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After selling out just about everywhere, you can pick up the new Nintendo Switch 2 at Walmart.

Available to the public back in June, the Nintendo Switch 2 quickly sold out with infrequent restocks throughout the months. However, ahead of the holidays, retailers, like Walmart, have the game console ready for purchase with prices starting at $449.

However, if you’d like to with the Nintendo Switch 2 and Mario Kart World game (priced at $79) bundle, then it starts at $499 from the retailer.

Aside from Walmart, the new gaming console is also available on Target and Amazon, but stock is very, very limited. Scroll down and buy the Nintendo Switch 2:

Armed with a vivid and brilliant 7.9-inch LCD display with HDR (High Dynamic Range) support, the Nintendo Switch 2 has a larger display and higher video resolution at 1080p Full HD with a smoother frame rates up to 120Hz compared to the Nintendo Switch 1. However, when docked to a 4K TV, the gaming console supports up to 4K Ultra HD resolutions.

Meanwhile, the console also has new magnetic Joy-Con 2 controllers are more secure with larger triggers and action buttons with mouse-like controls, while its built-in speakers feature crisper and more detailed audio for music and in-game sounds. There’s even noise-canceling settings with a new microphone system for easier and clearer voice chat with friends and family online. Learn more about the Nintendo Switch 2 here.

Starting at $449, the Nintendo Switch 2 gaming console to purchase at Walmart. The Nintendo Switch 2 with Mario Kart World bundle starts at $499. Learn more about Nintendo Switch 2, Mario Kart World and accessories here. In the meantime, watch the overview trailer below:

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Over the past few weeks, I’ve been looking at how music will be licensed by AI companies — why I think it’s inevitable, how it might happen and what it might look like. Conceptually, this is a fascinating subject, because dividing money fairly among rights holders may depend on having after-the-fact control of training data created by the initial license. But which rights holders get paid, and how much?

Right now, the popular way to look at this issue is to think about what’s fair: how conceptually important songs are compared to recordings, what kind of popularity can be used as a proxy for AI training — that kind of thing. I am sorry to say, although by now it should be obvious, that none of this will matter much. Music and technology companies tend to operate by litigating, lobbying and leveraging their influence. When certain interests align — labels and artists both want to make money, for example — the result can be fair. But the way the industry works is shaped more by money and legal leverage, which is why my newsletter is called “Follow the Money,” not “Follow Your Arrow.”

The most relevant example is the revenue split between recordings and songs. Whatever different industry figures think about their relative worth, the reason that recordings generate more revenue is because labels sell and license them in a free market, while, in the U.S., the music publishing business is constrained by a rate court for mechanical royalties and antitrust consent decrees on the public performance side. This won’t apply in AI, just as it doesn’t apply for synch licenses, where the split between the two sides is 50-50.

In an ideal world, settling this would involve three-way negotiations between AI companies and recording and publishing rights holders. In this one, it’s more complicated. Often, rights holders that sue a technology company for infringement can reach a settlement — negotiation through litigation — that involves both compensation for past liability and a deal going forward. In this case, that could mean that the major labels, which sued Suno and Udio and are now said to be in settlement negotiations, reach a deal that gives them, and the recorded music business in general, an advantage over the publishing side of the business. It could also mean that executives on that side of the business will fight that much harder to get a deal that they see as fair. I’d bet on the latter, and I’d expect to see a split that’s either 50-50 or close to it.

There are also questions about what entities will represent the publishing side. In the U.S., most people react to this as a trick question: Publishers! In Europe, it’s far more complicated, because AI training involves the mechanical reproduction right, which is controlled by the international mechanical collecting society BIEM in most of Continental Europe — often exclusively. Some publishers would prefer to license this themselves, but it could be hard for them to do without undermining their case that AI companies need a mechanical license in the first place. This could also cause a rift between major publishers and indies, which is something both sides prefer to avoid when they get into contentious negotiations with outside industries.

In the age of streaming, the music industry has become accustomed to zero-sum negotiations, where a win for one set of rights holders often leads to less money for others. After all, no one can offer more than 100% of incoming revenue (except for Dean Martin, who according to legend once owed various entities more than 100% of his income). But that’s streaming logic, where piracy and a dysfunctional market have put something of a ceiling on price. Who’s to say whether music AI services will operate that way?

In fact, I think there’s a good chance that AI licensing will compensate rights holders from a pool of money — half to labels and half to publishers, through various channels — and then offer the biggest artists more money for additional rights. Imagine that big AI companies make big deals based on settled lawsuits and mass negotiations. From a legal perspective, that would only give them the right to train their algorithms on copyrighted material — not use specific styles or “likeness rights.” What if a user wants an algorithm to create a song with a vocal in the style of Taylor Swift? (Or even write a breakup song in her style?) Those rights might not be included and the biggest stars might want to be paid for them.

A negotiation that seems to involve two parts of the music business would then involve a third, as well as another set of rights. Those “likeness rights” are not as well defined as copyright, but they could become a value-added product that gives some companies an advantage over others. Right now, only one thing is certain: creators and executives will want more than they end up with.

Taylor Swift dominated the box office over the weekend with her special Taylor Swift: The Official Release Party of a Showgirl movie event, topping the U.S. chart with an estimated domestic haul of $33 million, according to The Hollywood Reporter.

How big a weekend did Swift have? Her three-day-only event for the 89-minute movie that is essentially an extended trailer for her new The Life of a Showgirl LP easily soared well above the box office of two major Hollywood stars appearing in films with Oscar buzz. In total, adding in overseas ticket sales of $13 million, the Showgirl run earned a total of $46 million over the weekend while playing on more than 3,700 screens.

The movie that opened on screens on Friday to coincide with the the singer’s release of her 12th studio album is a mash-up of music videos — including the Swift-directed one for the single “The Fate of Ophelia” — behind-the-scenes footage, lyric videos and personal reflections from Swift on the creative process behind the music.

While Swift soared, Dwayne “The Rock” Johnson’s MMA drama, The Smashing Machine, tanked, bringing in just $6 million from more than 3,300 theaters, making for the worst wide opening of the wrestler-turned-actor’s career in a dramatic role that was being touted as possible Oscar bait. And, according to THR, Johnson can hardly blame Swifties for his passion project film’s poor open, as nearly 90% of Showgirl ticket buyers were female while the Smashing Machine audience tilted heavily male at 70%-plus.

In addition to smashing the Machine, Swift also easily soared over Paul Thomas Anderson’s acclaimed One Battle After Another, the Leonardo DiCaprio-starring drama that fell to second place in week two. Receipts were down 49% from week one to $11.1 million in North America, for a 10-day domestic total of $42.8 million, with a total of $101.7 million globally to date.

The Showgirls movie — announced just two weeks before opening with little promotion — follows on the heels of Swift’s last big screen triumph, the 2023 Taylor Swift: The Eras Tour concert film, which opened to a record $93.2 million domestically as it swiftly climbed to become the top-grossing concert film of all time with $261.6 million in global ticket sales.

Twenty years before Taylor Swift‘s “The Fate of Ophelia” was recorded, a character named Napoleon Dynamite (Jon Heder) was leaning into his uniqueness with a magnificently awkward dance routine, as seen in a memorable scene from the 2004 coming-of-age comedy Napoleon Dynamite. His sweet moves were soundtracked by Jamiroquai’s “Canned Heat,” but anyone who hasn’t seen the movie — and who happens to stumble upon the fan-made “Ophelia” x Napoleon Dynamite mashup making the rounds — just might think the choreo was meant to be paired with Swift’s 2025 single instead. Because it’s actually perfect.

Swift fan @betterspiritsprintco on Instagram posted the funny edit on Friday (Oct. 3), the release day of the pop star’s twelfth studio album, The Life of a Showgirl, which is already setting records; as of press time on Sunday, the Instagram post has been liked by more than 63,000 Instagram accounts.

The video’s caption: “how it feels to listen to the fate of ophelia.” The comments section unanimously agreed.

Featuring the aforementioned Napoleon Dynamite-dance moment, the edited clip shows the quirky protagonist getting his groove on to an audio clip of “The Fate of Ophelia,” Showgirl‘s opening track and first single (and the first song from the set to get an official music video, which dropped online on Sunday after premiering at movie theaters on Friday during the box office-topping The Release Party of a Showgirl).

Somehow, the timing of it all is just right. Napoleon hits his marks. Subtle reactions from the audience are spot-on.

Just wait until you get to the moves synced to Swift’s lyric “I swore my loyalty to me, myself, and I” — it only gets better from there.

Watch the fan edit of “The Fate of Ophelia” and Napoleon Dynamite dancing on Instagram here.

Taylor Swift’s 12th studio album, The Life of a Showgirl, has claimed the top spot in this week’s new music poll.

In a poll published Friday (Oct. 3) by Billboard, music fans overwhelmingly chose the 35-year-old pop icon’s latest release as their favorite new project of the week.

The Life of a Showgirl garnered 77% of the vote, outpacing new releases from Luke Combs (“Days Like These”), Louis Tomlinson (“Lemonade”), Leon Thomas (“Just How You Are”), Kali Uchis featuring Mariah the Scientist (“Pretty Promises”), and more.

Arriving a year and a half after her chart-dominating The Tortured Poets Department — which spent 17 weeks at No. 1 on the Billboard 200 — Swift’s new project marks yet another career-defining moment.

Released on Oct. 3, The Life of a Showgirl was produced by Swift alongside longtime collaborators Max Martin and Shellback. The 12-track album offers a vivid reflection on her life over the past two years, from circling the globe on the Eras Tour to her high-profile romance with fiancé Travis Kelce.

On “Father Figure,” Swift interpolates George Michael’s 1987 hit of the same name, while the album’s title track features Sabrina Carpenter, marking their first duet since touring together in 2024.

The music video fro lead single “The Fate of Ophelia” premiered as part of The Official Release Party of a Showgirl, a special movie event running in theaters through Oct. 5. The film debuted at No. 1 at the domestic box office, earning an estimated $33 million, according to The Hollywood Reporter.

In the poll, Luke Combs’ heartfelt new single “Days Like These” placed second with about 7% of the vote, while the “Other” category took third with 6.5%.

Check out the full results of this week’s poll below, and visit Billboard’s Friday Music Guide for more must-hear new releases.