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Are you looking for a new series to binge-watch? Amazon Prime has a new original series titled, Citadel Diana. This six-episode series premieres its first season on Thursday (Oct. 10) on Amazon Prime Video, according to Amazon’s press release.

This Italian series is set in Milan in 2030, and follows Diana Cavalieri (played by Matilda De Angelis) as she embarks on her mission as a double agent for the global spy agency Citadel. In this journey, she goes undercover in Manticore, “the rival agency that destroyed Citadel eight years ago,” according to the series’ description.

If you enjoy spy thriller series, this is a great option to add to your watchlist.

Alessandro Fabbri is the creator of this series, with Gina Gardini as the showrunner. Arnaldo Catinari, known for his work on Blessed Madness and many other films, is the director. This six-episode series is produced by Cattleya and executive produced by Gardini, Riccardo Tozzi, Marco Chimenz, Giovanni Stabilini, Anthony Russo, Joe Russo, Angela Russo-Otstot, Scott Nemes and David Weil.

The cast for this project includes Matilda De Angelis, Lorenzo Cervasio, Maurizio Lombardi, Julia Piaton, Thekla Reuten, Giordana Faggiano, Daniele Paoloni, Marouane Zotti, Carlo Sciaccaluga, Bernard Schütz, Jun Ichikawa, Maxim Mehmet and Filippo Nigro.

Keep reading for directions on how to stream the series for free.

How to Watch

Citadel Diana is a Prime New Original Series. The first season premieres on Prime Video on Thursday (Oct. 10). The series consists of six episodes. If you’re not a subscriber, you can join Amazon Prime and start your 30-day free trial to watch Prime Video movies and more.

Prime Video provides an extensive array of exclusive TV series, movies and other must-watch programs, and you can add Prime Channels such as Paramount+, Max, Starz and Showtime, BET+ and AMC+.

Amazon Prime costs $14.99 per month after the free trial (students and EBT/SNAP recipients can join for 50% off). Prime members get access to Prime Video, Prime Music, Prime Gaming and Prime Reading, in addition to free same-day, one-day or two-day delivery and exclusive discounts. 

Besides Citadel Diana, Prime Video features exclusives such as Killer Heat, It Ends With Us, Marlon Wayans: Good Grief, Prime Video feature exclusives including The Idea of You, Fallout, Them 2, Space Cadet, Invincible, Road House, Reacher, Mr. & Mrs. Smith, Citadel, Daisy Jones & The Six, The Marvelous Mrs. Maisel, Swarm, Harlem, The Boys, Tom Clancy’s Jack Ryan, Fleabag, The Summer I Turned Pretty, The Wheel of Time and The Legend of Vox Machina.

Watch the trailer for Citadel Diana below.

JO1’s “WHERE DO WE GO” hits No. 1 on the Billboard Japan Hot 100, dated Oct. 9, tallying the week ending Oct. 6.

The title track of JO1’s ninth single debuted at No. 31 on the chart dated Sept. 18 after being released digitally on Sept. 9. It remained in the Japan Hot 100 since then and soared 73-1 powered by sales with the release of the CD on Oct. 2. The track rules sales this week while coming in at No. 4 for downloads, No. 36 for streaming, No. 2 for radio airplay, and No. 29 for video views. The CD sold 732,009 copies, coming in second to the group’s previous single “HITCHHIKER” (738,776 copies), currently the record-holder for highest first-week sales for the band.

SKE48’s “Kokuhaku Shinpakusu” debuts at No. 2. The group’s 33rd single launched with 319,722 copies to come in at No. 2 for sales, while hitting No. 64 for radio.

Mrs. GREEN APPLE’s “Lilac” slips a notch to No. 3. The former No. 1 hit continues to rule streaming for the 16th straight week, though showing a slight decrease (94%) from the week before. The track comes in at No. 3 for video, No. 15 for downloads, and No. 5 for karaoke.

ATEEZ’s “Birthday” bows at No. 4. The title track off the K-pop boy band’s fourth single in Japan sold 154,296 copies in its first week to debut at No. 3 for sales. The track also comes in at No. 93 for downloads and No. 65 for radio. No. 4 on the Japan Hot 100 is tied for the group’s best position so far, previously achieved by “NOT OKAY.”

King & Prince’s “WOW” enters at No. 5. The track off the duo’s sixth album Re:ERA dropped digitally on Sept. 30 and rules downloads and radio, while also coming in at No. 25 for video. This is the second time King & Prince topped downloads, following “halfmoon.”

Official HIGE DANdism’s “Same Blue” debuts at No. 7. The opener for the anime series Blue Box comes in at No. 2 for downloads (11,375 units), No. 4 for radio, No. 20 for video, and No. 27 for streaming.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Sept. 30 to Oct. 6, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

Concord is raising $850 million through an existing asset-backed security (ABS), according to a new report by Kroll Bond Rating Agency (KBRA). These new notes are the third series of notes of a $2.6 billion ABS. The proceeds will be used to acquire approximately $217 million of assets that will be contributed to the ABS’s collateral pool, according to the Tuesday (Oct. 8) report. The new notes will also redeem the $500 million of the 2023 series of notes from the same ABS. 

Concord issued notes totaling $1.8 billion in 2022 and followed with another $500 million from the same ABS in 2023. Some of those proceeds were used to acquire Round Hill Music Royalty Fund in 2023 and Mojo Music and Media in 2022. Assets from those acquisitions were placed into the ABS as collateral in July, according to KBRA’s report.

“We’ve very much liked the capital structure [of an ABS] that allowed us to relatively easily draw new debt for new acquisitions,” Concord CFO Kent Hoskins told Billboard earlier this year. The 2022 ABS had a “relatively low” loan-to-value ratio in the “low 40s,” according to Hoskins, which provided a buffer to do the 2023 issuance that funded the Round Hill acquisition. 

With the addition of the Round Hill and Mojo Music assets, the value of the catalog backing the ABS grew from $4.2 billion to $5.1 billion, the report says. The catalog includes more than 1 million compositions, master recordings and related assets by artists such as Genesis, Phil Collins, R.E.M., Carrie Underwood and Creed and gets 65% of its revenue from the U.S. Another 14% of revenue comes from Europe and 9% is derived from the U.K. Frontline titles account for just 1.5% of the titles. 

Numerous music companies have raised capital through an ABS, which allows an issuer to borrow money against the revenue created by music assets used as collateral in the transaction. In 2022, Chord, a venture of KKR Credit Advisors and Dundee Partners, did a $733 million ABS and Hipgnosis Song Management raised $222 million with one. Earlier this year, HarbourView Equity Partners and Kobalt put together $500 million and $267 million ABS deals, respectively. Sources have told Billboard that far more unpublicized securitizations have closed in recent years.

By the mid-2000s, Swedish songwriter and producer ILYA — who was then in his late teens — was “grinding, grinding, grinding” without gaining much momentum. It wasn’t until years later, thanks to a fortuitous meeting, that his career finally took off.

ILYA, now 38, recalls how meeting producer Shellback changed his life, as the latter introduced him to the acclaimed and mysterious Max Martin. Soon after, ILYA scored his first smash hit co-producing and co-writing on Ariana Grande and Iggy Azalea’s 2014 collaboration “Problem,” which hit No. 2 on the Billboard Hot 100. His working relationship with Martin — and Grande — has continued, most recently on the pop star’s sixth No. 1 album on the Billboard 200, Eternal Sunshine.

The album produced two Hot 100 No. 1s: lead single “Yes, And?” and “We Can’t Be Friends (Wait for Your Love),” both of which credit ILYA. But those are from far the only hits he’s had a hand in this year; ILYA’s 2024 credits also include Conan Gray, Coldplay and Tate McRae, the latter of whom ILYA helped score her highest Hot 100 debut to date with “It’s ok I’m ok.”

“It wasn’t that long after [McRae’s 2023 second album] Think Later that we were in the studio again,” says ILYA, who reveals that they ideated her current smash before Think Later even arrived. “It was just an idea that just popped back into our life and we were like, ‘Actually, let’s finish this thing.’ It’s just been continuous since that.”

You’ve worked with Tate before. What is your metric of, “I want to keep this relationship going?”

Nowadays, it’s just good vibes. I don’t want to be stressed at work because I’ve been doing it for such a long time now. So my main thing is just like, can we just have fun in the studio? 

When did sessions start after her 2023 album, Think Later?

It was a little continuous because she loves writing and being in the studio. “It’s ok I’m ok” is one of those records where it was like, “Let’s just have fun; let’s make something weird.” I think it shows a brand-new side to her. The more I’ve worked with her, the more I feel like she knows herself as an artist. This one was [started] before Think Later — she knew that it wasn’t right for that moment, but she picked it back up and we really worked to make it into her vision of what she was seeing the song as. That, to me, is really amazing to see.

Tell me more about how the song came together.

The chorus started as a joke. We were in Sweden writing, and when she’s in the studio and so focused, she doesn’t want to eat or drink anything. She’s just like, “I need to finish this song now.” Me being the way I am, I’m always like, “Do you want something to drink? Do you want something to eat?” And she would be like, “It’s OK, I’m OK,” [always] in the same note. And I was just like, “Wait, that’s actually kind of catchy.” And now it’s a song. I like it because it came from her — that’s how she says it.

Do you have a favorite part of this song?

It’s harder for me to listen in that sense, because I’m a part of the song. But I do love when people pinpoint little details that you’ve put there on purpose. I love that.

You have to let go of analyzing. Once the song is out, depending on how people [react] to it, I’m also affected on how I’m listening. If a song comes out and it doesn’t work or it’s not a big thing, then I’m trying to analyze why it wasn’t instead of just enjoying the song. But nowadays I’m a little bit better at that.

Your credits in 2024 include other notable projects such as Ariana Grande’s Eternal Sunshine. With the Grammys approaching, what are your hopes?

I think next year’s Grammys [ceremony on Feb. 2] is going to be insane. I’m hoping we’re going to get nominated, but it’s going to be such a competitive year. It might be the best Grammys in a long time in the sense of who’s going to be nominated and what potential performances there might be. There was so much good music this year.

This article originally appeared in the Oct. 5 issue of Billboard.