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.

The Jonas Brothers are taking over Christmas with their new film, aptly titled A Very Jonas Christmas Movie.

There’s no better way to get into the holiday spirit by watching this Christmas-meets-comedy film that is available to stream now on Disney+ and Hulu. The film sees brothers Kevin, Joe and Nick Jonas face a series of escalating obstacles on their journey home from London to New York, racing against time to spend Christmas with their family.

It’s your standard wacky holiday movie, akin to such beloved titles such as Home Alone and Elf. The new movie is directed by Jessica Yu and stars the Jonas Brothers, obviously, alongside talents including Chloe Bennet, Billie Lourd, Laverne Cox, KJ Apa, Andrew Barth Feldman, Andrea Martin, Kenny G, Justin Tranter, Randall Park and Jesse Tyler Ferguson.

Now, this wouldn’t be a proper Jonas Brothers-led film if there wasn’t an original soundtrack. The brothers created an album, produced by Justin Tranter, with seven brand new songs, along with three additional tracks. The soundtrack includes the tracks “Best Night,” “Like It’s Christmas,” “Home Alone” and a live version of their 2019 single “Sucker.” If you’re itching to get into the Christmas spirit a little bit early, here’s how you can watch the Jonas Brothers’ new movie.

How To Watch A Very Jonas Christmas Movie

As mentioned, A Very Jonas Christmas Movie is now available for streaming on Disney+ and Hulu.

Instead of getting one of two streaming services, you can bundle Hulu with Disney+ for $12.99/month. These Disney+ bundles save users on average 44% per month. Think of it this way. A standalone subscription to Hulu and or Disney+ with ads is 11.99/month, which is basically the cost of a bundle. You’re getting more bang for your buck by bundling because it gives you access to a wider variety of streaming services all in one place. Stick with us. Your wallet will thank you.

Subscribers will have access to a wide range of Disney+ and Hulu titles, including movies and series from Disney, Pixar, Marvel, Star Wars and National Geographic along with and Hulu Originals. Some of our favorites currently, perfect for getting you into the Christmas mood, include Elf, Die Hard and The Polar Express. If it’s too early to jingle bells, you can always tap into other cheerful content including The Simpsons, Elio, Dancing with the Stars and the Glen Powell football comedy Chad Powers.

Watch the Trailer for A Very Jonas Christmas Movie Below

And, if you’re in the mood for more of the JoBros, the pop group is still on their JONAS20: Greetings from Your Hometown Tour in celebration of their 20th anniversary. The band will be making stops in major cities throughout the U.S. and Canada, with a stacked setlist of top tracks sure to get you out of your seat with hits including “Lovebug,” “S.O.S” and “Year 3000.”

The band will be touring up until Dec. 22, when they will make their final stop in Brooklyn, N.Y., at the Barclays Center. If you’re looking to relive the 2000s, we’ve included sites where you can snag tickets to the band’s tour below. You might even be able to grab a deal on ticket pricing, on us, of course.

Where to Buy Tickets to Jonas Brothers’ JONAS20: Greetings from Your Hometown Tour

If you’re a Jonas Brothers fan on a budget, Ticketmaster has a good amount of seating options still available for as low as $43 at some venues. Ticketmaster has an initiative in place for ticket buyers called Fan Guarantee that allows for cancellations, refunds or exchanges within 24 hours of booking, subject to certain exclusions, so you’ll never have to prep a backup plan pre-concert.

StubHub features some of the best seating for Jonas Brothers’ tour we’ve seen so far, even for concerts that are only days away. You can shop a slew of seats, both up close and far from the stage, with ease, thanks to the ticketing service’s FanProtect Guarantee. This ticketing initiative ensures that you’re shopping for valid tickets or your money back. In the unfortunate event that your concert or show gets canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid for the impacted event, or the option of a cash refund.

You can grab seating options to the Jonas Brothers’ tour with Vivid Seats now for a discounted price when you use promo code BB30 to score $30 off your purchase. When you’re shopping for Jonas Brothers tickets on Vivid Seats, you’ll be able to clearly see which tickets are the most affordable and which ones are going the fastest without even clicking on them, thanks to icons above each venue. Like other ticketing sites, Vivid Seats also has a 100% Buyer Guarantee that vows your transaction is secure, that your tickets will be delivered before your event and that those tickets will be valid and authentic no matter what.

You can shop Jonas Brothers’ tour tickets while still saving on SeatGeek. You can use promo code BILLBOARD10 to receive $10 off at checkout. The ticketing service includes a safety net for prospective buyers with their Buyer Guarantee that ensures smooth ticket purchases no matter the venue.

You can also shop for JONAS20 tour tickets through TicketNetwork for a fraction of the original cost with our code BILLBOARD300 to save $300 off orders of $1,000 or more, and BILLBOARD150 to save $150 off orders of $500 or more. Waiting on getting paid before you buy your seats? You can also buy your tickets on the website now and pay later with help from Affirm. To further help you narrow down your decision before purchasing, the website includes all-in pricing that lets you see exactly what you’ll be paying before heading to checkout (fees included).

Gametime has a bunch of seating options still available for pretty much all of the stops on the Jonas Brothers’ tour. Pricing varies based on how close or how far you are from the stage, so pick your tickets wisely. The ticketing service guarantees the lowest prices, event cancellation protection and on-time ticket delivery, ensuring a smooth sailing pre and post-purchase.

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.

The holidays are right around the corner, which means everyone will be searching for the best gifts to give that special someone, whether that be your significant other or your kids. Our pick for the hottest gift of the season? KPop Demon Hunters merch, obviously.

While you might be torn between HUNTR/X and their boy-band counterpart Saja Boys, the animated girl group’s success is undeniable. HUNTR/X’s uplifting track “Golden,” sung by EJAE, Audrey Nuna and Rei Ami, has had an insane run on the Billboard Hot 100, topping the charts for a whopping 15 weeks thus far. Recently, the faux girl group was just nominated for six awards at the 68th Annual Grammy Awards, primarily for their track “Golden.”

In the box office, the Netflix animated film topped with roughly $18 million over two days. With a release in theaters around Halloween, the movie collected $5 million to $6 million, which was a shock, given it’d already been widely available to watch on streaming. With all this in mind, you’ve got plenty of reasons to shop the girl group’s merch before it’s gone for good, especially given that a lot of their merch is currently on sale. We’ve rounded up a few of our favorites below, including t-shirts, pillows, hoodies and so much more that would look great under the tree or neatly nestled in a gift box this holiday season.

The retailer has a slew of options for everyone, from unisex cotton tees to insulated tumblers, all up to 15% off. This is official licensed merchandise. Some of our favorite pieces include the HUNTR/X sweatshirt with a large graphic on the front depicting members Rumi, Mira and Zoey in purple, blue and pink hues. The sweatshirt, like a majority of the clothing items featured in this article, ranges in size from small to XX-large.

You’ve also got a HUNTR/X iPhone case affixed with a graphic of the members posed in an action shot, ready to battle some demons. The case is a two-parter made from a premium scratch-resistant polycarbonate shell layered over a shock-absorbent TPU liner that protects against drops from high heights. The case fits the iPhone XR. The HUNTR/X hoodie is another winner in our book. It comes in three different colorways and is made of a cozy mix of cotton and polyester. Sizing options range from medium to XX-large.

This film aptly capitalizes on the success that the K-pop genre has seen not only in South Korea, but all over the world. You’ve got crisp and colorful animation brought to you by the same crew that did Spider-Man: Into the Spider-Verse, along with punchy action sequences and foot-tapping original music tracks that take inspo from the best of K-Pop, and you’ve got a clear recipe for success.

So we know the inspiration for this film was K-Pop, but how did it all come about? Demons and K-Pop aren’t really the first two things we think of when playing word association. Well, the film draws heavily from director Maggie Kang’s South Korean roots along with South Korean folklore surrounding demons and mythology. Of course, Kang’s love of K-pop was also a huge inspiration. The film is currently available to stream exclusively on Netflix.

If you’ve missed the viral phenomenon, we’ll catch you up to speed: The movie centers around world-renowned K-pop girl group HUNTR/X, as the members balance their lives in the spotlight with their secret identities as demon hunters. Each group and musical number was based loosely on some of your favorite K-pop acts, including MONSTA X and BLACKPINK to Itzy and EXO. K-Pop is interwoven throughout this endeavor. In fact, tracks featured in the film are even sung by former and current K-pop idols such as Kevin Woo from UKISS to Twice’s track “Takedown,” sung by members Jeongyeon Jihyo and Chaeyoung.

More KPop Demon Hunters Merch we Love

Watch the KPop Demon Hunters trailer below:

In its nascent days, Big Machine Label Group had a mantra: “Start at crazy and work backward.”

“It happened very early on in some of our marketing meetings, where, as a young label, we didn’t have a lot of marketing money, and so it was like, ‘What’s the craziest thing we could do? Let’s define the mile marker and work backward from that,’ ” BMLG founder and chairman/CEO Scott Borchetta remembers.

“It’s a very liberating concept and construct,” he continues. “I love working with artists who think big or people who see things in such bright colors. That’s when I feel I do my best work.”

And for 20 years, Borchetta and his team have done their best work developing artists from scratch and taking established stars to new heights, including Taylor Swift, Reba McEntire, Thomas Rhett, Garth Brooks, Tim McGraw, Florida Georgia Line, Rascal Flatts, Mötley Crüe, Dolly Parton, Carly Pearce and Riley Green.

Borchetta started BMLG in September 2005 as a sister label to Toby Keith’s Show Dog Nashville (while that partnership dissolved six months later, Keith held equity in BMLG until 2019). Following in his father’s record-company footsteps (Mike Borchetta worked in promotions for Capitol Records, RCA Records and Mercury Records), the junior Borchetta became highly regarded for his promotional prowess at both MCA and DreamWorks, at a time when country radio was king.

After MCA parent Universal Music Group (UMG) bought DreamWorks, Borchetta decided to leave and start Big Machine, which takes its moniker from both the Velvet Revolver song of the same name and a reference to the “big machines” he drives as a sports car driver in the Trans-Am Series. (Borchetta also owns NASCAR Xfinity Series team Big Machine Racing.)

Big Machine’s initial roster included Jack Ingram, DreamWorks artist Danielle Peck and, thanks to his early discussions with her while at DreamWorks, a teenage Swift. Borchetta promised her that if she was interested, he would sign her as soon as he got Big Machine off the ground, and he made good on his word in 2005.

Nearly a decade-and-a-half later, Scooter Braun’s Ithaca Holdings bought the UMG-distributed label in 2019 for a reported $300 million. Then in 2021, HYBE bought Ithaca for $1.05 billion. Despite no longer owning Big Machine, Borchetta says he retains creative control.

BMLG operates four imprints: Big Machine Records, The Valory Music Co., Nashville Harbor Records & Entertainment and Big Machine Rock (which HYBE sold to Gebbia Media in May, but the imprint remains under Borchetta’s remit). In 2012, the label group launched publishing company Big Machine Music, which includes such powerhouse writers as Jessie Jo Dillon (George Strait, Maren Morris) and Laura Veltz (McEntire, Kane Brown).

Helping guide BMLG from day one are Borchetta’s wife, executive vp of creative Sandi Borchetta, and president Andrew Kautz. Other key team members are COO Mike Rittberg and executive vp of A&R Allison Jones, as well as Nashville Harbor Records & Entertainment president/CEO Jimmy Harnen, The Valory Music Co. president George Briner and Big Machine Records executive vp/GM Kris Lamb.

Twenty years in and with 185 No. 1 songs, 76 Grammy Award nominations and more than 225 million albums sold, according to the label, the mission remains largely the same, Borchetta says: “It’s all about cutting through the noise.”

What made you start your own label?

There was one really polar moment. Sandi and I were on vacation with Reba [McEntire] and [then-husband/manager] Narvel [Blackstock] in Cancún [Mexico], and he goes, “When are you going to run one of these things?” I thought, “Wow, if Narvel thinks I could do it…” That was really a boost to my thought process. There were certain mile markers on how I was thinking about the business, and one of the big things was Napster. When that came out, it scared everybody. It was a terrible time for the record industry. We’re suing college students and grandmas, right? “Is it a weed or a flower? Let’s just kill it.” That was a dead reckoning of [the conventional record industry not] seeing what the future is. Realizing that physical distribution at scale was a dead man walking over the next several years, it’s like, “I don’t see anybody getting ahead of this.” And that was the moment. It’s like, “There’s a lot of land out there that nobody’s claiming. Let’s go claim it.”

Your first release was Danielle Peck’s “I Don’t,” which reached No. 28 on Billboard’s Hot Country Songs chart. Then, the label’s second single, Jack Ingram’s “Wherever You Are,” went to No. 1. Were you thinking, “Man, this is easy”?

If you look back to 2005 [and] that era, radio was still king, and I was the best in the business in promotion. I knew that I had a honeymoon period [and] that my first three or four records would get a chance. We really expected the label to be successful. I wanted to get our systems working before we got to Taylor [Swift] because I felt like that was going to be very special.

Taylor Swift launched as MySpace was taking off and you really harnessed the early power of social media. You also helped create the Great American Country TV series Short Cuts, which went behind the scenes. Tell us about launching her.

Out of nowhere, on May 1, 2006, Taylor starts showing up once an hour [on GAC] with these one-minute shorts to show her songwriting, her in the studio, her performing, etc. We intentionally didn’t release the first single, “Tim McGraw,” until the beginning of June because I wanted to see how hot we could make it. By the time we shipped that single, we were watching her MySpace increase [by] double-digit percentages week over week. When we shipped the record, I would call radio stations and say, “We have you surrounded and you don’t even know it.” It was just the beginning of a forest fire. We went everywhere because I knew she could back it up.

Did having a big star that early change the label?

A big lesson I learned at DreamWorks is Toby [Keith] got so big that we didn’t have anything else to balance it out and it became really challenging. As Taylor started to become the superstar that she became, I wanted to make sure that the label couldn’t be completely defined by one artist. Before you know it, we’ve got Rascal Flatts, Tim McGraw, The Band Perry, Florida Georgia Line. Reba McEntire comes over. We built out a superstar label because that was the only way I felt we would be taken seriously. We couldn’t be a one-trick pony.

In 2012, you became the first American label to receive performance royalty rights at terrestrial radio, starting with iHeartMedia. How important was that to you?

In that moment, it was extraordinarily important, and we came so close to getting a blanket license, so to speak, for the industry. It’s a shame that it didn’t happen because we would be sharing in global terrestrial performance rights around the world. It was something that I realized really early on that we were going to have to do in the private sector. We were not going to get this done through a political pathway. This all started with a conversation that I had with [iHeartMedia chairman/CEO] Bob Pittman… [We were] able to go to all [our] artists and say, “We just got you another income source.”

You and your team seem much less risk-averse than a typical label. You launched Nash Icon with Cumulus in conjunction with the company’s country radio format of the same name, a rock label in partnership with fashion designer John Varvatos and a label with Blac Noize!, all of which are gone now. How do you decide what to take the risk on, and how upset are you if it doesn’t work?

Hey, everything has seasons. Nash Icon was incredibly successful not only with Reba, but Hank [Williams] Jr. and Ronnie Dunn. With John Varvatos, it just got to the point where rock is so hard to do, but we had a nice season with that. Everything doesn’t last forever. Sometimes they’re just moments, sometimes they become a movement. Even though the Blac Noize! imprint didn’t last that long, out of the box, you had a huge hit with GloRilla and a Grammy nomination. We have this new joint venture [Ascend Music] with [industry executive] Joel Klaiman, who brought a killer act, Marfa. This is really the key for these other joint ventures. It’s A&R opportunities. It’s like, “What do you see out there that we don’t see?”

Spotify started in 2006 and now streaming is the dominant means for people to listen to music. How has it changed how you do business?

It changed everything. We’ve gone from selling a CD to Walmart and Target for $12.02 to [song streams generating] 0.004 [cents] around the globe. It’s how you get [artists] to scale because now we have things that are doing real business that aren’t at radio. At the end of the day, we want it everywhere, but I don’t know that you have to have it everywhere. Does it change how we sign artists? It does. Is this going to stream or not? You’ve got to have a social story. You’ve got to have a streaming story. You’ve got to continually remain interesting. And it’s probably harder than ever for these new artists.

How do you look at terrestrial radio now?

It’s still very important. If you look at our more mature artists, it’s super important to reach their fan base, and not as important to the younger artists.

Swift’s deal with Big Machine ended in 2018. How much pressure did you feel to try to make up that market share?

Business as usual. “Let’s go to work.” You can’t just say, “Oh, let’s go get the next one.” There isn’t another one, right? There’s her. To this day, we still do great business. It wasn’t like, “How do you make that up?” Because if you got so focused on that, [other] parts of the business would fail. The best thing we could do is get up and go to work every day and do our best work.

When you sold Big Machine in 2019, you’d had a ton of suitors before. Why was it the right time to sell?

I felt like it was the right time to sell with where the market was at that point, with Taylor leaving and the writing was on the wall for Florida Georgia Line [the duo went on indefinite hiatus in 2022]. I’m thinking to myself, “I built this to win Super Bowls, and we won Super Bowls. And so now it feels like it was the right time to do it.”

You took some pretty nasty slings and arrows from Swift and her fans, as did Scooter Braun. How did you personally navigate that?

I know that I’m true to myself. I never did anything to intentionally hurt any artist. I never expected that kind of response, but it happened. It’s unfortunate, but again, I have to live with the decisions that I make and I know I’m a good person. The people around me are good. We didn’t die that day. It’s perseverance… You’ve got to be resilient in this business. You get knocked down and get back up. It’s not the first time you’ve been knocked down. Probably won’t be the last.

In 2021, HYBE bought Braun’s Ithaca Holdings. How did that change how you operate your company?

For Big Machine Label Group, I am the sole decision-­maker. They’re not involved in our A&R. Obviously, we have to be fiscally responsible to them and we work on very specific projections. But that’s just the business side. From a creative [standpoint] and all that, that lives in Nashville.

You were in a near-lethal car racing accident in 2023 and had to learn to walk again. Did you think about leaving the label, or did it help you to have a goal to get back to?

I was very aware that I was pretty much dying in the ambulance. At that point in the ambulance, I couldn’t breathe and then I split up blood. I said, “Just give up.” I don’t mean give up living, just go to the pain and let it go. If you’re dying, then you’re dying and just accept it. And my mantra became “Get to the next minute,” because I knew as soon as I got to the hospital — whether I was dying or not — I’d be out of pain. So I went into this meditation. When I woke up and saw how busted I was head to toe, I’m like, “Well, I survived this and there’s no way in hell I’m going to let this define the rest of my life. I’ve been so blessed. There are so many people I’m responsible for, so how quickly can we start the healing process?” From that day to today, it’s “I will not lie down, I will not go quietly.”

So you did not think about leaving the label?

I didn’t think about not being me. And this is me.

As you look ahead to the next 20 years, how much longer will you stay?

I’m going to stay until I don’t want to stay anymore. I’m still really excited about being a student of this game. I’m learning stuff every day. I equate [artificial intelligence] somewhat to how Napster was. Nobody knew what it was. They were predominantly just afraid of it. [I’m like], “Well, let’s jump in there.” I look at the opportunities that we have to use [AI] as a marketing tool and in a creative way and to encourage our artists and our creators to get their arms around it. That’s exciting to me.

In August, Middle Tennessee State University named its College of Media and Entertainment after you even though you went to school in California. Why was that important to you?

That’s how I started my speech. I said, “You need to know that I dropped out of college after two semesters. And here’s the reason why: This didn’t exist.” There wasn’t a path to learn the record business 40 years ago. Now there is.

Also in August, to celebrate its 20th anniversary, Big Machine held a concert in Nashville that included Rascal Flatts, Riley Green, Sheryl Crow, Brett Young and The Band Perry. Why did you decide to make it free, and how did you decide on the performers?

I wanted everybody invited. I wanted the biggest party possible. I didn’t want any restrictions. Danielle Peck came back and opened the show with our very first single. Jack Ingram came back and did our first No. 1. I was filled with pride the whole day, and then the night was just magical. I’ll never forget it. It didn’t rain. It was a perfect day.

This story appears in the Nov. 15, 2025, issue of Billboard.

The 26-year-old Australian man who charged at Ariana Grande in Singapore has been sentenced to time in jail, according to reports.

After going viral last week for jumping the barricade at the Asian premiere of Wicked: For Good and grabbing ahold of the pop star, Johnson Wen will now spend nine days behind bars in the city-state, per BBC News. A court in Singapore reached the decision after finding him guilty of being a “public nuisance.”

Billboard has reached out to Grande’s reps for comment.

The update comes a few days after Wen was charged in court. At the time, he was expected to face up to three months in jail and/or receive a fine of more than $1,500.

It’s not the first time Wen has faced legal repercussions for a public stunt involving a celebrity. His Instagram account features numerous videos of himself rushing up on stage without authorization at various concerts and putting hands on the artists performing, from The Weeknd to the Chainsmokers. In June, he was arrested for doing the same to Katy Perry.

After rushing at Grande in Singapore, Wen told followers that he’d been arrested and released. Footage from the event showed how terrified the singer-actress looked when he came barreling toward her, refusing to let go of her shoulder even as Wicked costar Cynthia Erivo tried to pry him off of Grande.

Moments afterward, videos captured security personnel pinning Wen to the floor at Universal Studios Singapore, where the premiere was held, before hauling him away. The R.E.M. Beauty founder has not publicly commented on the incident, though it doesn’t seem to have dimmed her feelings for Singapore. After the premiere, she posted twice on Instagram saying how much “love” she has for the country.

After a string of international premieres, which also included screenings in São Paulo, Paris and London, Wicked: For Good will be released in theaters worldwide on Nov. 21.

Music executive Ángel Del Villar will remain a free man while he appeals his convictions for doing business with Mexican drug cartels, a federal judge said.

Del Villar was scheduled to report to prison on Dec. 1 to begin serving his four-year prison sentence on the cartel-ties convictions, but Judge Maame Ewusi-Mensah Frimpong granted his request to stay out on bond during the appellate process. Such appeals can take a year or more to resolve.

Siding with arguments last month by Del Villar’s attorneys, the judge said the convicted executive had cleared the low bar for remaining free: that his appeal raised sufficiently arguable points about her jury instructions that an appellate court might be persuaded.

“Del Villar need only show that his appeal raises a fairly debatable question,” Judge Frimpong wrote. “The Court finds that—although the Court does not see any error in its trial rulings or in its jury instructions—that at least the question of the deliberate ignorance instruction is a ‘fairly debatable’ one.”

Del Villar, who founded his Del Records in 2008, built the label into a powerhouse for regional Mexican music, home to supergroup Eslabon Armado, Lenin Ramirez and other chart-topping artists.

But in June 2022, federal prosecutors unveiled charges against Del Villar, 41, CFO Luca Scalisi, 56, and Del Records under the Foreign Narcotics Kingpin Designation Act – a statute that allows the U.S. to impose targeted sanctions on foreign individuals involved in the illegal drug trade and ban U.S. residents from doing business with them.

The feds claimed that Del Villar had repeatedly arranged concerts with Jesus Pérez Alvear, a Guadalajara-based promoter with cartel ties. And at a March trial, superstar Gerardo Ortiz took the stand to testify against Del Villar, saying he had seen Pérez Alvear at the Del Records offices and had himself performed at one of the promoter’s concerts.

Del Villar’s defense attorneys argued back that he had been “manipulated” into working with Pérez Alvear by a “trusted” former employee. But the jury didn’t buy it, finding him guilty on 10 counts of violating the Kingpin law, as well as one conspiracy charge. In August, Judge Frimpong sentenced him to 48 months in prison on those convictions.

With that sentence looming and his appeal still in the earliest stages, Del Villar’s attorneys urged the judge to postpone his December prison report date. In the process, they also previewed how they will likely challenge the verdict on appeal.

They say they have a particularly strong argument on how the judge instructed jurors that they could convict Del Villar by finding that he willfully blinded himself to Pérez’s shady connections. They say prosecutors couldn’t prove he took concrete actions to avoid such knowledge, but that Judge Frimpong gave the jurors that option anyway.

“The government pointed to no evidence — and the record contains none —  from which a jury could conclude beyond a reasonable doubt that Del Villar took ‘deliberate actions’ or made ‘active efforts,’ his lawyers wrote, later adding that the judge’s instruction “went to the heart of the most hotly contested aspect of the case.”