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Season four, part two of Netflix’s Bridgerton is set to release Feb. 26, giving fans just enough time to shop for their Regency era inspired wardrobe from Walmart.

The retailer just dropped a Bridgerton-inspired collection with Los Angeles lifestyle brand Celebrity Pink. The collection consists of five pieces, all inspired by the whimsical and girly wardrobe from the show. You’ve got pieces like a corset top and matching maxiskirt trimmed with dainty lace and bow detailing, along with a few floral-printed pieces that evoke blooming gardens in the English countryside.

These looks are so well-suited for the upcoming spring and summer seasons, shining a bit of brightness in through all the icy, snowy doom and gloom of winter. With Valentine’s Day coming up, this collection offers a few pieces that are totally suited for date night, either out and about or at home.

The best part? Every piece in this collection is less than $30, proving once again that you don’t need to make big bucks to be stylish. From dresses to cropped cardigans, the Walmart drop has a slew of sizing options that fit every body, with sizes ranging from XS to XXXL. ShopBillboard has shared the collection below for ease of browsing. The collection is also available now on Walmart.com.

Keep reading to shop the Bridgerton x Celebrity Pink Walmart collection.

Shop the Bridgerton Walmart Collection Below

More About Bridgerton

As mentioned, part two of season four of Bridgerton is out Feb. 26 on Netflix. While the show is best known for its drama-filled moments and elegant fashions, its music is also a standout. The show often puts orchestral spins on pop classics. In part one of season four, fans were treated to renditions of famed tracks from artists such as Coldplay, Taylor Swift, Pitbull, Usher, Third Eye Blind, Paramore and Olivia Rodrigo. Many fans are most excited about the appearance of “Enchanted,” a 2010 song by Swift that was played in episode two of the first half of season four.

 “The soundtrack permeates the season four love story of the Bridgertons’ most bohemian family member, second son Benedict (Luke Thompson). He’s loath to settle down but is surprised at his mother Violet’s (Ruth Gemmell) opening masquerade ball of the season,” according to a press release from Netflix. The soundtrack offers the story color, painting a picture that words and actions sometimes can’t evoke.

From Sinners’ record-breaking nominations haul (16) to K-pop finally getting a seat at the table, this year’s Academy Awards are heavy on history. For SIRĀT composer Kangding Ray and Oscar-nominated sound designer Laia Casanovas, achieving Oscar firsts came second to nailing an authentic portrayal of an incredibly niche corner of the electronic dance music scene.

Helmed by Óliver Laxe and set against the backdrop of a fast-brewing global conflict, SIRĀT follows a father (Sergi López) and his young son in search of his missing daughter alongside a group of ravers in the deserts of southern Morocco. After picking up both the jury prize and soundtrack award at Cannes last year, SIRĀT earned a pair of Oscar nominations for best international feature film and best sound. Not only is SIRĀT the only international film recognized in best sound this year, Casanovas, alongside Yasmina Praderas and Amanda Villavieja, are the first-ever Oscar-nominated all-female sound team.

From the immersive, hypnotic rave scene that opens the film to the harrowing silence of the dormant minefield near its close, the emotional intensity of SIRĀT hinges on both its score and sound design — something that was clear to Laxe when he first began contacting collaborators.

“My first albums are very glitchy and ambient and melodic, and my later work is more textured and intense and physical,” Ray, who was an architect and rock guitarist before finding a home in Berlin’s avant-garde electronic music scene over the last two decades, tells Billboard. “Those two parts are present in SIRĀT, with the spiritual approach and connection to Sufi philosophy and mysticism and death, but also the physicality and euphoria of the rave and its chest-rattling bass.”

Laxe tapped Ray nearly two years before filming began, which allowed him to begin developing cues based on the script, which the director co-wrote with Santiago Fillol. In addition to drawing from location scouting reference images that “showed the unforgiving nature of the desert,” Ray also looked to his past collaborations with renowned sound artists like Ryuichi Sakamoto, Carsten Nicolai (aka Alva Noto) and Ryoji Ikeda. In fact, when he was at the Golden Globes celebrating his best original score nod for SIRĀT, Ray called Nicolai (who was nominated in the same category alongside Sakamoto in 2015 for The Revenant) to gush about the “full-circle moment.”

Although his idols toured the awards circuit with a more traditional, orchestral score, Kangding doubled down on his dance music origins for Sirāt. Laxe’s film operates as both a tender father-son story and a larger, more spiritual odyssey, but it’s also one of the most balanced and faithful on-screen depictions of the free party movement. Emerging from the U.K. in the late ‘80s and early ‘90s, the free party movement was essentially “a meeting point for new-age travelers and ravers that incorporated Jamaican sound system culture,” according to Ray. Their full-scale raves would last days, and governmental repression pushed the ravers further south until they hit remote parts of North Africa, illuminating the seemingly endless desert with a more raucous take on techno rhythms that “evolved parallel to the more institutionalized dance music scene.” To ensure the opening scene felt immersive rather than voyeuristic, Ray momentarily stepped back into his DJ bag.

“The rave party is not a set; it’s an actual rave made by a true free party collective who was appointed by the producer to make something happen on the condition that they could be filmed for three days,” Ray explains, also noting that he played in the Moroccan desert in pre-COVID times. “But once it started, they couldn’t stop it. We made the line between film and reality as blurry as it could possibly be. I even went there and played as DJ, and they knew my music! That was a big win for me to connect with them because I don’t come from the exact same culture.”

With Ray curating an authentic ambience for Laxe to capture, Casanovas and the rest of the sound team were tasked with making sure everything still felt and sounded like a narrative film. “That music is a ritual on a dance floor; it pushes you,” muses Casanovas. “You feel it in your skin, and the beat matches your heart rate. It’s that kind of experience that we wanted to have in the first minutes of the film, so we recorded the music through a sound system to have the texture of speakers on the dancefloor.”

For Casanovas, “music” doesn’t simply refer to what’s blaring through the speakers; it’s also the speakers themselves. It’s the sound of the wooden boxes, the grunts and exhales heard while carrying heavy equipment, the rustle of different fabrics against the wind and the soundwaves bouncing off the surrounding cliffs. Treating the music in post-production proved incongruent with how realistic the rave scenes looked onscreen, so Casanovas sourced a supplier in Barcelona who had the same sound system they used during filming. She and the sound team then recorded all the music through that sound system with the mics from production to capture the music the way it would be heard on the dance floor.

From its Moroccan setting to its title (an Arabic term that roughly translates to “path”), SIRĀT is a truly international production. So much so that Casanovas opted to use Icelandic wind recordings for the desert scenes in the back half of the film. “[Those winds] have low frequencies,” she says. “We had to account for how the wind interacts with the desert and how the characters interact with the landscape. We needed to hear how the clothes move and how the metal rattles. We also recorded different textures of sand and dust to have layers of all the elements, but the most challenging thing was figuring out how to maximize the three-dimensional space of Dolby Atmos.”

Ahead of next month’s Academy Awards (March 15), SIRĀT opened in New York and Los Angeles on Feb. 6, with a nationwide rollout to follow later this month. Though Ray’s score didn’t make the leap from the Oscar shortlist to the final nominee line-up, he’s still in disbelief at “getting this much recognition for a work that is so avant-garde and uncompromising… it means a lot to a lot of my peers and the originators of these cultures.”

As for Casanovas, she’s proud of the nomination because it gives visibility to all the women working in sound, “but the three of us have a whole career in Spain!” she says with a chuckle. “I’ve been working with Yasmina for 12 years.”

Whether or not SIRĀT brings home a golden statuette (or two) next month, it remains part of a larger wave of dance music-rooted scores, like Challengers (Trent Reznor & Atticus Ross) and Heated Rivalry (Peter Peter) that, culturally and critically, stand shoulder-to-shoulder with more traditional film music compositions.

“There is something about the zeitgeist that demands exceptional answers to unsettling questions,” muses Ray. “That status quo isn’t working, and it’s time of change and turmoil, for better or worse. People need new solutions. And maybe [these kinds of scores] are it.”

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

While fans eagerly await Drake‘s upcoming project Iceman, Toronto’s very own has taken to Amazon to drop a another merch collection in honor of the one-year anniversary of $ome $exy $ongs 4 U with PARTYNEXTDOOR. The virtual “warehouse” filled with merchandise not only includes collectibles from the album era, but new Valentine’s-inspired designs like lipstick-kiss tees, custom heart candies, and collectible V-Day cards.

The Drake Warehouse, as it’s called, is the first time the rapper has launched his own exclusive merch on the house of Bezos. Fans can shop an updated collection of popular archival items from his previous albums, including For All the Dogs, Certified Lover Boy, Take Care and even his breakout mixtape So Far Gone. Shop tees like the viral “Free Weezy” t-shirt, or Air Drake silk pillow cases and a Certified Lover Boy Lipstick Kiss Coffee Mug.

Although this new Amazon merch drop marks a first for Drizzy, he’s not the only artist with his own storefront. Drake’s Amazon-exclusive merch joins a growing list of artists, such as Charli xcx, Beyoncé and the Backstreet Boys, who’ve set up digital shops on the website.

With a new album on the way, Drizzy has been busy the past few months. He dropped his collaborative studio LP $ome $exy $ongs 4 U with PartyNextDoor, launched a viral YouTube livestream series, teamed up with Central Cee on the summer bop “Which One,” dropped another new single “What Did I Miss,” and is touring Europe.

As we inch closer to an Iceman release date, expect even more from “album mode” Drake. Until then, head over to Amazon to shop his warehouse merch collection. Browse and shop our favorite merch picks below before they sell out.

Don Toliver’s busy week across Billboard’s charts includes the rapper-singer’s first No. 1 hit on the Hot Rap Songs list, as “Body” debuts atop the ranking dated Feb. 7. The new champ, on Donnway & Co./Cactus Jack/Atlantic Records, captains his collection of 17 tracks this week’s chart. They’re all from his new album, Octane, which storms in at No. 1 on the all-genre Billboard 200 chart with 162,000 equivalent album units.

The 17-track parade marks the most cuts that Don Toliver has posted on the Hot Rap Songs chart in a single week, and makes him only the sixth artist to claim 17 or more simultaneous appearances. He joins Drake, who has done it twice, Kendrick Lamar, Lil Baby, Playboi Carti and Travis Scott in the chart’s 34-year history.

“Body” owes its coronation on the multimetric Hot Rap Songs chart, a weighted combination of streaming, radio airplay and sales data in the United States, almost entirely to 14.3 million official on-demand streams for the week of Jan. 30-Feb. 5, according to Luminate. Thanks to that sum, it sparks a No. 1 debut on the Rap Streaming Songs chart. In the remaining categories, “Body” had 106,000 radio audience impressions and a negligible amount of song downloads.

With “Body,” Don Toliver achieves his first Hot Rap Songs No. 1 after 30 prior appearances. The performer previously peaked twice at No. 3 through featured roles: He and NAV guested on Internet Money and Gunna’s “Lemonade,” which reached the bronze in November 2020, while his and Future’s supporting turns on Metro Boomin’s “Too Many Nights” led to the same prize in December 2022. As a lead artist, his own “Tiramisu” set his previous career high of No. 6 in September 2025.

Similarly, “Body” leads Don Toliver’s ledger on the Hot R&B/Hip-Hop Songs chart (No. 3) and the all-genre Billboard Hot 100 (No. 14).

With “Body” on top, here’s a recap of all 17 Don Toliver tracks on Hot Rap Songs. Among them, 15 are debuts, while “ATM” and “Tiramisu” nab their second and third weeks, respectively.

ONErpm has appointed Mike Easterlin as managing director for ONErpm’s Nashville division, to oversee A&R, roster development and day-to-day operations in Nashville.

Easterlin has decades of experience in A&R and promotion, having previously served in promotion and A&R roles at Virgin, Def Jam and Atlantic and later became the co-president of the relaunched Elektra Records, before transitioning to co-found Severance Records.

Easterlin will lead a team of Nashville-rooted professionals familiar with Nashville’s wide-ranging music scene. ONErpm has made several new hires, including former BMI exec Josh Tomlinson, who takes on the role of ONErpm Nashville’s new director of A&R. Former MCA Nashville exec Lindsey Terry has been hired as country marketing director, while former Warner Music Nashville exec Chad Neville has joined has joined as a project manager.

“I’ve always believed in the independent spirit of artists—the drive to create, take risks, and build something real. Helping talent find their voice and turn it into a lasting career has always been my passion,” Easterlin said in a statement. ”ONErpm embodies those same values: passion, focus, transparency, and a real commitment to giving artists a global platform to grow on their own terms.”

Tomlinson said in a statement, “I’m grateful for the opportunity to bring my love for the song and the creator to ONErpm to help grow our Nashville business while working with some of the most forward-thinking minds in the music industry.”

ONErpm, a full-service music industry solutions provider, has more than 600 employees globally, with its staff increasing approximately sixfold since 2020.