Elton John is stepping into this Christmas season with a whole new look. On Wednesday (Dec. 18), the indefatigable 78-year-old pop superstar unwrapped a brand new video for his holiday classic, “Step Into Christmas” in which actress/model Cara Delevingne takes on the lead role as 1970s Elton.

In the Dan French-directed clip, the 1973 song is given new life when Delevingne slips on a pair of John’s signature flashy shades and colorful, quilted bell-bottom suit with high-heeled boots to lip synch along to the jaunty ditty that has long been an upbeat antidote to the melancholy, wistful sounds of other Christmas standards.

Ostensibly a behind-the-scenes look at the troubled production of the original video, the new clip finds two producers fretting over the scene not looking “Christmassy” enough, complaining that the balloons and red feather boa draped on John’s piano don’t hit the right festive tone.

But once Delevingne slips into place and starts mouthing along to the the triple-platinum hit originally released on Nov. 23, 1973 — which hit No. 1 on the Billboard Christmas singles chart in the U.S. at the time — their tune begins to change. As side-by-side video of the new clip and the original play on monitors, a fan busts in with a sign expressing adoration for the singer only to be told, “she’s not Elton,” adding another layer of confusion to the shoot as an engineer tells “Elton” to smile.

All along, the crew tries to Christmas-up the scene by adding festive elements, but when reindeer and mules aren’t available they settle for a turkey instead.

In a statement, lifelong John fan Delevingne said, “Elton has always been an idol of mine, to say his music has had a deeply profound effect on me is an understatement. To be asked by him to PLAY him in this recreation was a dream that I didn’t know I had until it happened. Honestly, I wish I could pretend to be Elton every day. I hope that Elton may one day return the favor and agree to play me in my not-yet-developed, written, pitched, or funded biopic. Fingers crossed.”

The admiration is mutual, with John adding, “I saw Cara at Glastonbury last summer, and we talked about how much we’d love to work together if the right idea came up. She’s hilarious to spend time with; we both have quite a self-deprecating sense of humor. When someone suggested the idea of her playing me in a riff on the 1973 ‘Step Into Christmas’ video, I just thought it was the perfect opportunity. Thank God Cara thought the same because it came out great.”

It’s not the first time John has tapped someone else to play him in one of his videos. Back in 2001, he cast Justin Timberlake to play a 1970s version of him in the video for the song “This Train Don’t Stop Here Anymore.” You can also see John now in the new Disney+ doc Elton John: Never Too Late, which features the eponymous song he recorded with friend Brandi Carlile for the film exploring his 50-year music career.

Watch the new (and old) “Step Into Christmas” videos below.

For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard will be counting down our editorial staff picks for the 10 Greatest Pop Stars from 2024 all this week — you can see the artists we’ve already counted down, plus our Honorable Mentions, Comeback of the Year and our Rookie of the Year artists all right here. Now, at No. 6, we remember the year in Ariana Grande — who made major impact in the worlds of music, television and film in 2024, not to mention across the whole internet.

Ariana Grande began 2024 less like her bubbly Wicked character Galinda Upland and a bit more like her embattled counterpart, Elphaba Thropp. She might not have been Public Enemy No. 1 for everybody, but Grande was social media’s main course at the onset of her Eternal Sunshine era. 

After the turbulent Positions rollout, Grande paused her habit of churning out new full-length in almost yearly fashion and prioritized auditioning for – and eventually filming – Wicked. In July 2023, news broke that Grande and her ex-husband Dalton Gomez had separated at the top of the year and were planning to legally end their two-year marriage. Days later, reports swirled that Grande had begun dating Ethan Slater, her Tony-winning Wicked co-star. Slater, in turn, filed for divorce from Lilly Jay, his wife of five years and mother of their son, less than ten years later. Though Grande and Slater began dating after their respective marriages were over — both divorces were legally finalized in time for the Wicked premiere – the chaotic timeline led social media to unfairly cast Grande as the mean girl homewrecker who’d destroyed a happy family. 

Grande, for her part, kept her lips sealed regarding her romantic life, which made her first musical statement 2024 all the more powerful. On Jan. 12, Grande her first solo single in four years: a sassy, house-rooted kiss-off called “Yes, And?” A direct response to the Internet noising marring her name (“Why do you care so much whose d—k I ride?”), the song brought Grande back to the top of the Billboard Hot 100 – a spot she did visit twice in the time between Positions and Eternal Sunshine, but only as a special remix guest of star collaborator The Weeknd – with the first new No. 1 single of 2024. Culturally, the song had a much softer presence in the lexicon in comparison to past Grande smashes like “Thank U, Next” or “Problem,” but even before its eventual Mariah Carey remix and Grammy nomination (best dance pop recording), “Yes, And?” did what Grande needed it to: effectively shift the conversation away from her personal life and to her music. 

Inspired by her marriage and its dissolution, as well as Michael Gondry’s 2004 Oscar-winning film Eternal Sunshine of the Spotless Mind, Grande’s seventh studio album finds her delivering some of the sharpest and most poignant songwriting of her career. Crafted alongside longtime collaborators Max Martin and Ilya with Grande writing music and lyrics on each track, Eternal Sunshine uses Gondry’s film and the astrological concept of the Saturn Return (the period of a person’s late 20s and early 30s, during which they face real adult challenges for the first time) to help Grande make peace with the perceived failure of love. The record blends pop, R&B, house and slight dashes of wistful acoustic guitar, which beautifully complement the depth of Grande’s post-Wicked voice. 

On March 23, Eternal Sunshine debuted atop the Billboard 200, earning the largest U.S. opening-week total of 2024 at the time (227,000 units) and setting the record for the most-streamed album in a single day in 2024 on Spotify at the time (58.1 million). All 12 chart-eligible songs debuted on the Hot 100, including “We Can’t Be Friends (Wait For Your Love),” an evocative, dancefloor tearjerker that led the way as the album’s focus track, becoming Grande’s ninth Hot 100 chart-topper. Thanks to Eternal Sunshine, Grande became just the second woman in Billboard history (after Taylor Swift) to simultaneously top the Artist 100, Hot 100, Billboard 200, Hot 100 Songwriters, and Hot 100 Producers charts. 

Two months after the album’s release, Grande performed a private set for MET Gala attendees. In addition to renditions of her biggest hits, she also invited Wicked co-star Cynthia Erivo onstage to cover Whitney Houston and Mariah Carey’s “When You Believe” — a smart bookend to the pair’s matching Super Bowl fits (where they debuted the film’s first trailer) and a peek at the rousing phenomenon the film would become. 

In addition to “We Can’t Be Friends,” which earned a VMAs win for best cinematography, Grande found further single success in “The Boy Is Mine.” After originally peaking at No. 18 after the album’s release, “Boy” returned to the Hot 100 following its Catwoman-inspired music video and Brandy and Monica assisted remix, which earned the ladies a Grammy nod for best pop duo/group performance. Even though Eternal Sunshine is the only 2024 album to launch two Hot 100 No. 1 hits, neither of those songs dominated the culture like other songs that barely sniffed the top 40. There was so much else going on in the pop world that listeners moved on from Eternal Sunshine very quickly, but the album did what Grande need it to do: put the focus back on her work and off her dating life. 

After closing out the summer with a 10^th anniversary re-release of her blockbuster My Everything album, Grande put a few finishing touches on her pop stardom before fully returning her attention to Wicked. She dropped an expanded version of Eternal Sunshine featuring live versions of seven tracks on Oct. 1, with an appearance on Charli XCX’s Brat remix album arriving ten days later. Charli tapped Grande for a reimagining of “Sympathy Is a Knife,” a refreshingly honest look at fame and insecurity cast across a hyperpop soundscape. Ultimately, “Sympathy” became the second-highest charting Hot 100 entry from the Brat era and served as a low-key farewell from Ariana the Pop Star™. “’Cause it’s a knife when you’re finally on top/ ‘Cause logically the next step is they wanna see you fall to the bottom,” they harmonize in the pre-chorus. 

The day after “Sympathy” dropped, Grande hosted one of the best and most popular Saturday Night Live episodes of the year. She already served as musical guest while promoting Eternal Sunshine at the top of this year, but this was the first time she had hosted since 2016. Between her dazzling opening monologue, ace Jennifer Coolidge impression, and the hilarious Antonio and Domingo sketches, Grande’s Oct. 12 SNL episode earned the program its highest ratings in three years and became the most-watched SNL episode ever on Peacock in just two days. With her vocal virtuosity and acting chops – she even successfully played a bad singer in the viral Domingo sketch — at the forefront of the general public’s mind, Grande had perfectly positioned herself for Wicked to be her crowning moment of the year. And “Just Like Magic,” that’s exactly what happened. 

After a whirlwind global press tour that delivered gorgeous looks and memes galore — “Holding space,” anybody? Maybe the constant crying rings a bell? — Wicked, helmed by John M. Chu and also starring Michelle Yeoh, Jonathan Bailey and Jeff Goldblum – debuted atop both the domestic ($114 million) and global ($164.2 million) box offices, with the largest opening ever for a film based on a Broadway musical. Wicked, the first of a two-part film adaptation of the 2004 Tony winner, has made over $525 million worldwide, becoming one of the highest-grossing films in 2024. Grande earned rapturous reviews for her performance in the film, with her comedic timing, vocal tenacity and physical commitment to the character’s journey helping her win over the film industry the same way she captivated the music industry. In addition to several honors from critics groups, Grande has emerged as a formidable front-runner in the best supporting actress Oscar race in her first-ever major starring film role, earning nominations at both the Golden Globes and Critic’s Choice Awards for her turn as Glinda. 

Of course, Wicked’s success will always be tied to his music, and Grande also handily upheld that legacy. In December,  Wicked: The Soundtrack (billed to Grande, Erivo and Various Artists) debuted at No. 2 on the Billboard 200, marking the highest debut for a soundtrack of a musical stage-to-film adaptation. The set also entered at the summit of Top Album Sales, Top Soundtracks and Vinyl Albums, and sent seven of its songs to the Hot 100, including Grande’s solo track “Popular” (No. 53)”- -making for a sweet full-circle moment after she interpolated the showtune on “Popular Song” (with MIKA) from her 2013 debut album. 

To end the year with a RIAA Platinum-certified and triple-Grammy-nominated No. 1 album in one hand a film that grossed half a billion dollars in the other – with an Oscar nomination also seemingly right at your fingertips — is wildly impressive. It’s even more extraordinary when you remember that 11 months ago it felt like practically nobody was on Grande’s side. But that’s the eternal challenge of pop stardom, and in 2024, Ariana Grande once again proved that she’s not only more than capable of conquering that challenge – she’s powerful enough to render her haters completely insignificant with a wave of her baby pink, crystal-encrusted wand. 

Check back later today for the reveal of our No. 5 Greatest Pop Star, and stay tuned all week as we roll out our top 10 — leading to the announcement of our top two Greatest Pop Stars of 2024 on Monday, Dec. 23!

Cardi B has some thoughts about a certain 50% of the human population. In a clip from a recent livestream posted on X Wednesday (Dec. 18), the rapper went off about men not being able to “handle” being with powerful women, a topic she’d previously spoken about in another livestream and a string of tweets the day prior.

“[Men] love the idea of dating a boss a– b—h, but they can’t handle it,” Cardi told followers. “It messes with their insecurities or something.”

The “WAP” artist also came for women who don’t support other women based on the men they’ve been with, saying, “Don’t ever tell me that I’m not a bad b—h because I used to be with a f–k n—a.”

“And a f–k n—a still can’t let a ho go,” she added smugly, seemingly referencing estranged husband Offset. “I know my value, b—h … There’s a reason why they compare men to dogs.”

The video comes a few days after Cardi attended the Migos rapper’s birthday party over the weekend despite filing for divorce in July. The estranged couple recently welcomed their third child, and also share 6-year-old daughter Kulture and 3-year-old son Wave.

On Tuesday (Dec. 17), Cardi made a series of tweets clarifying another recent livestream in which she apparently delved into similar topics, writing that men “are intimidated of women that make their own Money cause their not as easy to control.”

“Do you stop being a bad b–h cause you f–kin a fck boy ?” she added. “Don’t let a man actions make you think less of yourself ,,,FIND YO SELF HO!”

The Whipshots founder’s new comments echo what she said about ‘Set in September, just a couple months after she filed for divorce a second time in their seven-year marriage. After the “Stir Fry” musician accused her of being unfaithful, Cardi slammed him on Instagram Live, saying, “I’m too much woman for you.”

“I’m too much of a boss b—h for you,” she added at the time. “And I always been too good for you.”

Watch Cardi’s full video and see her tweets below.

The Weeknd‘s Q4 career moves have proven the pop star has remained dedicated to finishing the year strong before kicking off 2025 with a bang: He performed a one-night-only stadium show in São Paulo, Brazil in September and released three singles that he debuted during the show: “Dancing in the Flames,” the Billboard Hot 100 No. 3 hit “Timeless” with Playboi Carti and “São Paulo,” featuring Anitta. In October, he took over a handful more stadiums in Melbourne and Sydney during his rescheduled Australian tour. And the following month, he announced his sixth studio album Hurry Up Tomorrow will be released on Jan. 24, and he’ll perform another one-night-only stadium show at Pasadena’s Rose Bowl the day after.

And somewhere in the middle of all of this, The Weeknd also became the artist with the most songs to hit one billion streams on Spotify, with 24 songs in the Billions Club. And 1,300 of his top listeners on Spotify got to relive those hits during Spotify’s first-ever Billions Club Live concert at Santa Monica’s Barker Hangar on Tuesday evening (Dec. 17).

“It’s a little holiday gift for the OG XO fans supporting me since day one,” he said while blue strobe lights kicked off his 70-minute set. “2024 is almost done. But 2025, we got some new s–t coming out. New album, new tour, new movie. New everything!” His upcoming album Hurry Up Tomorrow, which is the third and final installment of his After Hours / Dawn FM trilogy, will be supported by a psychological thriller film of the same name that will mark the singer’s feature-starring debut.

It’s poetic that the Canadian-Ethiopian superstar (real name Abel Tesfaye) is closing this chapter of his career the same way he started it over a decade ago, with a trilogy of cohesive projects. Outside of his big-picture ideas, he finds clever ways to thread together little details from his entire discography. The popular idiom “this house is not a home,” for example, is a common lyrical theme, which The Weeknd references not only in the 2020 After Hours title track he performed but also dating back to “Twenty Eight” from his 2011 debut mixtape House of Balloons. But for someone as beloved as him, The Weeknd feels right at home on stage even during the remarkably intimate show.

“It’s been a while since I’ve been at a venue like this. Feels like back in the Kiss Land tour or Trilogy tour,” he reflected. “Maybe after the stadium tour, we might go back in time and we might do smaller venues.”

He tapped his frequent collaborator Mike Dean — whom The Weeknd jokingly blamed for his minor coughing fit because he was “hitting that f–king bong all night” — to steer the set “wherever you wanna take it,” before the hip-hop superproducer’s eerie synths introduced Metro Boomin‘s “Creepin,’” featuring The Weeknd and 21 Savage. The Weeknd later summoned his drummer Ricky Lewis to play “Popular,” the platinum-certified hit with Madonna and Carti from his 2023 HBO drama series The Idol. It’s one of two songs from the show to hit one billion Spotify streams, with the other being “One of the Girls” with JENNIE and Lily-Rose Depp. Then, he called on his guitarist Patrick Greenaway to cue the next song — and Greenaway’s scene-stealing shredding summoned “Heartless.” The Weeknd had multiple opportunities to bring out special guests, considering 13 of the 24 songs in the Billions Club are collaborations, but the unprecedented concert felt more suited for his solo victory lap rather than an all-star relay race.

“Oh s–t, this hit a billion?!” he marveled as “Reminder,” from his 2016 album Starboy started playing. The Weeknd warned the crowd of the song’s gunshot background sound during the chorus, a conscious reminder his concertgoers have picked up on from his previous shows. And while this one’s circular stage setup was much simpler than his ornamented stadium show designs, it didn’t stop The Weeknd from making the night memorable: Yellow spotlights flickered as he sang the “I just wanna see you shine ’cause I know you are a stargirl” outro from his and Lana Del Rey‘s “Stargirl Interlude,” and they later twinkled to recreate the grandiose ballroom feel of “Earned It” from the 50 Shades of Grey film. And red strobe lights provoked the sinister aura of his 2015 Hot 100 chart-topper “The Hills” from Beauty Behind the Madness.

He asked if any of his ballads had hit one billion Spotify streams to slow down his set, but the singer was taken aback by the siren-like synth intro of his Gesaffelstein-featuring “I Was Never There” from his 2018 EP My Dear Melancholy, classifying it as more of a “power ballad.” After his 2012 debut single “Wicked Games” (“I know that song didn’t hit a billion, but I felt like I had to do it. It’s necessary, at least one House of Balloons song,” he said matter-of-factly) and “Die For You” — which experienced a TikTok-fueled resurgence six years after its release and produced the Hot 100 No. 1 remix with Ariana Grande — The Weeknd wanted to “pick up the pace” and Daft Punk‘s fuzzy disco-pop production from “I Feel It Coming” instantly got the audience in a groove.

After what felt like the ultimate finisher with “Blinding Lights” — the first song to hit four billion Spotify streams as well as the top Hot 100 song of all time — The Weeknd teased his Hurry Up Tomorrow era by singing a snippet of an unreleased song he’s teased during previous shows, reportedly titled “In Heaven.” “In 2025, everything is fine. In 2025, everything will be fine. I’ll come back for you, XO. But until then, hurry up tomorrow! Hurry up tomorrow! Hurry up tomorrow! Hurry up tomorrow!” he bellowed.

Check out the full set list from The Weeknd’s Spotify Billions Club Live concert below.

Encore:

Finneas is laying it all on the table.

The Grammy-winning musician and producer is set to appear in the upcoming Peacock series, Laid, and in a new preview clip shared exclusively with Billboard on Wednesday (Dec. 18), he sits down with the show’s star, Stephanie Hsu, on the duo’s third date.

While enjoying dinner, Hsu and Finneas commiserate about the frustration of dating apps and “the absolute torture we go through just to get to know a person.”

Finneas then chimes in, “I just wish people could be more honest with each other,” before sharing some facts about himself: “I’m looking to date someone in the next couple years, get married and have kids. I dislike most things, but I do like food, television and I promise, if I ever find out I have a family member who eats people, I’ll tell you without dancing around it.”

After Hsu agrees to also tell him about a cannibal relative, the continue on with their date. Laid follows Hsu’s character as she “finds out her former lovers are dying in unusual ways and must go back through her sex timeline to confront her past in order to move forward,” per the series description.

Laid arrives on Peacock starting on Dec. 19. If you’re not subscribed, plans start at $7.99 for Peacock Premium and $13.99 for the commercial-free Peacock Premium Plus.

Watch Finneas and Hsu in the exclusive Laid preview clip below.