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Dance Moms: A New Era premiered in 2024, letting fans of the reality series relive the drama, chaos and confusion of the world of dance. The show has returned to Lifetime, and premiered on Monday (Sept. 8).

If you don’t have cable, the show is readily available to stream on numerous platforms, including Hulu and Philo. It’s time to head back to Studio Bleu, and we’re going to show you how. The new era of Dance Moms was well received by die-hard fans, reinvigorating the love for the original reality show that began airing back in 2011. Currently, there are 10 episodes available. If you aren’t familiar with Dance Moms lore, the general theme centers around cutthroat and competitive mothers and their young daughters with dreams of becoming accomplished dancers.

You’ve also got infamous coaches such as Abby Lee Miller tutoring the girls with an iron fist that make for riveting television. The OG show was particularly fruitful in producing a few gems, namely Jojo Siwa and Maddie Ziegler. The premise of Dance Moms: A New Era is similar to the original, but introduces new talent to the Junior Elite Competition Team and a new coach named Glo Hampton.

A basic subscription with Philo, aka Philo Core, will run you $28 a month. The subscription not only allows you to stream the reality show, but you also get access to up to 70+ live channels, unlimited DVR and the AMC+ library. That means you’ll be able to stream hits such as Interview With the Vampire and We Need to Talk About Kevin. Philo has live TV, something most other streaming providers don’t often offer in their subscription packages, especially in a basic package.

As for Hulu, a basic subscription to the platform will cost $9.99 a month, or $99.99 a year with ads. The plan that gives you no ads costs $17.99 a month. You also have the option to bundle with Hulu and Disney+ for $10.99 a month. Once you subscribe to one of the many plans Hulu offers, you’ll have access to Dance Moms: A New Era, along with shows such as Only Murders in the Building, Skins, American Horror Story and Adults, along with blockbuster movies including Trap and Longlegs, among others. While Hulu does offer live TV, the subscription will run you $82.99 per month.

Watch the trailer for Dance Moms: A New Era below:

Maren Morris will perform and sit down for a keynote conversation at the 2025 espnW: Women + Sports Summit, Billboard can exclusively reveal.

The Grammy-winning singer/songwriter will first take the stage for a conversation with sports reporter Sarah Spain before performing at the event, which goes down Oct. 28-30 at the Ojai Valley Inn in Ojai, California.

Now in its 16th year, the espnW: Women + Sports Summit aims to bring together “trailblazers across sports, business, entertainment, and culture to drive change and opportunity for women in sports.” Programming includes keynote speakers and conversations, panel discussions, and interactive breakout sessions, capped by evening entertainment and gatherings. Wellness and sports activities (of course) are also woven throughout the day. And if you can’t make it to Ojai, all the Summit sessions will stream across espnW and ESPN digital and social platforms.

Last year, Grammy-winning musician Brittany Howard closed the Summit with a keynote performance.

Morris released her fourth album, D R E A M S I C L E, back in May and is currently on a tour in support of the project, wrapping at the end of this month. Her biggest hits include two Billboard Hot 100 top 20 entries: “The Middle” with Zedd and Grey (No. 5 in 2018) and “The Bones” (No. 12 in 2020). Both songs topped the Adult Pop Airplay and Adult Contemporary charts, while “The Middle” went to No. 1 on Hot Dance/Electronic Songs (for a staggering 33 weeks), Radio Songs (nine weeks) and Pop Airplay (seven weeks) and “The Bones” was No. 1 on Hot Country Songs (19 weeks) and Country Airplay (two weeks).

While her career began in country music — with four Country Airplay chart-toppers and five wins apiece at the ACM Awards and CMA Awards — Morris formally announced her exit from the genre in 2023, telling the Los Angeles Times: “I thought I’d like to burn it to the ground and start over, but it’s burning itself down without my help.”

As for her love of sports, during the pandemic, Morris picked up tennis and then set up a travel pickleball court for her crew during her 2022 tour. “Since I was still getting to know the crew members who were new to my team, pickleball was a great way to get the crew together and bond over a game that is entertaining and social in nature,” Morris told Pickleball Magazine in a 2022 interview. “…It’s just fun to walk past after a few hours and see the crew playing and they’ve picked up their own game. It makes me so happy it’s caught on and maybe they’ll go home and play during the week when they’re off the road.”

You can find more details about the 2025 espnW: Women + Sports Summit presented by Toyota here.

Jelly Roll will be the featured performer at T.J. Martell Foundation’s 50th annual New York Honors Gala on Sept. 16 at Cipriani 42nd Street in New York. The evening, which will also feature rising U.K. singer-songwriter Sekou, will raise money for medical research and treatments focused on finding a cure for cancer.

To commemorate the golden anniversary, the foundation has created the Circle of Legends, a collective of music industry leaders and champions, who have helped power the organization for the past 50 years, including Irving Azoff, Tom Freston, Clive Davis, Julie Swidler and Scott Borchetta. A complete list of all 50 of the evening’s honorees can be found on the event’s website.

“This year’s 50th anniversary marks more than a milestone. It’s a powerful reminder of the extraordinary people who built this foundation from the ground up,” said Steve Gawley, chairman of the board of trustees. “With the launch of the Circle of Legends, we celebrate the visionaries whose generosity and commitment made five decades of progress possible and we welcome the next generation of leaders stepping up to carry the mission forward.” 

“The music community’s support has always been at the heart of our work,” said Lynn-Anne Huck, CEO of the T.J. Martell Foundation. “Their belief in our mission has driven real breakthroughs. As we look ahead to the future, we remain focused on advancing bold, high-impact research that brings us closer to a cure for cancer.” 

The foundation, which raises money for cancer research and innovative treatments, was formed in 1974 by music executive Tony Martell after his young son, T.J., was diagnosed with leukemia, and Martell promised him he would raise $1 million for research. Since its inception, the organization has raised more than $280 million in support of medical research grants to leading cancer institutions in the U.S.

The event will also feature celebrity appearances, dinner and fundraising auction.

Last week, two prominent alternative rock artists made headlines: Jack White sold a stake in his copyrights to Sony Music Group, while Morrissey announced plans to sell his own.

Although White’s various musical projects generate commercial activity comparable to The Smiths’ catalog, according to Luminate data, he’s likely to enjoy a larger payout than Morrissey — even if the latter succeeds in selling his music. That’s because White owns his master recordings, and The Smiths don’t.

The Smiths averaged 471,000 album consumption units annually in the U.S. from 2022 through 2024, outperforming The White Stripes, who averaged 302,000 units per year during the same period. But when sales and streaming from White’s other projects are added in — 128,000 units for his solo catalog, 48,000 units for The Raconteurs and a little more than 8,000 units for The Dead Weather, Luminate data shows — the combined total is slightly larger than The Smiths’ catalog, coming to an annual average of 486,000 album consumption units over that same period.

But when it comes to global on-demand streaming, The Smiths have a much bigger presence, annually averaging 1.43 billion plays over the last three years, versus White’s combined annual average of 1.1 billion plays. However, White’s catalog is much stronger in vinyl, where every sale delivers a huge payday — thus offsetting the larger revenue that The Smiths’ oversized streaming performance delivers. 

Using Luminate data, industry wholesale pricing and extrapolated percentages for global activity, Billboard estimates that White’s combined recorded master revenues and The Smiths’ recorded catalog each averaged about $11 million to $12 million annually between 2022 and 2024.

Furthermore, Billboard estimates — extrapolated by using industry publishing revenue percentages for licensing revenue not derived from recorded masters activity — that the recording catalogs of The Smiths and the collective projects of White each brought in about $4 million in total publishing royalties annually over that same three-year period.

But there the similarities between the two catalogs end.

As noted, White owns his recordings, either wholly or, in the case of The White Stripes, a 50% stake, with Meg White owning the other half of that band’s recorded master catalog, according to sources. The Smiths’ master recordings are currently owned by Warner Music Group, which acquired them from the band’s original label, Rough Trade, in the 1990s, according to sources and recent reports. Consequently, White realizes a much bigger chunk of revenue — potentially up to 80% after distribution and marketing fees are subtracted but before royalties paid to band members — from the commercial activity generated by his various activities as a recording artist.

Meanwhile, as a member of The Smiths, Morrissey likely receives about one-quarter of the band’s royalties. Considering record contracts back in the 1980s and 1990s, the band is lucky if it was receiving a 25% rate, so Morrissey’s take would amount to roughly 4.25% of total revenue. Morrissey’s bigger payday would likely come from publishing, as he co-wrote all of The Smiths’ songs with guitarist Johnny Marr. If the two share ownership of the publishing rights, each is entitled to 50% of the revenue it generates, after deducting administration fees. But even if they don’t own their publishing, the publishing royalties are only split two ways, so they still likely deliver a bigger payday to Morrissey than his artist royalties. 

That brings up another difference between what White may have sold to Sony versus what Morrissey hopes to sell. In Morrissey’s case, he is not just looking to sell publishing and recorded masters income, but, according to a post on his website entitled “A Soul For Sale,” he indicates he intends to sell “all of his business interests in The Smiths… including full and exclusive rights to” the band’s name, artwork, merchandising rights, synchronization rights, songs, recordings and publishing. He wrote that The Smiths’ songs lead to unwanted business communications with his former bandmates, who he said he was “burnt out by,” so he wanted a clean break to protect himself and his health. That post also listed an email address that is apparently no longer functioning, so Morrissey couldn’t be reached for comment.

In the meantime, White has sold an undisclosed stake in his catalogs to Sony, as first reported by The Hollywood Reporter and confirmed to Billboard by sources. Sony is the logical buyer for White’s catalog, as it has distributed many of his recordings with his various projects — primarily through its Legacy catalog label — with some titles also handled by its Orchard subsidiary, according to retailers. Meanwhile, according to the Amazon listings, some of White’s titles are also credited as being sold by his Third Man Records label, and at least one of White’s solo titles is distributed by Secretly Distribution, according to a retail sources.

According to sources, both artists explored selling music assets in the two years leading up to their recent activity. When White’s catalog was shopped, it included both master recordings and publishing rights from his various projects. He aimed to retain a substantial stake — selling 50% while keeping the other half.

That is known as a split rights deal. In a recent conversation with Billboard, Michael Poster — music acquisition and financing chair at Michelman & Robinson — explained that “split rights” deals are increasingly common. The logic, he said, is to “keep the sellers and buyers aligned so everyone will help promote” the music and help grow catalog revenue.

This approach allows music creators to receive a big payday while still maintaining a steady income stream. In White’s case, he continues to earn from other assets, too — such as his Third Man label, vinyl manufacturing operations and retail stores — which could also be sold in the future for significant returns.

Crucially, sources say that when White explored selling his catalog two years back, a key condition was retaining control over his music. A 50% sale structure, with carefully worded contract terms, would allow him to do just that.

So, what kind of payday would these artists receive from a sale? According to a financial source familiar with the White deal, if White had sold the full package of assets he was shopping two years ago — which were the master recordings and publishing from his various projects — he could have earned tens of millions. However, it’s unclear what was included in his recent sale to Sony. So, while it may have been the same deal as previously shopped, it’s also possible he sold only a minority stake, as Sony is known for buying stakes in some of its distributed labels as a way to anchor them to its distribution umbrella. It’s also unknown if the Sony deal included any publishing rights.

On the other hand, Morrissey’s attempt to shop his Smiths-related assets likely would have resulted in a smaller payday. Sources say he previously pursued a more private route, without publicly announcing his intent. At the time, one financial buyer passed on the opportunity, citing low income potential — possibly under $1 million in net annual income. (That source did not specify whether Morrissey was offering publishing rights, artist royalties or both.) At that income level, a deal might have yielded a $10–$15 million payout, but it would fall well short of the tens of millions of dollars that White could have earned had he proceeded with a sale back then.

The latest effort by Morrissey to sell his assets has already turned off some potential buyers, sources tell Billboard. For one, conflicting things Morrissey has said at different times about what Smiths music rights he owns versus what Smiths rights Marr owns may mean convoluted ownership trails that would make due diligence difficult. Another factor in passing the previously deal offering, according to the financial buyer who passed on looking at his assets two years ago, is the mercurial nature of Morrissey, some of which is on display in his website posting, observes another music asset buyer.

Elizabeth Dilts Marshall contributed reporting.

Michelle Williams dropped by Watch What Happens Live on Wednesday night (Sept. 10) to manifest a spot on one of the Real Housewives franchises, reveal her favorite Destiny’s Child song and talk about the beloved trio’s surprise reunion at the July 26 Las Vegas date on Beyoncé‘s Cowboy Carter tour.

Compared to the last time the group got together at Coachella in 2018 — when she and Kelly Rowland hopped on stage for Beyoncé’s headlining gig — Williams said the Cowboy Carter tour finale was “just awesome, spur-of-the-moment,” explaining that before the Coachella gig they had “a little more time” to prepare. “This one was, ‘y’all let’s do this,’ and we did,” she said.

Williams, who is currently starring as Viola Van Horn in the Broadway musical Death Becomes Her, said she did not spill to co-stars Megan Hilty and Jennifer Simard that she was sneaking out to hit the stage with her former bandmates. “No, I mean, I spoke to some powers that be once I knew that it was official, but I was kind of already gone,” she said.

Then Cohen got down to what everyone wants to know: is there any truth to the rumors that Bey’s mysterious Act III project will be a full DC album? “Now Andy, if that were the case…” she said, before Cohen cut her off and added, “this would be the last place that you would…”

Williams laughed, “it’s not the last place…,” but, of course, she kept things mum.

He then broadened the question, asking if Williams has hopes that the three of them might record something together some day. “Anything is possible,” Williams said diplomatically. “To me, performing on stage is like that for me… I only like it with Beyoncé and Kelly. But as far as Broadway, I’m a Broadway girl… Music? I only want to do it with them.”

Cohen kept digging in, asking how they landed on the songs they performed, which included “Lose My Breath,” “Energy” and “Bootylicious.”

“See, I don’t like giving away secrets,” Williams said. “There are talks, but I think too, why we’re able to have impact too, it’s not only the fact that people miss us, it’s because of what we don’t share… When you see us, you see us and when you don’t…”

Williams also revealed her go-to karaoke song on the show, and it might surprise you. “Livin’ on a Prayer’ by Bon Jovi,” she told Cohen, adding that her first concert was a Ray Charles gig. She also stressed over naming her least favorite DC song after Cohen reminded her that when Rowland was on the show she picked “Bug a Boo” from 1999’s The Writing’s on the Wall, a track recorded before Williams joined the group for 2001’s Survivor album.

“Ohhh!” she agonized, as Cohen gave her an out by also allowing her to name her favorite track by the trio. “Okay, so, I would say ‘Say My Name’ by far,” she said. Then, remembering that the title track from Survivor had played earlier in the show, she reconsidered and picked that one because “the musicality is still relevant… and it was the first I was ever on commercially.”

Check out Williams talking DC on WWHL below.