A judge says Ticketmaster can be sued by the Federal Trade Commission (FTC) for allegedly enabling mass-scale ticket reselling on its secondary market.

A Monday (Sept. 28) court order, obtained and first reported by Billboard, denies Ticketmaster’s motion to dismiss the bombshell lawsuit brought by the FTC a year ago. The decision does not endorse the truth of the federal agency’s claims, but it holds that they are legally sufficient to move forward into the next phase of litigation.  

The FTC sued Ticketmaster and its parent company Live Nation under the Better Online Ticket Sales (BOTS) Act, which makes it illegal to circumvent a ticket issuer’s security measures. The agency claimed Ticketmaster violated this statute by allowing brokers to bypass its ticket purchasing limits with hundreds or sometimes thousands of accounts under fake names. According to the lawsuit, Ticketmaster enabled this conduct so that brokers would resell large swaths of tickets on its own secondary market, thus generating billions of dollars in resale fees for the platform.

Ticketmaster’s leadership denies these allegations, with Live Nation legal chief Dan Wall testifying before Congress earlier this year that the company has “walked the walk” on anti-broker initiatives to protect artists and fans. But Ticketmaster’s motion to dismiss argued that the FTC lawsuit has an even more fundamental defect: namely, that the BOTS Act is only meant to be wielded against individual resellers, not the ticketing platforms that host them.

Judge Maame Ewusi-Mensah Frimpong, however, roundly rejected this argument in Monday’s order. “The BOTS Act does not preclude platforms from facing liability,” wrote the judge, “and the court will not read it as doing so.”

According to Judge Frimpong, the FTC’s lawsuit lays out sufficient allegations that Ticketmaster allowed ticket brokers to bypass purchase limits. The judge cited an internal email in which a senior executive said they “turn a blind eye as a matter of policy” to this conduct, as well as other communications that allegedly show Ticketmaster was aware of specific brokers who frequently generated fake accounts.

“Upon identifying violators, Live Nation and Ticketmaster could have implemented measures to curtail continuing violations of ticket purchase limits,” wrote Judge Frimpong. “However, the FTC maintains that Live Nation and Ticketmaster ‘have reduced, discontinued, or declined to implement the use of tools that could effectively enforce ticket limits against brokers,’ thereby enabling circumvention. Thus, the complaint illustrates that Live Nation and Ticketmaster had knowledge of the violations, had the opportunity and means to counter the violations, but elected to allow scalpers and brokers to bypass ticket purchase limits.”

The judge also ruled that the FTC can level deceptive business practice claims against Ticketmaster over drip pricing — i.e., the practice of tacking on additional fees at checkout. Though Ticketmaster says it now employs all-in pricing, Judge Frimpong says the long-term use of a mere “plus fees” qualifier could be considered “vague and ambiguous” enough to sustain the FTC’s claims.

Reached for comment on Monday’s decision, Ticketmaster said in a statement, “Ticketmaster remains the leader in the fight against bots and other technical exploits that scalpers use to steal tickets from real fans. We continue to believe that this lawsuit is misguided and will ultimately fail.”

A rep for the FTC did not immediately return a request for comment. The case will now enter the evidence discovery phase, followed by an eventual trial unless a settlement is reached.

The lawsuit is part of the FTC’s recent emphasis on BOTS Act enforcement under a directive from President Donald Trump. In addition to the Ticketmaster lawsuit, the agency sued broker Key Investment Group last year for allegedly using fake Ticketmaster accounts to flip tickets for Taylor Swift’s record-breaking Eras Tour. The FTC received a judge’s green light to move forward with that case in April.

Meanwhile, Live Nation and Ticketmaster are wrapped up in a high-stakes antitrust lawsuit that could have huge implications for their future. A jury ruled at trial that the combined companies had worked to suppress competition, and now dozens of state attorneys general are urging a judge to break them up. Live Nation denies all wrongdoing and says divestiture is unnecessary.

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BTS’ V is putting his name behind a new pair of headphones designed with serious music listening in mind. V, who opened up in August about receiving treatment for hearing loss in one ear, was made the new global brand ambassador of London-based tech company Nothing for the launch of their Headphone (1) Pro, the company’s highest-quality audio offering to date.

The launch marks the first chapter of Nothing’s Pro Series, bringing studio-grade listening to everyday consumers. “I’m excited to be part of this bold new chapter with Nothing,” says V. “Headphone (1) Pro is a design grounded in creative expression, and I look forward to our journey together.” The headphones will retail for $399 and launch today (Sept. 28) at Nothing.

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Available in black and white, the headphones also come with sleek molded cases and convenient carrying handles.

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Headphone (1) Pro is designed for richer, more detailed listening, with three drivers working together to deliver deeper bass, clearer vocals and more defined instruments. Despite being made from titanium and aluminum, the headphones boast a light design, complete with plush ear cushions and a wider padded headband for lasting comfort. Its battery also lasts up to 68 hours on a single charge.

Nothing claims the headphones have the best real-time adaptive active noise cancellation, using 10 microphones to filter external sounds like wind and traffic, while redesigned cushions create a stronger seal around your ears. Tuned with Metropolis Studios, the headphones also offer studio-inspired sounds, spatial audio and five customizable sound profiles.

Founded in 2020, Nothing is a consumer technology company focused on reimagining personal tech through design, culture and creativity. The company makes smartphones and audio products and says its mission is to make technology fun again while inspiring human creativity.

“V has an instinct for fearless experimentation. He’s always pushing into different sounds and styles — he follows his creative instincts, not tried-and-tested formulas, and that’s exactly what we wanted to capture with Headphone (1) Pro,” says Nothing co-founder and CEO, Carl Pei. “We’ve built it to give people more freedom and flexibility in everyday listening. V was the perfect choice as we define technical excellence for the next generation of creatives.”

The partnership with V follows Charli xcx becoming Nothing’s first global brand ambassador and shareholder in spring 2026. Nothing also launched Club Nothing, a music fund supporting emerging nightlife curators. The company has stores in London and Bengaluru, with planned locations in San Francisco, New York and Tokyo.

If KATSEYE were a box of chocolates, you wouldn’t know exactly what you were going to get — but you’d probably get a little bit of everything.

Daniela would be dark chocolate with almonds, Lara would be salted caramel, Sophia would be strawberry creme, Megan would be cookies and creme, and Yoonchae? Matcha white chocolate. The members of KATSEYE recently shared their chocolate alter egos while chatting with Billboard about their new partnership with Hershey’s, their “Pinky Up” gesture, the Wildworld Tour and the sweet memories that made the collaboration feel like a full-circle moment.

The members’ picks were based on personality, with Daniela’s dark chocolate and almond combination described as “sweet, bold and energetic, with a little crunch,” while Lara’s salted caramel is “sweet with a little edge.” Sophia’s strawberry creme is “sweet, warm and bright,” Megan’s cookies and creme is “playful, surprising,” and Yoonchae’s matcha white chocolate is “sweet, fresh and a little unexpected.”

This partnership with Hershey’s has also given KATSEYE a chance to revisit some childhood memories. The members say many of them grew up eating Hershey’s around Halloween, during the holidays or simply as an after-school treat.

“So it’s pretty surreal that something we loved growing up is now part of our work,” they say.

The collaboration has also found its way into the everyday moments the members share together, whether they’re backstage on tour or coming off rehearsal. “Sharing snacks is such a natural part of our time together,” the group says. “Bringing Hershey’s into those moments feels really personal and full circle.”

The partnership also gave one of KATSEYE’s most recognizable gestures a new life. The group’s “Pinky Up” dance, which has become synonymous with KATSEYE among EYEKONS, was reimagined for the Hershey’s Creme Bar campaign.

“It was such a surreal moment because ‘Pinky Up’ has become something our fans immediately associate with KATSEYE,” the members say. “Seeing that gesture live beyond our performances and become part of the Hershey’s Creme Bar campaign felt really special.”

“At its heart, ‘Pinky Up’ is all about confidence, self-expression and choosing joy in your own way, so it fit naturally within the campaign’s message,” they say.

And when it comes to the two new Hershey’s Creme Bar flavors, the members have already picked sides — mostly.

Daniela, Megan and Yoonchae favor Affogato, while Lara and Sophia are Team Salted Caramel. The group describes Salted Caramel as the more “classic and comforting” choice, while Affogato, with espresso caramel and vanilla creme, is better for a more adventuruous mood.

The Hershey’s collaboration also comes as KATSEYE continues its Wildworld Tour, which the group views as an important step in its evolution as a live act. “The tour feels like such a big step for us because we’re getting to show even more of who KATSEYE is as performers,” the group says.

The tour also gives fans an opportunity to see how much the members have grown since they hatched from Dream Academy.

“We’ve grown so much since our debut, and we’re excited for fans to experience that growth with us onstage,” they add.

That growth hasn’t always been linear, as the girls have experienced some unexpected changes these past several months, including the hiatus of fellow members Sophia Laforteza and Manon Bannerman. The group emphasizes how important it is to communicate, check in with one another and give each other grace during difficult times.

“We’ve learned that supporting each other isn’t always about having the right answer — sometimes it’s just being there and reminding each other that we’re not alone,” they say. “We’re still growing as individuals and as a group, and we’re learning to embrace that along the way.”

This philosophy related to individuality has admittedly extended to KATSEYE’s relationships with their fans: the EYEKONS. The group mentions that the campaign’s message of finding happiness in everyday moments reflects what they hope to encourage through their music and community.

“We want people to feel like they can be completely themselves — whether that’s being loud and confident, a little weird, trying something new, or just doing what makes them happy,” KATSEYE says.

“We’re all different, and that’s what makes [our community] so special,” they say. “And it’s something we try to celebrate through our music and this partnership.”

Watch the full Hershey’s Creme Bar x KATSEYE campaign below.

The tribute to the late George Michael stole the show at the 2026 MTV VMAs, which graced the Peacock Theater in Los Angeles on Sunday night (Sept. 27).

Nearly 10 years after his Christmas 2016 passing, the MTV VMAs paid tribute to the late pop icon with a star-studded medley featuring RAYE, sombr, Teddy Swims, Adam Lambert, MNEK and Saint Harison. Fittingly, the tribute, which was introduced by enigmatic country cult favorite Orville Peck, also commemorates 30 years of Michael’s Older album, home to pop classics such as “Jesus to a Child” and “Fastlove.”

Grammy-nominated alt-pop breakout sombr, who made a cameo during Madonna’s “Danceteria” opener at the top of the show, kicked things off with a medley of “Faith” and “Father Figure.” Delivering a bright vocal performance on the former before singing from a darker, sultrier place on the latter, the 21-year-old star brought every bit of his rock edge to Michael’s signature hits as clips from the late icon’s classic music videos played on the screens behind him.

RAYE — who dazzled the packed Peacock Theater with a medley of “I Will Overcome.” and “Where Is My Husband!” — then took the reins with “I Knew You Were Waiting for Me,” Michael’s 1987 Grammy-winning duet with Aretha Franklin. Donning a gorgeous black gown with sheer lace detail, the powerhouse vocalist brought her big band jazz touch to the arrangement, getting the entire crowd hyped ahead of the iconic “Carless Whisper” saxophone riff.

Teddy Swims, whose soaring vocals helped “Lose Control” achieve the longest climb by a solo male artist to No. 1 in Billboard Hot 100 history, handled “Whisper,” earning audience approval from the likes of Shaboozey and Sienna Spiro.

George Michael was one of the most influent gay men in pop music history, so it’s only fitting that Adam Lambert popped out to lead a closing performance of “Freedom ’90” that brought RAYE, sombr and Teddy Swims back to the stage, alongside appearances by Grammy-nominated dance-pop singer-songwriter MNEK, acclaimed Southampton pop/R&B singer-songwriter Saint Harison and British indie pop singer-songwriter MEEK.

Michael won four VMAs throughout his career, including the Video Vanguard honor in 1989. In 2005, he earned a Grammy nomination for best music video for “Flawless (Go to the City).” One-half of Wham!, Michael has also earned eight Hot 100 No. 1 hits, as well as a 12-week Billboard 200 No. 1 album in 1987’s Faith.