders this week, simply because I didn't really like the idea of cot death being served up as entertainment, or the idea of the effective kidnapping of a tot to boot.

It turns out I'm not alone - the BBC has received 3,400 complaints about the soap's plot involving Kat and Robbie. I'm never sure the point of complaining about a TV programme - surely the best way to protest against a programme is to not watch it again.

And 3,400 complaints in the fact of 10 million people viewing the programme isn't really going to change things. Eastenders is filmed weeks in advance, unpicking a plot would be nigh on impossible.

But here's the challenge for Eastenders: Knowing where the line is when it comes to plots. Ask your average soap viewer why they watch, and the phrase 'real life' will crop up. The whole premise is that we're supposed to believe it could be real.

Yet the truth is that it's anything but. We'll take the murders, we'll take the gangs, we'll take the utterly unbelievable romances - grieving mum and dead son's gangster mate anyone? - and lap it up.

But cot deaths appear to be a little too close to home to many. Understandable - it's the worst nightmare of every parent. But does that mean the soap writers should shy away from it?

From the clips I've seen, the acting from Jessie Wallace and Samantha Janus has been superb. It's a shame that their skills have been deployed on a plot which so many find upsetting.

And maybe that's the New Year's lesson for soap writers everywhere: Keep it in the real world, but just don't keep it that real.

I don't often blog about programmes I haven't watched - there's not much point in that.

I've made a point of avoiding Eastenders this week, simply because I didn't really like the idea of cot death being served up as entertainment, or the idea of the effective kidnapping of a tot to boot.

It turns out I'm not alone - the BBC has received 3,400 complaints about the soap's plot involving Kat and Robbie. I'm never sure the point of complaining about a TV programme - surely the best way to protest against a programme is to not watch it again.

And 3,400 complaints in the fact of 10 million people viewing the programme isn't really going to change things. Eastenders is filmed weeks in advance, unpicking a plot would be nigh on impossible.

But here's the challenge for Eastenders: Knowing where the line is when it comes to plots. Ask your average soap viewer why they watch, and the phrase 'real life' will crop up. The whole premise is that we're supposed to believe it could be real.

Yet the truth is that it's anything but. We'll take the murders, we'll take the gangs, we'll take the utterly unbelievable romances - grieving mum and dead son's gangster mate anyone? - and lap it up.

But cot deaths appear to be a little too close to home to many. Understandable - it's the worst nightmare of every parent. But does that mean the soap writers should shy away from it?

From the clips I've seen, the acting from Jessie Wallace and Samantha Janus has been superb. It's a shame that their skills have been deployed on a plot which so many find upsetting.

And maybe that's the New Year's lesson for soap writers everywhere: Keep it in the real world, but just don't keep it that real.

There's no doubt Coronation Street won the 2010 soap wars. Who remembers Eastenders' live episode back in February? Quite. Ginger loser falling off a pub hardly compares to a tram raining down terror, death and destruction on the cobbles.

Corrie picked the characters to shine brilliantly. Sally Whittaker as Sally Webster has, for so long, had a character to portray who was difficult to like. The cancer battle in 2010 helped change the public's opinion of Webster, but nothing could have prepared the public for the brilliant portrayal of losing a friend, finding out she mothered her husband's little boy and then trying to deal with keeping her family together ... over Christmas.

Claire Peacock, played by Julia Haworth, is another character who few managed to warm too and who the writers also seemed to be struggling to find a good story for. But the role of grieving widow after the death of Ashley was simply superb. The live episode involved raw emotion displayed by Peacock, and her performance alone eclipsed anything Eastenders turned out in its live episode.

Happy new year. Welcome to 2011. How was the last night of 2010 for you?

If it involved ringing in the New Year with the help of the telly box, then I'm sorry for you. I was there too.

I'm sure there was a time when TV channels made an effort on New Year's Eve. I think Clive James was involved. Or maybe it was Dame Edna.

Either way, it's a poor show that when London lays on enough fireworks to make Guy Fawkes proud, the best the BBC can do is stick Jake Humphrey on the bank of the River Thames for just five minutes before midnight.

Humphrey didn't do a bad job in the circumstances, although shots of him locking his leather-glove clad hands into those of revellers as Auld Lang Syne belted out had more of a touch of Murder She Wrote about it than Party like it's, er, 2011.

So the big X Factor question is: Who will be picked to be the wildcards in the X Factor?

Quite how the wildcard idea came about is up for debate. Perhaps it was a result of Simon's frustration at Cheryl's choice of finalists in the girls category.

Even by Cheryl's bonkers - 'it's a hunch!' - standards, picking two contestants who didn't actually complete the final audition - Cher and Katie - is going some.

To be fair to Cher, she did have a sore throat. And her original performance was very, well, original. But to decline the chance to have a second go, saying 'no, I'm done' was a little bit Divaish - and should have been, as we say in football chat, a straight red.