Cardi B was watching along with millions of New England Patriots fans on Sunday night (Jan. 11) while cheering on her boyfriend, Stefon Diggs, and the Pats, who cruised to a 16-3 victory over the Los Angeles Chargers.

Cardi posted a video to her Instagram Story once the victory was secured, as she trolled the Chargers about sending the team on an early vacation to Mexico since their season was done, and she had some recommendations for their travel accommodations.

“That’s what I’m talking about,” she said. “Take them to Tulum! They want to go to Tulum on Delta. Put them on Delta!”

Cardi posted another video to X featuring Tyra Banks from an episode of America’s Next Top Model. “How many people were scared? Me too, I was really, really scared,” Banks, who hosted the modeling reality competition show, tells the cast in the clip.

The Bronx native’s worries were calmed by the fourth quarter when the Pats extended their lead to 13 points. “My Pat nation family how we feeling tonight?….we did that,” she added in her caption.

Diggs had a quiet game, as he was held to 16 yards on just two receptions. However, the star wide receiver showed off his leadership with an epic pre-game speech.

“Hey, be violent, man. Be smart, but when in doubt, crash the f—k out. Ain’t nobody like us, ain’t nobody believe in us. I like us, lay it out on the line for your brother, man,” he told his teammates in a clip shared by the team.

Next up, the Patriots are awaiting the winner of the Monday (Jan. 12) Pittsburgh Steelers and Houston Texans game to find out who their next opponent will be. The Pats will welcome either the Steelers or Texans to Gillette Stadium on Sunday afternoon (Jan. 18).

It remains to be seen if Cardi B will be in attendance next weekend. She’s currently in rehearsals for her upcoming Little Miss Drama Tour, which kicks off in California on Feb. 11.

Watch the highlights from the Chargers vs. Patriots game below:

Matt Kwasniewski-Kelvin, co-founding guitarist of English rock band Black Midi, has died after a “long battle with his mental health,” according to a statement from his family. He was 26 years old.

The news comes via the family’s statement, as shared by Black Midi’s label, Rough Trade Records, on X on Monday (Jan. 12). “A talented musician and a kind, loving man finally succumbed; despite all efforts,” the message reads. “He will always be loved. Please take a moment to check in with your loved ones so we can stop this happening to our young men.”

Rough Trade also shared a message extending its “deepest sympathy to the Kwasniewski-Kelvin family,” calling the guitarist “an incredibly talented person who will be truly missed.”

Black Midi first rose to prominence in 2019 after developing a following in London, playing gigs at Windmill Brixton. Before Kwasniewski-Kelvin and his bandmates — vocalist Geordie Greep, bassist Cameron Picton and drummer Morgan Simpson — even released their debut album that year, they’d already drummed up enough demand to embark on a tour of Europe and the United States.

Schlagenheim dropped in July 2019 via Rough Trade, giving the world its first sample of Black Midi’s blend of experimental rock. It was followed by Cavalcade in 2021 and Hellfire in 2022, the latter of which debuted at No. 13 on Billboard‘s Top Alternative Albums chart and led to Black Midi topping the Emerging Artists ranking. By that time, however, Kwasniewski-Kelvin had already stepped back from the group, exiting the band after its first album due to him feeling “mentally unwell,” he shared in a statement at the time.

The band was last active in 2023, touring the U.S., Asia, Europe and Latin America before disbanding in 2024.

If you or anyone you know is struggling with mental health or substance abuse disorders, reach out to the Substance Abuse and Mental Health Services Administration‘s national helpline 24/7 at 1-800-662-HELP (4357) for confidential treatment referrals and information. For those who are experiencing suicidal thoughts and/or distress, the National Suicide Prevention Lifeline is available 24/7 at 1-800-273-8255. You can also call or text 988 to get connected to trained counselors.

Djo’s “End of Beginning” bounds five spots to No. 1 the Billboard Global 200 chart, becoming the biggest song in the world for the first time.

Djo, who earns his first leader on the list, is the musical performing name of Joe Keery, of Netflix’s Stranger Things, with the song soaring following the series’ Dec. 31 finale (although it is not heard in the episode). It originally hit No. 3 in March 2024.

Meanwhile, the track, which Keery solely wrote and co-produced, is the second to top the Global 200 thanks to a tie-in to Stranger Things, which is set in the ‘80s: In 2022, Kate Bush’s “Running Up That Hill (A Deal With God),” from 1985, ruled both the Global 200 and the Billboard Global Excl. U.S. chart, for three weeks and one week each, sparked by its synch in the show’s fourth season.

Another ‘80s classic featured in a past Stranger Things season hits the Global 200 and Global Excl. U.S. top 10 for the first time this week: The Police’s “Every Breath You Take” surges 16-9 and 14-9, respectively. The song, featured in the series’ second and fourth seasons, is the first top 10 on the charts for the Rock & Roll Hall of Fame band, which split in 1984 (ahead of multiple mini-reunions). The ballad dominated the U.S.-based Billboard Hot 100 for eight weeks in 1983 and wrapped at No. 1 on that year-end recap.

Concurrently, Taylor Swift’s “The Fate of Ophelia” rebounds a spot for a fourth week atop Global Excl. U.S.

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.

“End of Beginning” tops the Global 200 with 80.7 million streams (up 85%) and 10,000 sold (up 185%) worldwide Jan. 2-8.

“Every Breath You Take” gained by 11% to 35.8 million streams worldwide in the tracking week.

“The Fate of Ophelia” falls to No. 2 on the Global 200 after four weeks at No. 1 starting in October; “Golden,” by HUNTR/X, the singing trio of EJAE, Audrey Nuna and REI AMI — from another hit Netflix property, KPop Demon Hunters — slips 2-3 after 18 weeks at No. 1 beginning last July; Olivia Dean’s “Man I Need” holds at No. 4, after hitting No. 3; and Alex Warren’s “Ordinary” descends 3-5 following 10 weeks at No. 1 beginning last May.

“The Fate of Ophelia” leads Global Excl. U.S. with 59.7 million streams (down 2%) and 5,000 sold (down 1%) outside the U.S. in the tracking week.

“End of Beginning” blasts 7-2 on Global Excl. U.S., besting its prior No. 3 peak set in April 2024; “Golden” drops to No. 3 after a record 20 weeks at No. 1 starting last July; “Man I Need” rises 5-4, after reaching No. 3; and “Ordinary” retreats 4-5 following eight weeks at No. 1 beginning last May.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 17, 2026) will update on Billboard.com tomorrow, Jan. 13. 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.

For the most part, the 83rd annual Golden Globes lived up to its reputation as “Hollywood’s Party of the Year.” Such A-listers as George Clooney, Julia Roberts and Timothée Chalamet filled the Grand Ballroom of the Beverly Hilton Hotel for the annual event that, in the show’s words, celebrates excellence in film, television and podcasting.

But a good party host makes sure that everyone invited has a good time. The Globes’ decision to not air the presentation of the award for best original score came across as a sign of disrespect for film music. The Globes had a packed show and needed to trim a few minutes to bring the show in on time. They solved their time problem at the expense of the film scoring community.

The best original score category has a long and venerable history at the Globes. It was first presented in 1948 to legendary composer Max Steiner for Life With Father. The top winners in the history of the category, with four wins each, are Maurice Jarre, Dimitri Tiomkin and John Williams – film scoring legends all.

For the record, this year’s winner, Ludwig Göransson for Sinners, was able to give an acceptance speech at the Beverly Hilton. But the TV audience saw none of it. Coming back from a commercial, Göransson was simply announced as the winner in a brief and perfunctory manner.

Göransson also won in this category two years ago for Oppenheimer. He’s the first composer to win twice inside of three years at the Globes since Justin Hurwitz won in 2017 for La La Land and again in 2019 for First Man. That fun (and impressive) factoid could have been mentioned on the show, but wasn’t.

The producers didn’t intend to disrespect film scoring. The decision was made due to “broadcast time constraints.”

A spokesperson for the Golden Globes said in a statement: “We place tremendous value on this craft and the artists who practice it; their work is essential to the creative excellence we honor at the Golden Globes. We greatly appreciate the composers whose work elevates every project we honor and are grateful for the creativity, skill, and impact this community brings to our industry.”

The show sought to ensure that the winner would have the same “in-room experience” as all other winners, being announced live in the room and given the opportunity to deliver an acceptance speech. A clip of Göransson’s acceptance speech was distributed across all of the Golden Globes’ owned platforms (TikTok, Instagram, Facebook, YouTube, X and Threads) and appears on the Golden Globes website.

In his speech, Göransson thanked the film’s writer/director, Ryan Coogler; his partner and the film’s executive music producer Serena Göransson; lyricist Raphael Saadiq, with whom he cowrote the film’s Globe-nominated (and Oscar-shortlisted) song “I Lied to You”; and cast members Miles Caton, Wunmi Mosaku and Michael B. Jordan, among others.

The other nominees in the category, who weren’t mentioned on the telecast at all, were Alexandre Desplat for Frankenstein, Jonny Greenwood for One Battle After Another, Kanding Ray for Sirāt, Max Richter for Hamnet and Hans Zimmer for F1.

On the red carpet, Zimmer (a three-time winner in the category) blasted the show’s decision not to televise the category.

“I think it’s a shame not to honor those people — my friends — who work so hard to become a voice,” Zimmer told Variety’s Angelique Jackson. “As a person who has been making films forever, everybody who works on a film works their utmost, doesn’t get any sleep, there are no weekends. … I think the work should always be acknowledged… This year is a fantastic year for composers — don’t ignore them, you don’t have a movie without them.”

The show’s timing problems are real. The show has added three new categories in recent years. Two years ago, it added best performance in stand-up comedy on television and cinematic and box office achievement. This year, it added best podcast.

As it happens, Ricky Gervais, this year’s winner of the stand-up comedy award, was a no-show, so that presentation didn’t have much of a pay-off. The award for cinematic and box office achievement went to Sinners, so Göransson was able to take the stage on the telecast (as a key member of the creative team of Ryan Coogler’s film), though only music nerds would have been able to ID him.

The award for best original song was presented on air, and the show was brimming with excerpts from old and new pop hits, played at loud volume, to accompany each winner’s march to the stage. So, music was a big part of the event. But the show should have found a few minutes to present the award for best original score with the respect it deserved – even if that would have meant cutting some host shtick or presenter patter.  

Göransson was also the winner in the best original score category at the Critics Choice Awards on Jan. 4 – and the category wasn’t televised on-air at that show either. So this is not simply a Golden Globes issue. But at the Critics Choice Awards, best original score was one of about 18 categories not presented on the telecast. At the Globes, it was the only category treated this way, so it felt like more of a snub.

Both shows need to remember that music is vital to the success of a film and shouldn’t be the first cut you make when you need to save a few minutes.

The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.