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As Michael Jackson historically returns to the top 10 with “Thriller” and Kehlani gives Brandy her flowers, Billboard‘s chart experts break down the correlation between Grammy nominations and artists such as HUNTR/X, Alex Warren, Leon Thomas and more who have taken over the charts this year. Black Eyed Peas singer Taboo stopped by with his daughter to share what it was like to work in the studio with Jett on Dora, his thoughts on the Dodgers’ huge win, and their perspectives on the diversity of artists on the Hot 100.
What’s your prediction for next week’s No. 1? Let us know in the comments!
Tetris Kelly: Michael Jackson makes a holiday return to the charts as Taylor Swift still battles with KPop Demon Hunters for the No. 1 spot.
Taboo: The fact that we have multicultural representation on the top 100 from KATSEYE to Demon Hunters, the HUNTR/X, I love that.
Tetris Kelly: Hey, what’s up? And welcome to the Hot 100 Show. As you can see, I got my friend Taboo and his daughter, Jett, stopping by a little bit later, and we got a new top 10 entry on the chart. So let’s start by running it down. This is the Billboard Hot 100 top 10 for the week dated Nov. 15. After a Halloween surge, “Thriller” hits the top 10. Morgan stays at No. 9. “Mutt” moves up to No. 8. All right, we got a newcomer to the top 10 in MJ. I can’t say I was ready for that, but Halloween isn’t it?
Eric Frankenburg: Yeah, I don’t know if newcomer’s the word. “Thriller” was in the top 10 in 1984, but this is the highest it’s been since March of 1984 — it’s pretty incredible. You know, it returns to the chart every year for Halloween, but this year’s a whole different story. It’s in the top 10. And, yes, it’s just wild you know that it’s higher than it’s been in 41 years.
Xander Zellner: Yeah, it feels like it’s kind of becoming, like, the “All I Want for Christmas Is You” of the Halloween season, where, like, it started growing more and more each year, and this year, Halloween fell on a Friday. So like, now it’s in the top 10. It’s amazing.
Delisa Shannon: I can already imagine, like, AI versions of Michael Jackson going, “It’s time.” Like, I already know it’s coming. You said it, not me.
Keep watching for more!
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Mariah Carey’s “All I Want for Christmas Is You” makes its annual merry return to the Billboard Hot 100.
The song, at No. 31, is one of two carols ringing in the Yuletide season on the latest Hot 100 (dated Nov. 15), joined by Wham!’s “Last Christmas” at No. 43.
Mixing figgy pudding with pumpkin pie, also sweetening the chart are five Halloween hits, led by Michael Jackson’s “Thriller.”
“All I Want for Christmas Is You” drew 9.9 million official streams (dashing 252%) and 942,000 airplay audience impressions (up from almost none the week before, as radio stations begin playing holiday hits) and sold 1,000 (up 302%) in the United States in the Oct. 31-Nov. 6 tracking week, according to Luminate.
Notably, on Nov. 1, Carey made her yearly proclamation that it’s time for the holiday season once again.
“All I Want for Christmas Is You,” originally released in 1994, hit the Hot 100’s top 10 for the first time in December 2017. In December 2019, it ascended to the apex at last. Having reigned in each holiday season since, Carey’s soloist-record 19th leader has ruled for 18 weeks to date, the third-longest command in the chart’s history. It also ranks as the No. 1 hit on Billboard’s Greatest of All Time Holiday 100 Songs retrospective.
“When I wrote [it], I had absolutely no idea the impact the song would eventually have worldwide,” Carey marveled of the song in 2021. “I’m so full of gratitude that so many people enjoy it with me every year.”
Below Carey’s chestnut, Wham!’s “Last Christmas” reenters the Hot 100 led by 8.2 million streams (up 217%). The song, released in 1984, hit a new No. 3 best last holiday season for the duo of Andrew Ridgeley and the late George Michael.
Meanwhile, the Hot 100 reflects a combination of holiday music consumption, with five Halloween-themed hits also haunting the chart.
As previously reported, “Thriller” lurches 32-10 on the Hot 100, making the late King of Pop the first artist ever with to rank in the top 10 in six distinct decades. With Halloween kicking off the Oct. 31-Nov. 6 tracking week, “Thriller” drew 14 million streams (up 57% week-over-week) and 9.3 million in radio airplay audience (up 124%), while selling 3,000 (up 1%).
Bobby “Boris” Pickett and the Crypt-Kickers’ “Monster Mash” returns from beyond, reentering the Hot 100 at No. 21 powered by 10 million streams (up 49%), 4 million in airplay audience (up 216%) and 2,300 sold. The song first became a graveyard (and aboveground) smash in 1962, ruling for two weeks leading up to that Halloween.
Ray Parker Jr.’s “Ghostbusters” shoots back onto the Hot 100 at No. 22, with 10.1 million streams (up 48%), 4.9 million in radio reach (up 57%) and 1,600 sold. The theme to the blockbuster movie of the same name topped the chart for three weeks in 1984.
Rockwell’s “Somebody’s Watching Me” reenters the Hot 100 at No. 24 with 10.1 million streams (up 45%), 3.7 million in airplay audience (up 85%) and less than 1,000 in sales. The song, from 1984, reached No. 2 that year.
Plus, The Citizens of Halloween’s “This Is Halloween” jumps 47-26 for a new Hot 100 high, led by 10 million streams (up 34%). The track, written and produced by Danny Elfman, premiered in the 1993 film The Nightmare Before Christmas (foretelling the blend of Halloween and Christmas decorations on the latest chart).
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GIRLSET wants you to know that nothing’s over until they say it is.
Ten months ago, news broke of the group’s shake-up: a lawsuit against its label, South Korea’s JYP Entertainment, from a former member, KG, followed by the exit of another, Kaylee, due to health concerns seven months later. But by the end of August, the now four-member girl group had already redebuted with new music and a new name.
Formerly known as VCHA, GIRLSET is a K-pop rarity: a group that didn’t crumble under pressure but rebuilt itself from within. It’s a story of optimism — and what follows a breaking point in the often unforgiving world of K-pop. GIRLSET’s hiatus would’ve been a death sentence for most groups. Instead, the resilient quartet returned with a renewed love for its craft.
In a plush, dimly lit Hollywood club on a recent Wednesday afternoon, GIRLSET’s members — Kendall, Lexi, Camila and Savanna — are bubbly and noticeably excited to chat about their latest era. There’s a light, airy energy among them.
“I had to keep reminding myself, ‘You’re doing this for you,’” Lexi, 19, says of her experience within the rigid K-pop training system. “Whatever happens, happens. I love what I do and that’s what kept me going.”
VCHA formed in 2023 through the competition show A2K (or America2Korea), a joint project by JYP Entertainment and Republic Records that followed American contestants through multiple rounds of evaluations in Los Angeles and Seoul that summer. Thousands of young girls auditioned, but only 11 trainees made it to the show’s final rounds. JYP Entertainment founder and CEO J.Y. Park envisioned a multicultural girl group that could represent the Western market while undergoing the famously rigorous training of the K-pop system. Having already secured his place among South Korea’s “Big Four” entertainment giants, Park, who this fall was named co-chairman of the Korean government’s presidential committee focused on cultural exchange, wanted to bridge the two pop worlds.
JYP wasn’t the only K-pop company with this goal. As A2K was holding auditions, HYBE and Geffen Records jointly launched The Debut: Dream Academy, another reality show with similar objectives to A2K. The competition yielded a new group, KATSEYE, whose formation was documented in the 2024 series Pop Star Academy: KATSEYE. Now, KATSEYE is dominating the pop world: The group received a Grammy nod for best new artist in early November, as well as a best pop duo/group performance nomination for its single “Gabriela,” released in June, which hits a new No. 33 high on the Billboard Hot 100 dated Nov. 15.
GIRLSET’s Camila, a 20-year-old Cuban Canadian, embraced the opportunity to get involved in the K-pop system. “For me, I always wanted to be a singer,” she says of her motivation to audition for A2K. “I loved K-pop and pop groups, but it felt like a faraway dream. So when the opportunity came, I told myself, ‘I’m getting it. I’m going to be in a girl group.’ ”
Camila
Munachi Osegbu
Kendall, a 19-year-old Vietnamese American who hails from Texas, says auditioning was more about blending her passions than choosing just one. “Back then, I was figuring out my future — college, career — and I loved both singing and dancing,” she says. “But I thought the only place I could do both was Broadway, and that wasn’t what I wanted. So I assumed I’d have to pick one, maybe go into production. Then A2K came along — it was perfect.”
As Kendall, who describes herself as “calm and collected,” explains, “We always say, ‘Everything happens for a reason.’ That’s something we all repeat a lot.”
The four members say they found strength in camaraderie when things got tough during training. Savanna, a 19-year-old Venezuelan Trinbagonian from Florida, recalls that the hardest part of the A2K audition process was “taking it day by day. Growth doesn’t happen overnight. Seeing everyone beside me working hard helped, too. We were all pushing each other.”
VCHA’s initial run was promising. The original six-member act debuted in January 2024 with the single “Girls of the Year,” reached No. 5 on Billboard’s since-discontinued X-based Hot Trending Songs chart with “Y.O.Universe,” opened for JYP powerhouse girl group TWICE on select tour dates and quickly built an international following. However, following a canceled Lollapalooza 2024 debut due to unforeseen circumstances and the imminent departure of two members, things quickly turned — and left fans wondering if the act would continue. But GIRLSET’s drive, and the discipline forged through its members’ auditions and training, became a foundation as the quartet’s world threatened to fall apart.
On Dec. 7, 2024, a lawsuit was filed in Los Angeles County Superior Court by the guardian of then-17-year-old member KG Crown, alleging child neglect, labor exploitation and unfair business practices by JYP USA staff. Two days later, on Dec. 9, JYP USA issued a statement calling the claims “false and exaggerated” — but also suspended VCHA’s activities. The case ignited widespread debate among K-pop fans about the treatment of young artists within the idol system, a topic that continues to dominate social media as the once-niche genre expands globally.
Months later, the group suffered another blow. In July, JYP USA announced that 15-year-old member Kaylee had “mutually agreed to part ways” with the company. Now only four of VCHA’s original six members — Lexi, Camila, Savanna and Kendall — remained.
Many VCHA fans have wondered: Had the girls foreseen the hard times on the horizon? “Some things were unexpected; others weren’t new to us,” Kendall reflects. “We had a lot of intertwined feelings about everything: our journey, our relationships, the past members. But we had each other to rely on.”
Kendall
Munachi Osegbu
All four say they talked through the toughest moments and felt supported by their team at JYP USA and Republic. But they’re still processing the changes to VCHA and the turmoil that followed. “It’s impossible to sit down and explain everything,” Camila says softly before Savanna brightly adds, “But then we found a group in us. It felt right — like this was the moment to truly put ourselves out there as GIRLSET.”
Less than 30 days after Kaylee’s departure, on Aug. 7, VCHA redebuted as GIRLSET under JYP USA and Republic. Its first release as a rebranded act, “Commas,” signaled a confident reset. The fun, stand-alone pop single highlights where the group is heading next, with a girl-crush concept that says, “We’ve been here the whole time. Pay attention.”
While the highly publicized departure of two members might’ve rattled another group’s confidence — and its label’s faith in its future — GIRLSET is digging its heels in.
“When we’re in dance practice, I always have these moments,” says Sheboygan, Wis., native Lexi, her eyes bright. “I’ll stop, look in the mirror and think, ‘Wow — This. Is. Us.’ We’ve come so far. Hearing the sound, seeing how much we’ve evolved — it’s crazy. Every time I look in the mirror, I lock in for 10 seconds and say it out loud: ‘Guys, this is us.’ ”
Lexi
Munachi Osegbu
The rest of the girls smile as she speaks, for these optimistic, supportive moments have become Lexi’s calling card within the group. “It’s easy to forget change when it’s gradual,” Kendall adds. “But when we look back, we see how much we’ve grown.”
JYP Entertainment is confident about GIRLSET’s future as well. “They’ve walked a path no artist has taken before, and we hope this original journey leads them to a new level of success that no artist has achieved before,” the company says.
And in a 2025 pop world where global girl groups — and especially those hailing from the K-pop training system — are hot commodities, GIRLSET may have reemerged at the perfect time. The term “multicultural girl group” has recently become a fixture in industry conversations. Traditionally, K-pop groups comprised East Asian members. The newer multicultural model, however, seeks trainees from diverse national, ethnic and cultural backgrounds. It’s a concept that Park pioneered through A2K — and GIRLSET embodies the promise of that experiment. It knows that “multicultural girl group” has become something of a buzzword, but for the members, it’s a lived reality. They’re deeply proud of representing their own cultures within K-pop.
“I always feel so happy being the representation for Latinas,” Camila says, glowing. “Growing up, seeing Fifth Harmony with Cuban members made me feel like maybe I could also make it. I know there are girls and boys seeing us now and seeing themselves in us. That’s really special.”
Lexi, who is Hmong American, adds, “Being able to bring different communities together is such a great feeling. Everyone loving the same thing — that’s the best part.” As Camila explains, “We want people to see themselves in us. That’s the whole point.”
GIRLSET isn’t alone in that mission — but does the group feel any rivalry with its fellow L.A.-based K-pop-trained peers in KATSEYE? “We’re all just doing our own thing,” Kendall says matter-of-factly. The act is aware of the constant online comparisons between it and KATSEYE but isn’t phased by them. “It shouldn’t be about competition,” Camila says with a smile. “Let’s just slay together.
“It’s amazing seeing so many talented girls from different cultures coming together and making something great,” she adds. “I think what they’re doing is amazing — and they’re super sweet. It’s more about appreciating both [groups]. I think we’re both special in our own ways.”
When it comes to GIRLSET’s place within the larger multicultural group movement, JYP Entertainment says, “The members were born and raised in North America, but they were trained under JYP’s signature training that highlights discipline and artistry. The combination of their cultural diversity and K-pop artistry makes them truly distinctive. For us, GIRLSET isn’t just joining the movement; they’re helping to shape the next era of U.S. pop.
“The goal isn’t just success,” the label adds. “It’s endurance and legacy.”
GIRLSET feels a shared responsibility to represent authenticity in a world that prizes perfection. “We always want to be a group that speaks about real things and be raw and realistic,” Savanna says. “We’re just people with emotions, and I think that’s what we want to be remembered for.”
Savanna
Munachi Osegbu
Of course, being a K-pop act based in L.A. rather than Seoul presents logistical challenges. In Korea, JYP groups have access to fellow idols who can share tips and tricks of the trade, as well as state-of-the-art training facilities, built-in TikTok content buddies and consistent opportunities to sharpen their skills on Korean music shows. K-pop fans have come to love seeing their faves collaborate with other groups, and crossover TikTok dance challenges have become common.
“L.A. is different,” Kendall notes. “There aren’t weekly music shows where idols naturally meet. It’s less accessible, but if it happens, it happens.”
They’ve still found community within the JYP universe. GIRLSET’s members reflect on opening for TWICE in early 2024 with admiration. “Seeing TWICE’s show was inspiring,” Camila recalls. “Lily from NMIXX is really sweet. She’s given advice about this lifestyle and overcoming things.” Kendall adds, “We’ve also talked with [NiziU members] Nina and Rima. Speaking English makes it easier to connect. They’ve been supportive.”
As for their L.A. peers? “Maybe one day,” Kendall says of connecting with KATSEYE. “They’re super talented and sweet; the essence of their group is similar to us — global, representing your culture, bringing something new.”
For GIRLSET, just the opportunity to start fresh means everything. When asked what they want fans to remember most about this new era, the answers come quickly: survival, growth, empowerment.
“We’ve all pushed ourselves individually and become so much stronger as a group,” Savanna says. “Our versatility now — it feels like a power. Seeing our artistry come to life in sessions and performances, it hit me: We’re really transforming now. We’re becoming the artists we were meant to be.”
They’re proud of how far they’ve come — and ready to show it. “This new music era feels a lot like, really, the core of us. The vibe of this comeback is very much our vibe,” Kendall teases. “It’s bold, confident and full of personality. Definitely a new chapter.”
Munachi Osegbu
The group’s latest single, “Little Miss,” represents that new chapter. Due Nov. 14, the Y2K-flavored pop track with hip-hop edges and GIRLSET’s signature vocal prowess is the act’s second release since its redebut, and it cements its image as four young artists embracing their power. “The song feels like the core of us,” Kendall says. “It’s really our essence.”
“I think I really value that during this era, we just get to be truly who we are moving forward,” Savanna reflects confidently. “I think that’s something that I appreciate the most about being GIRLSET now.”
And when things get heavy, they lean on each other. “No one else could ever understand us like we do,” Camila says. “We’re living it together.”
This story appears in the Nov. 15, 2025, issue of Billboard.
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Long live CMAT summer. The Irish pop star has been revealed as the latest headliner for the 2026 edition of London’s Lido Festival, performing on June 12.
The booking marks the Irish pop star’s first-ever U.K. festival headline slot. It follows a stellar year that has seen her cross over into the mainstream and deliver much talked-about performances at high-profile events including Glastonbury, All Points East and Green Man.
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She will be joined by a stacked bill of artists on the day, with supports including Father John Misty and Sharon Van Etten & The Attachment Theory. The other names confirmed to appear so far are: Beverly Glenn-Copeland and Elizabeth Copeland, Getdown Services, Katy J Pearson, Junior Brother, Jacqui McShee’s Pentangle and Zakia (DJ).
Tickets for the event, which will take place in Victoria Park, go on sale on Thursday (Nov. 13) at 10 a.m. (BST). More information can be found at the festival’s official website.
In August, CMAT (born Ciara Mary-Alice Thompson) unveiled her third studio album EURO-COUNTRY via AWAL. Upon release, the record hit No. 2 on the Official U.K. Albums Chart, her highest placing on the chart to date.
The continued success of EURO-COUNTRY has also seen the songwriter land a Mercury Prize 2025 nomination, as well embark on sold-out tours across the U.K. and the U.S. The LP follows 2023’s Crazymad For Me and her debut album If My Wife New I’d Be Dead, released the year prior.
The inaugural Lido festival took place this year, welcoming 35,000 fans a night with Charli xcx, Jamie xx, Massive Attack and London Grammar all topping the bill across two weeks of shows.
Named after Victoria Park’s Lido Field, the event has a strong focus on sustainability and holds community events during the week. Its second iteration will also include electronic duo Maribou State, who are headlining the festival on June 20.
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Peach PRC is set to headline her biggest shows yet, announcing a string of arena and theatre dates across Australia and New Zealand for March 2026.
The Australian pop star will launch her Wandering Spirit tour in Melbourne on March 12 at the Palace Foreshore, followed by stops in Adelaide, Sydney, Brisbane and Perth. She’ll then make her New Zealand headlining debut with performances at Shed 6 in Wellington on March 28 and Powerstation in Auckland on March 29.
The tour follows a blockbuster two years for Peach, who released her debut EP Manic Dream Pixie in 2023. That project debuted at No. 1 on the ARIA Albums Chart and featured the breakout single “Perfect for You,” which went on to win Best Single at the 2024 Rolling Stone Australia Awards.
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Earlier this month, Peach returned with her latest single “Miss Erotica” — a provocative, high-fantasy ode to strip clubs and the showgirls who shaped her early adulthood. Co-written in Los Angeles with Ryan Linvill and Maya Kurchner (Olivia Rodrigo, Chappell Roan), the track marks a bold creative turn for the singer, ushering in what she has described as her most empowered era to date.
Across her catalogue, Peach PRC has racked up over 230 million global streams, alongside more than 2 billion social views and 27 million video views. Her early hits — including “Josh,” “God Is a Freak” and “Forever Drunk” — earned her a loyal online following, but her live presence has grown in tandem. The 2026 tour marks her most extensive run to date, following support slots for Yungblud and previous sold-out headline dates in Sydney and Melbourne.
Joining her on all Australian dates are New York pop singer Maude Latour — who released her debut album Sugar Water in 2024 and has appeared at major festivals including Lollapalooza and Governors Ball — and rising Sydney artist Salty, whose viral 2024 single “See U in 3” kicked off a new era of theatrical, emotionally rich pop.
Frontier Touring will host a members-only presale beginning 1 p.m. local time on Thursday, Nov. 13. General sale begins Friday, Nov. 14 at 3 p.m. local time.
Trending on Billboard “Amazing!” That was just one of the many accolades being shouted out by fans exiting the Kia Forum on Sunday night after Brandy and Monica wrapped a two-night stopover in Inglewood, California, on their co-headlining The Boy Is Mine Tour. Since launching the highly anticipated 32-date tour in Cincinnati (Oct. 16), Brandy […]
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Michael Jackson’s “Thriller” strikes like a beast, rising from No. 32 to No. 10 on the Billboard Hot 100 dated Nov. 15, granting the late King of Pop a new chart longevity record.
With the song, which hit No. 4 on the Hot 100 in 1984, Jackson, who died in 2009, becomes the first artist ever to rank in the top 10 in six distinct decades (the 1970s, ‘80s, ‘90s, 2000s, ‘10s and now ‘20s).
Jackson surpasses Andy Williams, who died in 2012 and whose history includes placements in the top 10 in five decades (‘50s, ’60s, ’70s, ‘10s and ’20s, extended since 2018 thanks to “It’s the Most Wonderful Time of the Year”).
Jackson first reached the Hot 100’s top 10 as a soloist in November 1971 with his debut on his own, “Got To Be There.” Jackson boasts 30 top 10s, including 13 No. 1s. Until this week, Jackson, who died in 2009, last ranked in the top 10 as featured on Drake’s “Don’t Matter to Me” in 2018.
Notably, with Jackson, then just 11 years old, as a member, the Jackson 5 spent their first week in the Hot 100’s top 10 on the last chart of the ‘60s, dated Dec. 27, 1969, with their breakthrough hit, “I Want You Back.”
With Halloween kicking off the Oct. 31-Nov. 6 tracking week, “Thriller” drew 14 million official streams (up 57% week-over-week) and 9.3 million in radio airplay audience (up 124%), while selling 3,000 (up 1%) in the United States, according to Luminate.
Additionally, “Thriller” is now Jackson’s sole longest-charting Hot 100 hit: 26 weeks. It one-ups two other classics from his Thriller album, as “Billie Jean” and “Beat It” each spent 25 weeks on the chart beginning in 1983.
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Charli xcx contributed a handful of songs to the soundtrack for Emerald Fennell’s Wuthering Heights film, and the first of the batch arrived on Monday (Nov. 10) with “House.”
An accompanying ominous “House” visual directed by Mitch Ryan (he also helmed Charli’s “Party 4 U” video) was released alongside the spooky single and features a guest appearance from Velvet Underground’s John Cale.
The eerie clip features narration from Cale as Charli awakens in a gloomy house and pours hot candle wax on her body. The scene pivots to a raven flying into one of the home’s bedrooms while the British pop star and Cale duet in a demonic tone: “I think I’m gonna die in this house.”
Dramatic strings reach a crescendo and Charli xcx unleashes a frightening scream while repeating, “I think I’m gonna die in this house.” “In every room, I hear silence,” Cale says to close out the visual. Charli moves from the home to lying on her back in a white dress on a pile of leaves in the barren woods.
It’s a stark pivot from the amusing chaos of the Brat world, showcasing Charli’s range as she continues to make her presence felt in Hollywood.
The 33-year-old released a statement explaining her involvement in the soundtrack and the origin of “House,” which she describes as “elegant and brutal.”
“I got a call from Emerald Fennell last Christmas asking whether I would consider working on a song for her adaptation of Wuthering Heights,” she said. “I read the script and immediately felt inspired so Finn Keane and I began working on not just one but many songs that we felt connected to the world she was creating. After being so in the depths of my previous album I was excited to escape into something entirely new, entirely opposite. When I think of Wuthering Heights I think of many things. I think of passion and pain. I think of England. I think of the Moors, I think of the mud and the cold. I think of determination and grit.”
Charli continued: “A few years ago I watched Todd Haynes’ documentary about The Velvet Underground. As many of you know I’m a huge fan of the band and was really taken by the documentary. One thing that stuck with me was how John Cale described a key sonic requirement of The Velvet Underground. That any song had to be both ‘elegant and brutal.’ I got really stuck on that phrase. I wrote it down in my notes app and would pull it up from time to time and think about what he meant.”
“When working on music for this film, ‘elegant and brutal’ was a phrase I kept coming back to. One day whilst on tour in Austin, Finn and I went to the studio and wrote the bones for a song that would eventually become “House.” When the summer ended I was still ruminating on John’s words. So I decided to reach out to him to get his opinion on the songs that his phrase had so deeply inspired, but also to see whether he might want to collaborate on any.”
“We got connected, we spoke on the phone and wow … that voice, so elegant, so brutal. I sent him some songs and we started talking specifically about ‘House.’ We spoke about the idea of a poem. He recorded something and sent it to me. Something that only John could do. And it was … well, it made me cry.”
“I feel so lucky to have been able to work with John on this song. I’ve been so excited to share it with you all, sitting quietly in anticipation. And on Monday, it’s yours.”
Wuthering Heights is set to hit theaters on Feb. 13. Fennell’s adaptation of Emily Brontë’s gothic novel stars Jacob Elordi and Margot Robbie. Charli xcx will also star in A24’s The Moment in early 2026, which is the first project coproduced by her Studio365 venture.
The Essex native is booked and busy on the film side, as she’s notched roles in Daniel Goldhaber’s remake of Faces of Death as well as I Want Your Sex, The Gallerist, 100 Nights of Hero and Sacrifice.
Winter is coming. Watch “House” below.
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HUNTR/X’s “Golden,” from Netflix’s record-breaking animated movie KPop Demon Hunters, tops the Billboard Global 200 and Billboard Global Excl. U.S. charts for a 15th week each. In July, the song became the first No. 1 on each survey for the act, whose music is voiced by EJAE, Audrey Nuna and REI AMI.
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Golden” glows atop the Global 200 with 117.4 million streams (down 3% week-over-week) and 14,000 sold (up 7%) worldwide in the week ending Nov. 6.
The song ties for the third-longest command since the Global 200 began in September 2020. Mariah Carey’s “All I Want for Christmas Is You” has ruled for 19 weeks since that December and Lady Gaga and Bruno Mars’ “Die With a Smile” dominated for 18 weeks starting in September 2024. “Golden” matches Harry Styles’ “As It Was,” which led for 15 weeks in 2022.
(It’s ti-ime: “All I Want for Christmas Is You” reenters the latest Global 200 at No. 43, with 22.7 million streams, up 172%, and 2,000 sold, up 217%, worldwide.)
Taylor Swift’s “The Fate of Ophelia” holds at No. 2 on the Global 200, after two weeks at No. 1 in October; Alex Warren’s “Ordinary” rises 4-3, following 10 weeks on top beginning in May; Swift’s “Opalite” slips 3-4, after hitting No. 2; and Olivia Dean’s “Man I Need” keeps at No. 5, after reaching No. 4.
“Golden” leads Global Excl. U.S. with 89.4 million streams (down 4%) and 7,000 sold (up 1%) beyond the U.S.
As on the Global 200, “Golden” claims the third-longest No. 1 run on Global Excl. U.S., trailing only ROSÉ and Bruno Mars’ “APT.” and “Die With a Smile,” which reigned for 19 and 17 weeks respectively in 2024 into this year.
“The Fate of Ophelia” repeats at No. 2 on Global Excl. U.S. after two weeks at the summit in October; Kenshi Yonezu’s “Iris Out” climbs 6-3, after reaching No. 2; LE SSERAFIM and j-hope’s “Spaghetti” drops 3-4 in its second week; and “Ordinary” falls 4-5 after eight weeks at No. 1 starting in May.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 15, 2025) will update on Billboard.com tomorrow, Nov. 11. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
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