Zendaya just paid tribute to not one, but two of the world’s most iconic women — one of whom just so happens to be fictional — with her latest red-carpet look, previously worn by Whitney Houston and Sarah Jessica Parker’s Sex and the City character, Carrie Bradshaw.

At the Essence Black Women in Hollywood Awards in Los Angeles on Thursday (March 12), the singer-actress sported a white Eugene Stutzman frock with gold detailing. The most eye-catching part, however, is definitely a large flower made of fabric that sprouts out of the shoulder. Zendaya looked model-esque and confident in the dress while striking poses and laughing in front of the event’s photographers, as captured in videos.

The Spider-Man star’s longtime stylist, Law Roach, posted about the look on both X and Instagram, writing on the former, “An ICONIC piece of fashion history at Essence Women in Hollywood today.”

On the latter, he gushed, “And just like that…. I found it!!”

As Law pointed out on X, a photo of Houston wearing the design in 1987 was used for the cover of Life after the vocal legend died in 2012. Parker added to the dress’ history by wearing it in the opening credits of Sex and The City: The Movie in 2008.

The fashion innovator and Zendaya’s latest partnership comes shortly after Law made headlines by seemingly confirming that his longtime client had already married Tom Holland without the public knowing. “The wedding has already happened,” he told a reporter in a now-viral video. “You missed it.”

Zendaya has a number of projects coming up this year, from starring opposite Robert Pattinson in The Drama to closing out her time as Rue Bennett in HBO’s Euphoria, which will soon end on its long-awaited third season. Both premiere in April.

Euphoria has some folks wondering, though, as Labrinth — who has scored every season and worked with Zendaya on one of the soundtrack’s biggest songs, “I’m Tired” — recently shared a scathing post on Instagram involving the series. “I’M DONE WITH THIS INDUSTRY,” he wrote Friday (March 13). “F–K COLUMBIA. DOUBLE F–K EUPHORIA.”

Harry Styles is back in his chart-topping groove, as Kiss All the Time. Disco, Occasionally flies straight to the summit on the U.K.’s Official Albums Chart in a career-best opening week on March 13.

The feat marks Styles’ third No. 1 on the chart as a solo act, following his 2017 self-titled debut and 2022’s Harry’s House. He also achieved a further four No. 1 LPs throughout the 2010s as a member of boy band One Direction.

The Official Charts Company reports that with its 183,000 units shifted in the opening week, Kiss All the Time is the biggest release of 2026 so far. The figure smashes Styles’ previous personal best with Harry’s House, which opened with sales of 113,000. 

The final number also makes Kiss All the Time the biggest opening week for a solo male artist since Ed Sheeran’s 2017 LP Divide (672,000 copies). Of Kiss All the Time’s final number, 66,000 were sold on vinyl, his best opening week on the format. 

With the album track “American Girls” landing at No. 1 on the Official U.K. Singles Chart this week, Styles has secured an Official Chart double. This was last achieved by Olivia Dean in October 2025 with her second LP, The Art of Loving, and smash-hit single “Man I Need.”

Ahead of the LP’s release, Styles gave his first TV performance of No. 1 single “Aperture” at the BRIT Awards at Co-op Live, Manchester in February. The 32-year-old returned to the venue the following week on March 6 to perform a One Night Only show for a Netflix special, which landed on March 8 — his first live concert to appear on any streaming platform.

Styles extends an 11-week streak in which the U.K. No. 1 spot has been occupied by British artists following triumphs by Dean, Robbie Williams, Louis Tomlinson, Charli xcx, Mumford & Sons and Gorillaz.

On the charts dated March 13, Dean’s The Art of Loving holds position at No. 2 while Morrissey’s Make-Up Is a Lie finishes at No. 3, his 13th top five album as a soloist. 

Fleetwood Mac’s 50 Years – Don’t Stop compilation lands at No. 4, while Bruno Mars’ The Romantic grabs the No. 5 spot, down two from last week.

If trolling your enemies on Instagram were an Olympic sport, 50 Cent would have a chestful of gold medals. The G-Unit boss and hater par excellence has made it his business to take down his enemies in the spiciest fashion over the years, preying on their weaknesses, insecurities, fears and public vulnerabilities. And then, often just as swiftly, deleting the evidence of his torrid takedowns.

But why is he so quick to erase his disses?

On Thursday (March 12) 50 (born Curtis Jackson III) finally gave us the answer, and, once again, he did it with an extra side of in-your-face. “If I put up a post and take it down is because I don’t want your ugly ass face on my page,” he explained in an Instagram post featuring a snippet of his recent team-up with Leon Thomas on the song “No One Told Us” from the upcoming Power: Origins STARZ series.

“I’m the algorithm PUNK!” 50 added. He was on a posting tear over the past 24 hours, warning that “The ALGORITHM” is gonna get ‘ya several times. After debuting an AI mashup video for his Max B collab “No More Tricks, No More Tries” earlier this week — which takes shots at recent troll targets Jim Jones, Maino, Fabolous and Dave East — 50 definitely seems to be swerving hard into the artificial intelligence lane to make his point.

In an AI video posted on Friday morning (March 13) in which he is Thanos taking on enemies including Iron Man (in the guise of his favorite recent target, T.I.) in an Avengers:Endgame spoof, he wrote, “Everybody dies one day, THE ALGORITHM coming soon!” The post drew praise from fans who love 50’s troll game, with one writing “Beefing with 50 is good business. They are all turning each other up for real,” and another hoping that the “ALGORITHM” he keeps referring to is a new album.

In another post from Thursday, he wrote “I am the algorithm anyone who chooses to go against the grain will suffer.”

From his fiery 1999 takedown “How to Rob” in which he took shots at everyone from Bobby Brown to Master P and Will Smith, to his recent string of trolling posts aimed at disgraced Bad Boy Records boss Sean “Diddy” Combs and T.I., 50 has made dissing his rivals, and then often disappearing the evidence, his business. And to hear 50 tell it, business is good.

When George Birge sings about living “barbed‑wire tough” in the chorus of his new single — “Ride, Ride, Ride,” featuring Luke Bryan — the phrase is a pointed metaphor derived from the ranches in his native West Texas.

“Barbed wire is something that you find everywhere, and it doesn’t go away,” Birge notes. “It sticks around — no matter if all the ranches burned down, if fence posts are a couple hundred years old, that barbed wire is still hanging around.”

Barbed wire’s persistence is a valuable trait for people, too, adding depth to the plot of “Ride, Ride, Ride,” and enhancing the insight imparted in the song by a rancher.

“I feel like cowboys encompass so much of what is an ideal American value,” says co‑writer Parker Welling (“Blue Tacoma,” “What’s Your Country Song”). “It’s hard work, being kind, being respectful, but also having this kind of badass thing where if you cross a line, you’re gonna regret it.”

The cowboy theme came straight from Birge’s youth. His father, who immigrated to America from Brazil as a teenager, learned English by watching John Wayne movies. One of Wayne’s best‑known quotes — “Courage is being scared to death, but saddling up anyway” — stuck with Birge, who thought it would translate well to a song. He drafted a few lines for the first verse under the working title “Saddle Up Anyway,” then shared them with his co‑writers before a Sept. 4, 2024 session at the home studio of Casey Brown (“I Am Not Okay,” “Favorite Country Song”). Tyler Hubbard was there, too; the four of them hoped to top previous songs they had written together for a Birge/Hubbard collaboration.

The “Saddle Up” idea resonated instantly. As Welling jotted down Birge’s lines, Hubbard launched into a guitar passage in 6/8 time.

“We’re all kind of like, ‘Oh, that’s dope,’” Brown recalls. “That’s not really something we go for every day, but it seemed like it fit the idea.”

A horse in motion always lands two feet on the ground at once, creating a natural triplet rhythm — just like 6/8 time.

“It’s got a nice gallop to it,” Brown jokes.

In Birge’s sketch, the protagonist receives advice from an experienced cowboy at a bar — a more effective way of delivering the story’s moral than stating it directly.

“That’s one of our tricks,” Hubbard says. “You make it a message that’s coming from someone else — your parents, somebody at a bar — anywhere but yourself.”

Birge cast the cowboy as a Marlboro man, hinting at his vice with the line “reds on his chest and miles in his eyes.”

“Ranchers in Texas where I grew up,” Birge says, “wore their cigarettes in the front pocket of their pearl snaps.”

They initially placed the cowboy in the saddle to begin the chorus, using “ride” within a sentence. But Hubbard simplified it to the anthemic “Ride, ride, ride.”

“I had talked to them about that,” Birge says. “I needed an anthem crowds could sing back that’s easy on first listen.”

Originally, “Saddle up anyway” was the payoff, but Hubbard pushed to repeat “ride, ride, ride” at the end of the verse, giving the song an undeniable, stadium‑ready hook.

“Tyler’s commercial instincts are insane,” Welling says. “We were like, ‘Of course — we should’ve done that from the beginning.’”

They used the word “ride” 31 times, making the song instantly memorable. Hubbard recorded verse one on the demo, Birge sang verse two, and they shared the vocals through the end. Brown finished the demo within a few days, and the writers kept playing it privately.

“We still listen to that demo,” Hubbard says. “It’s kind of been a Hubbard house favorite.”

Birge wrote “It Won’t Be Long” the following month, which RECORDS Nashville released in January 2025. Meanwhile, Hubbard’s duet with Nate Smith, “After Midnight,” created timing conflicts for “Saddle Up.” As Birge opened shows for Bryan — receiving informal mentorship — he played the song for Bryan one night on the tour bus. Within 24 hours, Bryan agreed to join.

“When you hear me and George on that thing together,” Bryan says, “it just sounds like something totally meant to be.”

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Bryan requested that Birge sing the first verse as the primary artist, leaving verse two for Bryan.

Brown hired musicians to cut the final track one at a time: Evan Hutchings on drums, Sol Philcox‑Littlefield on electric guitars and bass, and Anthony Olympia on acoustic parts — especially prominent in the intro. The rest of the production leaned heavier, mirroring the “barbed‑wire tough” character.

“That was probably subconsciously stirring around in my brain,” Brown says. “Big guitars are a pretty cool way to sound tough.”

Birge, 38, drew on decades of performing experience while recording vocals.

“I felt every single line,” he says. “I could see the story in my head — watching a movie in the back of my eyes while I sang. It felt like I was there.”

Bryan recorded his part about a month later, bringing the same intensity.

“It’s not an easy song to sing,” Brown notes. “Some of those chorus parts are sneaky high — and he sang his face off.”

The title changed to “Ride, Ride, Ride” along the way, and Bryan believes the song could take on the life of his earlier hits.

“When college football kicks off and they’re playing ‘That’s My Kind of Night,’ that was pretty damn badass,” he says. “When you look at ‘Ride, Ride, Ride’ — NASCAR, F1, football players running out, girls roping horses, guys riding bulls — it makes the song feel even more anthemic.”

RECORDS Nashville/MCA released the track to country radio via PlayMPE on Feb. 5. Now in its fifth week on the Country Airplay chart dated March 14, it sits at No. 31 — a testament to Birge’s resilience.

“I definitely had several very dark, cloudy, stormy seasons in my career,” Birge says. “It makes me really, really grateful I didn’t quit — and I think the song captures that.”

Alex Warren’s “Ordinary” is now the longest-running No. 1 on Billboard’s Top Gabb Music Songs chart, reigning for the fourth month on the February 2026-dated ranking.

Billboard has partnered with Gabb Wireless, a phone company for kids and teens, to present a monthly chart, which launched in October 2024, tracking on-demand streams via its Gabb Music platform. Gabb Music offers a vast catalog of songs, all of which are selected by the Gabb team to include only kid- and teen-appropriate content. Gabb Music streams are not currently factored into any other Billboard charts.

“Ordinary,” which debuted on Top Gabb Music Songs as of the April 2025 chart, rose to No. 1 on the November 2025 survey following four months of domination from music from KPop Demon Hunters (Saja Boys’ “Your Idol” and “Soda Pop,” and HUNTR/X’s “Golden”).

Previously, Warren was in a tie with Lady Gaga and Bruno Mars’ “Die With a Smile” and Forrest Frank’s “Your Way’s Better” for the most months at No. 1 on the chart, which was first published in October 2024.

“Ordinary” topped the weekly Billboard Hot 100 for 10 weeks last year and has spent every week since the conclusion of the 2025 holiday season in the top 10, rising as high as No. 3 in the month of February.

Josiah Queen’s “Demons,” which was January 2026’s top debut, zooms to No. 2 in February, while Queen’s “Dusty Bibles” also enjoys its first week in the top 10, jumping 19-10 seven months after its debut.

It’s a big move for Queen, whose “Dusty Bibles” peaked at No. 3 on the Hot Christian Songs chart last July, while “Demons” started at No. 4 on the list in January and has since climbed to No. 2 (March 7).

If Queen can top the ranking, his music would be the second religious song to reach No. 1 on Top Gabb Music Songs, following Frank’s “Your Way’s Better.”

Mars also returns to the list with “I Just Might,” the month’s top debut at No. 6. Its bow comes in its first full month of tracking after being released on Jan. 9. The song concurrently returns to No. 1 on the latest Hot 100, as previously reported.

See the full top 25 below.

Top Gabb Music Songs

DROPS: “Opalite,” Taylor Swift; “Lemonade,” Forrest Frank & the Figs; “Love Somebody,” Morgan Wallen; “Hope,” NF; “Pink Skies,” Zach Bryan.