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If Detroit Lions fans didn’t have enough to be excited about this season, Sony just gave their popular WH-1000XM5 headphones a Motor City makeover for the holidays. The limited-edition release follows last years partnership announcement, which made the electronic brand the NFL’s official headset partner.

The collection kicks off with a Detroit Lions colorway, which features the team’s iconic charging lion logo adorned on an all-silver XM5 headphone. The limited-edition collab is available to shop today, exclusively on Sony’s website. They retail for $400, with an initial flash sale price of $330.

If you’re not a Lions fan, Sony has more NFL-inspired headphones dropping later this month. Sony will also debut a Buffalo Bills edition on December 8 and a Houston Texans edition on December 11. Similar to the Lions version, each XM5 headphone will feature each team’s logo on an all-silver device and deliver Sony’s signature noise cancellation, immersive sound, and up to 30 hours of battery life.

Sony opted to use the XM5 headphones instead of their newer XM6 model. However, the slightly older model still delivers an impressive audio experience with industry-leading active noise-cancellation.

As for the on-going NFL x Sony partnership, the company released official coaches headsets taking advantage of Sony’s signature noise-canceling technology and fine-tuned it to withstand the loud atmosphere of a football game. The headsets’ microphones are tuned to isolate the coach’s voice from the noise of the crowd, and Sony says they tested the headphones with real crowd noises of over 100 decibels to optimize noise-canceling performance.

To shop the latest Sony x NFL limited-edition headphones, head over to the brand’s site here. As the other team colorways go live, check back here for further shopping updates.

Aubrey O’Day participated in Netflix’s Sean Combs: The Reckoning, and the four-part explosive docuseries found the former Danity Kane member addressing her removal from the Making The Band girl group, as well as claims she was sexually assaulted by Diddy.

“Diddy made it clear that I was ‘the looker,” she said in an early episode. “I remember that phrase a lot. He was separating me and there was a different set of expectations from me, and I just naturally float into the grooming.”

O’Day also alleged that Diddy repeatedly “crossed the line” and sent explicit emails that included photos of his penis.  

“I don’t wanna just f—k you. I wanna turn you out,” she reads from an alleged email from Combs. “I can see you being with some motherf—er that you tell what to do. I make my woman do what I tell her to do, and she loves it. I just want — and like — to do things different. I’ma finish watching this porn and finish masturbating. I’ll think of you, happy face. If you change your mind and get ready to do what I say, hit me. Happy face. God bless, Diddy. God is the greatest.”

O’Day was part of season three of Making the Band in 2005 and picked to be a member of Danity Kane. She was eventually removed from the group when Diddy announced she was fired in 2008.

Episode four of the 50 Cent-produced docuseries features a heartbreaking scene, which finds O’Day reading an affidavit from an alleged witness to the singer being sexually assaulted by Diddy and another individual in a studio room. O’Day says she has no recollection of the assault taking place.

The affidavit claims O’Day was naked from the waist down when a witness stumbled into a room while looking for the studio’s bathroom and recalled opening the door to a horrifying scene, where “Puff Daddy was penetrating in her vagina, and there was another stalky light-skinned man with his penis in her mouth.”

“I didn’t have a recollection of this,” O’Day said. “I didn’t drink like that at all — I don’t drink at all, it’s never been an issue with me. Does this mean I was raped? Is that what this means? I don’t even know if I was raped, and I don’t want to know. I don’t want to find out any more than that woman has to say.”

She continued: “If she made it up, I would be compelled to take her the f–k down. You realize the burden that that puts on my soul for the past year, which is if I expose one victim who’s got a civil lawsuit, that gives Diddy and his legal team credit to take down everybody else as potential liars. Says Aubrey O’Day. It goes right back on my shoulders, just like that. The weight of that man and his bulls—t, I will never get up from under it.”

A spokesperson for Diddy declined to comment on the specific allegations made in the series. “Many of the people featured have longstanding personal grievances, financial motives, or credibility issues that have been documented for years,” Juda Engelmayer said in a statement to USA TODAY. “Several of these stories have already been addressed in court filings, and others were never raised in any legal forum because they’re simply not true. The project was built around a one-sided narrative led by a publicly admitted adversary, and it repeats allegations without context, evidence, or verification. Sean Combs will continue to address legitimate matters through the legal process, not through a biased Netflix production.”

If you or someone you know is struggling and in need of help in the wake of sexual assault, please contact RAINN at 800-656-4673 or at online.rainn.org.

Wicked: For Good bowed in November to blockbuster box office numbers, and has already racked up nearly $270 million in the U.S. alone, according to Box Office Mojo — numbers that may even result in the sequel becoming a bigger hit that the 2024’s successful original Wicked.

Will its soundtrack also threaten to surpass the original? So far, it’s closer to on par with the original, matching its No. 2 debut on the Billboard 200 — with 122,000 in first-week units, down a tick from the 139,000 bow for Wicked the first — while notching four songs on the Hot 100, led by “For Good” (No. 43), the climactic duet between Cynthia Erivo’s Elphaba and Ariana Grande’s Glinda.

Are the numbers better or worse than we expected? And has the sequel or its soundtrack changed our opinion at all about the balance of Wicked‘s musical numbers? Billboard staffers discuss these questions and more below.

1. The Wicked: For Good soundtrack debuts at No. 2 on the Billboard 200 this week, with 122,000 first-week equivalent album units. Are those numbers higher, lower or about what you expected for it?  
 
Hannah Dailey: They might be a tiny bit higher than I expected, but overall, it’s more or less what I thought it would be. The Part 1 soundtrack was always going to perform better than Part 2, and a discrepancy of 17,000 between their respective first-week sales numbers isn’t a bad drop. 

Stephen Daw: That’s right about where I anticipated this would land. The first Wicked soundtrack — which contains a lot of the show’s most popular songs — earned 139,000 equivalent album units, so to have it’s sequel put up pretty similar numbers feels about right.  

Kyle Denis: This is about what I expected. A little lower than the first soundtrack, but still over 100k first-week units. 

Joe Lynch: About what i expected – higher, if anything. The first Wicked soundtrack did 139k in its first week, and it was never gonna outdo that — “Defying Gravity” is a Broadway all timer, probably the most beloved show tune introduced in the 21st century. Without a tune THAT big, 122k is very respectable for first week.

Andrew Unterberger: Yeah, this feels about right — just a shame it was timed against a new set by Stray Kids, a group that’s literally never missed the No. 1 spot on the Billboard 200.

2. Much of the hype around the new film and particularly its soundtrack involves the debut of two new Stephen Schwartz-penned songs for the movie, the respective Cynthia Erivo and Ariana Grande showcases “No Place Like Home” and “The Girl in the Bubble.” Do they seem like worthy additions to the Wicked canon to you? Do you anticipate either becoming a new fan favorite?  
 
Hannah Dailey: Are they worthy additions? Sure. But I doubt they’ll become new favorites, especially among longtime fans of the Broadway musical. I do feel as though I understand Elphaba and Glinda better thanks to the added tracks, but neither song comes anywhere close — lyrically or musically – to the thrill and magic we associate with most of the rest of the musical’s numbers.  

Stephen Daw: “No Place Like Home” and “The Girl in the Bubble,” while perfectly nice songs that do their jobs in the movie, cannot live up to the original Wicked songs. In terms of the plot of the second act, I think both tracks are at least effective at explaining both Elphaba and Glinda’s personal motivations in For Good — the problem is that both songs are pretty boring and so on-the-nose with their lyrics that it immediately takes you out of what’s happening both in the movie and in the music. I would be pretty surprised if fans of the musical adopted either of these songs as a new favorite, even with “Bubble” making its Hot 100 debut this week.

Kyle Denis: Both “No Place Like Home” and “The Girl in the Bubble” are incredibly boring. They feel like 2010s-era Disney soundtrack songs, and I think “Bubble,” in particular, suffers from haphazard editing in the film. I appreciate that both songs deepen and expand the motivations behind Galinda and Elphaba’s actions, but they both landed like duds in the theater. Cynthia and Ariana both sound great though, no surprise there! 

Joe Lynch: “No Place Like Home” functions really beautifully in the film, emphasizing what’s at stake and drawing a clear connection to our country’s slide into fascism. It’s also crazy to me there wasn’t a song called “No Place Like Home” in the original production. (Perhaps Schwartz felt it was too on the nose, but it lands perfectly thanks to Erivo’s touch.) “Bubble” gives Grande a chance to flaunt some serious range, but runs a bit too long without offering enough melody. It doesn’t seemed tacked on, but it’s no future show tune karaoke classic either. 

Andrew Unterberger: Nah.
 
3. The highest-debuting of the For Good songs on the Hot 100 is the title-track duet between Erivo and Grande, at No. 43. Does it feel like a defining / long-lasting rendering of the song? Do you anticipate a long chart run for it?  
 
Hannah Dailey: I absolutely think Erivo and Grande earned themselves a place in the Wicked history books with their stellar performance of “For Good.” As for its future career on the charts, I predict it’ll have a similar trajectory to their version of “Defying Gravity,” which spent a respectable 10 weeks on the Hot 100 after debuting at a similar peak position of No. 44. 

Stephen Daw: It’s definitely one of the two best songs in the film (shoutout to Cynthia wailing her face off on “No Good Deed” as the capital-B Best Song in the movie), and both Ariana and Cynthia did a great job giving the song a slightly more earnest, sensitive touch with their vocal performances. That being said, while I think theater fans will point to this as a particularly good rendition of the song, I doubt it will have a massive chart reign. “Defying Gravity” is still the song from Wicked, and fans were truly obsessed (or “obsessulated,” as Glinda says) with Cynthia’s performance of that song — yet “Defying Gravity” peaked at No. 44 and remained on the Hot 100 for just 10 weeks. I doubt that “For Good” will fare much better or longer than that. 

Kyle Denis: I think their recorded version of “For Good” is only beat out by their live performance of it at Wicked: One Wonderful Night alongside Oz OGs Idina Menzel and Kristin Chenoweth. A long chart run is more than likely out of the question — especially if some sort of radio edit isn’t released soon — but I expect Erivo & Grande’s “For Good” will be a defining rendition of the song within the Wicked fandom. 

Joe Lynch: Given that fans had the OBC version of “Defying Gravity” memorized to the millisecond, I was pleasantly surprised to see Grande and Erivo’s marvelous version find a permanent home in fans’ hearts. Now, I feel I’m more likely to see drag queens lip syncing to the movie version than the cast recording. I think the same will prove true for “For Good” — it’s a standout cinematic moment and a recording that fans will return to for decades. A long chart run, however? That would leave me, to speak Ozian for a moment, surprisified. 

Andrew Unterberger: I could see the song hanging on the chart through the holidays as the movie continues to gather steam, but life beyond that seems unlikely unless it catches particular fire on TikTok. It does feel like the recording will end up a fairly significant part of the legacy of not just the musical, but the two performers as well, though.

4. Some wariness about the Wicked movie being split in two was over the movie being traditionally thought to have a stronger first half musically. Does either the movie’s second part or its standalone soundtrack do much to combat that conventional wisdom, or does they mostly reinforce the musical’s top-heaviness?  
 
Hannah Dailey: The best chance Chu and Schwartz had at changing Act II for the better was with the addition of the two new songs, but unfortunately, neither “No Place Like Home” nor “For Good” had the oomph needed to do so, in my opinion. At points in the Broadway musical’s second half where they could have injected some much-needed momentum on screen, the writers instead slowed things down even more with softer numbers that hardly stand out against the rest of the music in Act II, much less compete with the quality of Act I.  

Stephen Daw: It’s complicated — I think Wicked: For Good,  all things being considered, did a very good job adapting the musical’s second act for film. There’s needed expansion for multiple characters, beats included to help audiences understand our main characters’ motivation and the inclusion of iconic moments from the stage show that we would have been disappointed to miss in the movie (I’m looking at you, catfight!). 

But even with those additions and changes, Wicked: For Good still doesn’t really solve the “problems” in the second act, which has a lot to do with the music and the pacing. It’s still true that Act I is a better piece of musical theater Act II, in the same way that Wicked is a better movie than Wicked: For Good. While this version of the film is probably the best case scenario for a standalone movie of the back half of the musical, I still think that they could have made Wicked into one (admittedly long) movie musical, and it would have been better-balanced. 

Kyle Denis: The film did a much better job translating the stage show’s messy second act, but, truthfully, I just cannot bring myself to care about Nessarose and Boq’s whole thing. The music remains weaker in the second half — and the new songs don’t help the matter. Even though Cynthia absolutely bodied her “No Good Deed” rendition and Ariana delivered one of her greatest vocal performances with “Thank Goodness” (Jon M. Chu will pay for how he butchered that song in the film!), those moments can’t carry the whole second act. Wicked’s always been top-heavy, and that wasn’t going to change on the silver screen. 

Joe Lynch: I was against the movie being a two-parter for this very reason, but I’m happily eating crow now — both are satisfying and sumptuous films with emotional resonance. Musically, though, I think the first half still soars while the second part glides — not a fatal problem by any means (the show is still running on Broadway, after all) but there’s no denying that part one simply has more bangers. It’s a credit to what Chu has done, visually and dramatically, that Part 2 still feels like a standalone victory. 

Andrew Unterberger: As someone with little Wicked knowledge going into the movies, I can’t say I noticed a huge drop-off in quality between the songs in Part 1 and Part 2. Honestly, if there was a drop-off, it was with those new songs written specifically for the movie. Otherwise, close enough.
 
5. Both Erivo and Grande were nominated for Oscars for the film’s first part, but went home empty-handed. Do you expect either will be nominated again for For Good — and could either emerge victorious this time? 
 
Hannah Dailey: If neither of these women get Oscar love this year, I’ll be shocked. Both delivered generational performances in this project, and with For Good’s emotionally meatier scriptproviding way more opportunities for them to shine as dramatic actresses, I think they have even better shots of taking home acting prizes next year than they did with Part 1. 

Stephen Daw: For all the critical gripes about Wicked: For Good (plenty of which I personally agree with), the one thing I have consistently seen is critics praising both performances from Ariana and Cynthia. I’ll be surprised if they’re not both nominated a second time. In terms of the likelihood of either of them winning, it is a stacked awards season, but I think Ariana has the best chance out of the two of them to take home the trophy for the stellar acting performance she delivered in this movie.  

Kyle Denis: As it stands, I think both will land repeats nods — which would be historic considering only six actors have received Oscar nominations for playing the same character in two different films. Grande is probably the frontrunner in best supporting actress, and she has a solid chance to take home the gold – especially if votes get split between the supporting players in Sinners, Sentimental Value and One Battle After Another. She may also face stiff competition from Weapons’ Amy Madigan, should critics rally around her early in the season. The actors’ branch clearly respects Erivo, so she should have no problem making the final five… whether she has enough steam to take down Hamnet’s Jessie Buckley is the real question.  

Joe Lynch: Nominated? Likely. Erivo pulled off a tricky character transformation with pathos and aplomb, and she deserves a nod for that. Grande revealed a depth and breadth we didn’t see in part 1, so she might get recognized as well — but something tells me they’re unlikely to nominate both two years in a row and that Erivo has the edge. I would be surprised if it turns into a win for her — but that being said, she’ll get Oscar gold within the next decade, I’m sure. 

Andrew Unterberger: If I had to guess, I’d say both get nominated again and both are left applauding in the audience again.

Mexican superstar Carín León has signed with WME’s global co-head of music, Kirk M. Sommer, in all areas, it was announced Tuesday (Dec. 2). Together with León’s manager, Jorge Juárez, the intention is to “grow León’s business and presence in territories beyond his current base.”

“We are thrilled to join the WME team led by Kirk Sommer,” Juárez said in a statement. “Carín has tremendous potential to expand into other global territories. We are looking to WME to lead the way in all areas of their expertise.”

“Carín is a generational artist,” Sommer added. “In his incredible career, he has consistently broken barriers and transcended genres. We are determined to bring the full weight of WME to bear to expand Carín’s fanbase around the world and we are honored to work with both Carín and Jorge.”

Hailing from Hermosillo, Sonora, Mexico, León — known for his signature norteño sound fused with R&B, country and pop — is one of the most versatile voices in Latin music. His debut album, Desvelada con Banda y Mariachi (2018), propelled him to quickly dominate the regional Mexican music scene. In 2021, his album Inédito debuted atop multiple charts and was named one of Billboard’s 25 Best Latin Albums of the Year.

A Grammy and Latin Grammy Award winner, León became the first Latin artist ever to play Coachella and Stagecoach in the same year in 2024, and is now set to become the first Latin artist to play Sphere in Las Vegas, with a run of seven shows set for 2026. He has also sung at Nashville’s Grand Ole Opry, opened for legendary British band The Rolling Stones, and sold out the impressive GNP Seguros Stadium in Mexico City, among other achievements. Earlier this year, he set an attendance record at RODEOHOUSTON with over 70,000 fans showing up to see him perform. 

Last month, León took home the Latin Grammy for best contemporary Mexican music album for Palabra De To’s (Seca), which is also up for a 2026 Grammy Award for best música mexicana album.

Miley Cyrus has something beautiful to share with fans. After four years of dating, the pop star is now engaged to musician Maxx Morando, as revealed Tuesday (Dec. 2) following the couple’s red-carpet appearance at the Avatar: Fire and Ash premiere.

Stepping out with her fiancé at the film’s screening in Los Angeles on Monday (Dec. 1), Cyrus — who contributed a song called “Dream as One” to the Avatar sequel — debuted a shiny new gold band on her left ring finger. The next day, People confirmed that the piece of jewelry indeed represented a recent engagement.

The couple’s big news comes four years after they first started dating in 2021. “We got put on a blind date,” Cyrus recalled to British Vogue in 2023 of how she first met Morando. “Well, it was blind for me and not really for him. I thought, ‘The worst that can happen is I leave.’”

The two musicians would go on to collaborate professionally, with Morando working on songs from Cyrus’ most recent albums, Endless Summer Vacation and Something Beautiful. At her Spotify Billions Club concert in Paris this year, the Liily band member accompanied his then-girlfriend on guitar.

The Hannah Montana alum was previously married to Liam Hemsworth, whom she dated on and off starting in 2009. They wed in 2017 before separating the following year.

In a 2024 interview with Harper’s Bazaar, Cyrus explained why her relationship with Morando works, despite him being six years younger than her. “He’s very similar to me,” she said at the time. “We just don’t take life too seriously.”