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Want to watch USA Network on TV? Having a cable package is the easiest way to watch the USA Network at home, but if you’ve recently cut the cord, there are still options for streaming the channel without cable including live TV streamers.

To help you save money and watch the USA Network without cable, ShopBillboard listed all the streaming options available below.

How to Watch USA Network Online Without Cable At Home

Peacock is the official streaming platform for NBC and all of the channels owned by the media company — including USA Network. You can watch on the streaming platform in addition to the USA Network’s original TV series and movies. If you already have a Peacock subscription, you can watch the channel instantly for no additional cost when you log into the platform.

Don’t have Peacock? There is no free trial for new subscribers, but the streaming platform does come with various plans starting at $10.99 per month to choose from based on your budget.

There are two Peacock plans you can choose from: the Premium Plan that’s ad-supported and the cheapest option at $10.99 per month or the Premium Plus plan for $16.99 per month that comes with everything in the Premium Plan in addition to you local NBC channel and the ability to download and watch content offline. Save additional cash when you choose an annual plan, which will give you an entire year of access for the cost of 10 months.

Outside of USA Network content, Peacock comes with its own collection of original TV shows and movies as well as programs from NBC and Bravo. Content you can look forward to watching includes Poker Face, The Traitors, Couple to Throuple, The Best Man: The Final Chapters, Bel-Air, Love Island, Love Island Games, One of Us Is Lying, Dr. Death, Yellowstone, Suits, The Office, Modern Family and Parks & Recreation. Bravo fans can also tune into content like Vanderpump Rules, Below Deck, The Real Housewives Ultimate Girls Trip and Summer House: Martha’s Vineyard.

How to Watch USA Network Online Without Cable for Free

Live TV streamers are hosting a variety of promos and free trials that’ll give you access to the USA Network online to stream for free or at a discounted cost. Keep reading to learn more.

DirecTV

You can watch USA Network on DirecTV, which also comes with your local NBC station. New users are eligible for a five-day free trial through DirecTV when you sign up for one of its four packages. Every streaming package includes USA Network as well as CNBC, MSNBC and dozens of other channels.

Sling TV

Sling TV lets you watch the USA Network with the streaming service’s Blue package. There are a total of three plans you can choose from, but only the Blue package and the Orange + Blue package will get you the USA Network. Within the Blue Package, you’ll receive the USA Network in addition to NBC and more sports, news and entertainment channels, plus 50 hours of DVR storage.

FuboTV

Another affordable option that lets you stream USA Network without cable is FuboTV. New users can score a free seven-day trial when you sign up for one of the three packages offered. In addition to letting you watch the USA Network online, Fubo offers access to NBC and hundreds of other channels available in your lineup.

Once you free trial is over, you’ll be charged the normal subscription price starting at $54.99 for the first month of service ($84.99 per month afterwards).

Hulu + Live TV

You can also watch USA Network on Hulu + Live TV, which goes for $64.99 per month for the first three months of service. It’s also the one option that offers the most for less. Not only will you get access to the USA Network, you’ll also get more than 90 channels (including NBC) in addition to access to the entire Hulu library — and starting at $82.99 per month once the promo is over.

What we like: your Hulu + Live TV plan includes Disney+ and ESPN Unlimited for exclusive sports coverage and programming from ESPN, and all the Disney+ originals.

Does USA Network Have a Streaming App?

Yes, you can stream USA Network on its official streaming network Peacock. In addition to USA Network content, you’ll also have access to programs from NBC, Bravo and Peacock-exclusive TV series and movies.

Oops, Paris Hilton did it again. After totally nailing her Britney Spears Halloween homage earlier this week — in which she shared a series of snaps of her recreation of iconic Britney looks from the “Oops… I Did It Again” video — Hilton was at it again on Wednesday (Oct. 29).

The sometimes singer and social influencer posted a roll of pics in which she recreated the sultry cover for Madonna’s 1985 money-over-everything single “Material Girl” from Madge’s sophomore Like a Virgin album.

In an Instagram post, Hilton sits on the floor with just a blue silky sheet covering her naked body, with “Paris – Material Girl” running across the top. “We are living in a Material World, and I am a #MaterialGirl,” Hilton wrote along with a shout-out to Madonna and the hashtag #iconsOnly” in the caption. The next slide features the original single cover with Madonna in an almost identical pose, followed by a series of similar shots, as well as a video outtake from the photo shoot in which Hilton holds the cloth against her seemingly nude body as she mouths along to the single while the original Madonna image is displayed off to the side on a monitor for reference.

With her hair teased up into a curly nest on top of her head, her ears adorned with crucifix earrings and her wrists covered in a clutch of sparkly bracelets, Hilton is seen tilting her head expertly and opening her mouth just so as a photographer shouts the encouragement, “Yes… gorgeous!,” while a flash illuminates the scene. Hilton also posted a short clip in which she dances and lip synchs to the song as she pulls the sheet across her body, dropping it to her waist at one point, exposing her whole back and cheekily flashing a bit of side boob.

Hilton, 44, has been gearing up for Halloween all week with a series of “Silvingween” solo and family photo shoots featuring elaborate costumes, starting on Monday with the Spears shoot, followed by a full-family homage to Toy Story featuring her husband Carter Reum as Woody, as well as son Barron in a Buzz Lightyear getup, daughter London as mini Woody and Paris in a Bo Peep outfit.

She upped the ante again on Thursday morning (Oct. 30) with a trip to Silvingland homage to Peter Pan, with Paris as Tinkerbell, Reum as Captain Hook, Barron as Peter Pan and London as Wendy Darling.

Since it first roared onto the Billboard charts with 2009’s Guns Don’t Kill People… Lazers Do LP, Major Lazer has established itself as one of the most innovative collectives in mainstream music through its fusion of EDM, dancehall, hip-hop, reggaetón, trap and soca. Now, the group’s three current members — Diplo, Walshy Fire and Ape Drums — have officially added a fourth name to the lineup: America Foster. 

A 28-year-old British-Jamaican artist, model and content creator, America Foster hails from the outskirts of London in South Buckinghamshire. As one of seven children in a household dominated by boys, she quickly learned how to lean into her knack for entertaining to ensure her voice was heard. She remembers developing her freestyling as a party trick as young as 10, and around age 15, she started playing around with accents and voice acting, sending friends into laughing fits with prank calls and her imitations of the London Underground voiceover. As she entered the final years of her adolescence and her creative friends started seriously pursuing their dreams, Foster brushed off countless requests to hop in the booth and freestyle over a track.  

“I was completely opposed to it,” she recalls. “And then one of my friends [convinced] me to come to their studio session, the producers spun around in their chairs like, ‘Your turn!’ I was like, ‘Not happening!’ That ended up being the first time I ever put my vocals on a studio recording.” 

Foster is the first to admit that those early songs weren’t the strongest — “They were very commercial, Chris Brown dance-pop; I call it McDonald’s music” — but she eventually landed on a sound that distilled the authenticity, cultural fluency and bubbly quirk of her off-the-cuff social media content, which garnered her hundreds of thousands of followers pre-Major Lazer and resulted in a Red Rat-informed approach to dancehall toasting and singjaying anchored by her striking charisma.  

After a few viral clips caught Diplo’s attention, Foster quickly took advantage of the potential music industry connection. She thanked the Grammy-winning DJ for following her, and the two started exchanging music, culminating in an in-person meeting at his Roundhouse show last September. There, the pair planned a studio session in Jamaica, where Foster met the rest of Major Lazer, and by Paris’ Fête de la Musique in June, she made her live debut with the group. In July, Foster officially announced her addition to Major Lazer via Instagram. 

Arriving as the group’s youngest and first woman member, Foster made her official Major Lazer debut with a freestyle remix of August’s “Gangsta,” a shatta-informed track that also features Kybba and Busy Signal. A few weeks later (Oct. 24), Foster joined forces with buzzy Toronto artist Sadboi and Emmy-winning choreographer Parris Goebel for “Bruk Down,” a standout ‘90s dancehall-inspired track that doubles as Goebel’s musical debut. Goebel also co-directed the track’s flashy music video alongside Philippa Price.

“She understands what she’s good at, and she understands that she’s got a market for it. It’s genius to me,” Foster tells Billboard about working with Goebel. “I’ve heard some of her songs that are due to come out, and they are amazing — especially for the dance community.” 

In a candid conversation with Billboard, America Foster details her origins, integrating herself into the Major Lazer family, fashioning “Bruk Down” out of a freestyle and what else she’s cooking up with her new groupmates.

What are some of your earliest musical memories? 

[They’re] definitely attached to dance. Rhythm and beat [were] my first introduction [to music]; I never really heard lyrics for what they were when I was younger. I’d be able to recite a whole song, but I wouldn’t be able to tell you the content. 

Where do you consider home? 

Growing up, I lived just on the outskirts of London. But my heart was always in Northwest London; I was always there. That’s where my mum and her sisters were raised, and my gran still lives there. During weekends, half-terms and school holidays, I’d be in London. And then I’d be living in South Buckinghamshire, which is where I was raised. 

How did you land on the “America Foster” sound? 

Eight years ago, when I first got into the studio, I didn’t understand my sound, so I started trying to develop it. I really captured my sound in the last four years. I made a couple of demos that were getting close, but they weren’t the final sound, which were the demos that I actually sent to Diplo. 

You connected with him over Instagram, right? 

He came across my page from a viral moment; I’ve had quite a few of those on Instagram from my content creation. I was trying to figure out how to transition into being a respected artist, so I started dropping bits of content surrounded by my music. Whether I’m talking about the weather or my menstruation, I put it in a rhyme pattern and people love it — especially because you don’t expect me to have such a strong Jamaican accent, because I’m light-skinned and from England, and my name’s America. It’s like, “What the f—k is going on?” [Laughs.] 

He followed me off a viral freestyle, and I was really excited, because I was seriously making music at the time. I knew that he was behind Major Lazer, and I also know he was behind [M.I.A.’s] “Paper Planes.” I grew up to that song, just banging it out constantly. So, obviously, I shot my shot. I thanked him for the follow and sent about four demos. We started exchanging music on WhatsApp, and he’d send me beats he heard my voice on. 

Last September, he came to London, and I met him at the Roundhouse while he was performing. The next day, we went to a football game and planned for a studio session in Jamaica, which is where I met the rest of Major Lazer. 

What was that first meeting like? 

It was amazing, we just clicked. Me and Walshy were bantering left, right and center; it felt like I had known these guys for ages. It didn’t feel like the first initial meeting at all. I went to Diplo’s home in Jamaica, and it’s quite a showroom home, but it still has this beautiful, homely vibe. I had 32 hours in Jamaica, and we made six songs, one of which was “Bruk Down.” 

“Bruk Down” started as a freestyle, right? 

Diplo just had the beat running, and we all knew it was f—king hard. He kept it running to see if we came up with anything; he even freestyled a little bit, which was quite funny. And then I just heard, “Bruk out, bruk out, waan fi.” I knew I liked that, but I wanted to repeat it twice, and then change it a bit the third time. Walshy was in the room, and he was like, “Yea, man, dat fyah!” Diplo also liked it, so I continued freestyling and writing at the same time.  

It’s crazy how the final version sounds like a completely different song from how it first started. My initial freestyle was shared with Parris Goebel and Sadboi, and when I heard it with their parts, it sounded so good. I was only briefly familiar with Sadboi, and I hadn’t connected the dots about who Parris was. I didn’t know she was making music. I was like, “Oh my God, my music video’s gonna be sick!” [Laughs.]

Did you have any initial reservations about pursuing your music career through a collective as opposed to just going solo from the jump? 

About two years before Major Lazer was on the table, I thought about being in a girl group. And I was like…. no. I just couldn’t see that for me. Part of me felt like I had to really weigh it up and see what the exit would look like. 

When Major Lazer came into the picture, I was like, “Oh my God, this is the best group that could have ever asked me to join them.” Firstly, it’s all boys. Secondly, they’re not vocalists; they’re producers and DJs, so I’d be the only vocalist, which gives me the opportunity to still be a solo artist. 

Being the only woman and the youngest, what made you trust these guys? 

My familiarity [with them] through their music. Through being a consumer, I felt like I knew them already. That’s why it felt so family-oriented in the first meeting. I’m big on signs, energy and spirituality, and I just followed my gut. 

What does your contract look like? 

It’s a featured artist agreement. I’m contracted as the fourth member. 

So, you’re technically an unsigned artist? 

Yes. 

Is America a stage name or your given name? 

Birth name. I was orphaned by the age of four, and my mum gave me my name. I look at it as if that was the best and final gift that my mum could have given me. I can’t change it, even though I hated the name when I was younger. I’m the only one out of my siblings with the name of a country or state or continent. I don’t have a middle name.  

My mum knew something that no one else knew. She knew what she gave birth to. I can’t put a different name on my stardom. I don’t feel like that would be paying homage to my mum. She would have been a performer if she was still about; she had the essence that I do, but I’ve just been able to live and show it. 

What else from your childhood do you see reflected in the music you make today? 

My inspirations. When I’m freestyling, I hear Beenie Man, Elephant Man, Vybz Kartel, a little bit of Lady Saw, all of that. I hear their attitude in my freestyles. The sound I’m running with at the moment is Red Rat’s; I’m paying homage to him. I’m tuning in to the things that made me love music in the first place, taking elements of all of that at combining it with who I am to produce something that the world will just say “yes” to. 

How do you anticipate your content creation might evolve as your artist career grows? 

I’m not creating content; I’m capturing moments. There’s a difference for me. It’ll be exactly the same. I’ll just be capturing bigger moments and things that people will want to see: being on the road with the boys, backstage banter and little humorous exchanges.  

Do you feel embraced by Major Lazer’s fanbase? 

I’m definitely taking it in. With my social media content, I was becoming a little bit more known in London. A year before [joining] Major Lazer, I went to Barbados, and someone recognized me. That was like one of the first moments that I realized how far my reach is. 

Major Lazer’s fan base is great. They’ve taken me in like I’ve been a member since day one. It feels like they have literally said, “Oh, Diplo, you like her, yeah? Walshy? Cool, we like you too.” 

Top three Major Lazer songs of all time? 

“Pon de Floor,” “Hold the Line” and “Watch Out for This (Bumaye).” 

It’s the tail end of September’s Climate Week: NYC when Maggie Baird gets on Zoom from her hotel in the city, ceramic mug of tea in hand.

The mother of Billie Eilish and FINNEAS, as well as a staunch activist for sustainability and plant-based food access, Baird calls her time at Climate Week a “mixed bag of emotions”: She has participated in troubling events addressing the grim effects of climate change, but has also learned about the more hopeful work that’s happening around the world to address it.

“It’s a very dark time and there’s a lot going on,” she says. “Climate change is a threat multiplier. Every single other issue you care about, climate is there making it worse.”

Maggie Baird will participate in a panel at Billboard‘s Live Music Summit, held Nov. 3 in Los Angeles. For tickets and more information, click here.

But Baird, who quotes Joan Baez’s famous “Action is the antidote to despair” declaration, has been a force during the event. Support + Feed, the organization she founded in 2020 that provides hot, plant-based meals to people in need, distributed roughly 2,500 of these meals, along with pantry items, across New York. She and representatives from the nonprofit used this time in the community to talk about plant-based diets as crucial mechanisms of positive environmental impact, with the week’s efforts also connecting various community organizations with climate thought leaders. The week ended with a Support + Feed “friend-raiser” event that hosted climate activists, community members and celebrities like Martha Stewart and Eilish, who turned out to support her mother.

“The main thing I would say about this time is that it’s a moment for radical collaboration,” Baird says. “Every organization I know and work with, we’re just like, ‘How can we be better together?’ We have to multiply — exponentially.”

For Baird, however, every week is Climate Week. Having worked with her children and their respective teams to meaningfully integrate sustainability into their careers, she’s essentially a frontline reporter on sustainability within the music industry.

One sector where she’s seeing “really exciting advances” is merchandise. Baird is a longtime collaborator with Bravado, the merchandising and branding division of Universal Music Group that recently sent 400,000 obsolete and unsold tour T-shirts and other unused items by ship from Nashville to Morocco, where they were repurposed into new yarn by sustainability-focused textile manufacturer Hallotex. The yarn will be used to make new items in Europe to avoid the emissions of shipping them back.

For Eilish’s merch, the Bravado team has successfully collaborated with upcycling and sustainability-focused clothing companies Rewilder and Suay and designer Iris Alonzo, the co-founder of the Everybody.World brand. Suay, for example, took hundreds of dead-stock work shirts, added sleeves and embroidered “Billie” on each piece, while some of Eilish’s old merch was repurposed into bags. “The upcycled items sold out so fast,” Baird says, “because there were limited quantities and they were extremely unique, and unique to Billie.”

Meanwhile, a program developed by Eilish’s Live Nation touring team, Support + Feed and Reverb, the long-standing nonprofit focused on music industry sustainability, now requires that any venue hosting an Eilish show must sell at least three plant-based main courses — and some venues have even gone entirely plant-based for Eilish. (Her sold-out Hit Me Hard and Soft world tour began in fall 2024 and runs through November.) The team also hosts educational webinars for venue culinary staffers to educate them about plant-based eating.

“It’s about trying to help them understand that the arena has an obligation to clientele, to planet and to cost,” Baird says. “It’s all done in a friendly, helpful way. We’re very welcoming and excited that they’re willing to even take the call, frankly.” The goal is for venues to maintain more robust plant-based approaches long after Eilish leaves. “It’s really about helping people understand that you’re not just serving your customer better while being better for the planet,” Baird explains, “but that you can actually save money.” These savings are achieved by reducing reliance on meat and incorporating more dishes made with lower-cost ingredients like beans, lentils, grains, fruits and vegetables; meals built around whole-food ingredients are often significantly more affordable to produce.

She is aware that implementing such programs takes resources. Eilish has helped fund Support + Feed and Reverb to be on-site at shows by rising artists who don’t yet have the funds to host these groups themselves. “I think it’s important that we reach down,” Baird says. Fans can also buy more expensive “changemaker” tickets for Eilish’s shows, with 50% of the revenue from each tagged for sustainability projects. One dollar of every regular ticket sold is also donated.

While Eilish is among the most visible musicians promoting sustainability in the industry, Baird’s hope is that even if artists don’t want to publicly discuss their efforts, “they’ll still just do it. They don’t have to make it as outward as what we’re doing, but they can just do it as a given.”

All these initiatives are happening in a year when Support + Feed has responded to a host of disasters. It fed locals in Los Angeles following the devastating California wildfires in January and in Tennessee after intense flooding in April. (Baird notes that in the wake of such events, Support + Feed representatives stay on the ground long after many other response organizations move on to the next crisis.) The communities Support + Feed serves have also been “very impacted” by U.S. Immigration and Customs Enforcement raids, “so we’ve had to really be nimble in how we feed people and how we convene,” Baird says.

Still, the organization is expanding its offerings, now providing, in addition to hot meals, free produce from local farmers and cooking classes and recipe cards for people who may be unfamiliar with the produce they’re receiving.

“We’re really increasing our education and our outreach as much as possible,” Baird says, “but also just feeding, feeding, feeding, feeding, feeding. The need now is tremendous with all the food programs being cut.

“It’s a very intense time,” she continues, “but there are so many people doing great things.”

This story appears in the Oct. 25, 2025, issue of Billboard.