The Great Escape has announced a raft of new names for its 2026 edition, including Bella Kay, Bimini, PVA, Charlotte Plank and more. The annual festival previews emerging music newcomers in Brighton, England. This year is the festival’s 20th anniversary edition and it will take place between May 14-17.

On Tuesday (March 31) over a hundred new names were added to the lineup, including Arxx, Bella Kay, Ben Ellis, Bimini, Ceebo, Chase Icon, Do Nothing Gans, Girl In The Year Above, Girl Scout, Kerr Mercer, Madmadmad, Max Winter, My First Time, PVA, Sassy 009, Sunday Mourners, The Orchestra (For Now), The Skinner Brothers, Tom Rasmussen, Tommy Barlow, Tsatsamis, Xanadu, Y + More.

Bella Kay’s inclusion will be her first live performances in the U.K. since the success of her song “iloveitiloveitiloveit,” which peaked at No. 2 on the U.K.’s Official Singles Chart and at No. 18 on Billboard’s Hot 100 earlier this month. Rising star Nectar Woode will also appear on the bill, as well Ben Willis, The Haunted Youth and more. See the full lineup for the festival so far below.

Previously-announced names for the festival include The Kooks, Peaches and more. For the second year running, Billboard U.K. will host a stage at the Deep End venue on the Brighton seafront; rising indie-rockers KEO will headline the programming on May 15. Mercury Prize winners English Teacher headlined the Billboard U.K. Live event in 2025.

Since its inception, the festival has hosted early performances from Stormzy, Sam Fender, Dua Lipa, Fontaines D.C., Adele, George Ezra, Lewis Capaldi and more.

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The Eurovision Song Contest is expanding to Asia this year. The annual musical extravaganza will host its first Asian edition in Bangkok on Nov. 14 with an initial slate of 10 countries lined up to participate so far, including Bangladesh, Bhutan, Cambodia, Laos, Malaysia, Nepal, Philippines, South Korea, Thailand and Vietnam, with more countries to be announced later, according to a release on the expansion.

“As we mark the 70th anniversary of the Eurovision Song Contest, it feels especially meaningful to open this next chapter with Asia, a region rich in culture, creativity and talent,” said contest director Martin Green in a statement on Tuesday (March 31).

The Asian version will take flight after the original contest takes place in Vienna in May, with 35 countries competing in the singing contest known for outrageous costumes, towering ballads and high-energy performances. The participating Asian countries will host their national selection rounds soon, with the winners going to the grand final in Bangkok.

This is the latest expansion of the contest that last year drew more than 160 million viewers from around the world. Back in 2022, organizers put on the American Song Contest, which featured singers from all 50 states and hosts Kelly Clarkson and Snoop Dogg. Unlike the wildly popular European version, though, tune in was soft and the show did not get a second-season pickup.

The global contest, which always attempts to set aside politics and global conflict to focus on music, promises on the event’s website to make sure “every vote will count” and, as always, spotlight the “celebration of original pop music.”

Though political lyrics and statements have long been verboten, the Vienna edition is being boycotted by Slovenia, Iceland, Ireland, Spain and the Netherlands due to the inclusion of Israel in the wake of the country’s war in Gaza. Last year’s Eurovision was hit by protests inside and outside the venues over the inclusion of singer Yuval Raphael, a survivor of the Oct. 7, 2023 surprise attack by Hamas on Israel in which more than 1,200 Israelis were murdered and 250 were kidnapped.

In addition, Russia has been banned from participating in the contest since 2022 over its ongoing war against Ukraine.

Check out the teaser trailer for Eurovision Song Contest Asia below.

Saturday Night Live UK is set to continue its debut season momentum with Tuesday’s (March 31) announcement of its latest musical guest, British soul singer Jorja Smith. The 28-year-old, who is gearing up for a huge co-headline show at All Points East this summer (Aug. 16) with Tems, will grace the SNL UK stage next weekend (Apr. 11) alongside host Jack Whitehall.

Sky’s U.K. iteration of the iconic live sketch show first hit screens earlier this month (March 21), with the first episode featuring indie-rockers Wet Leg and SNL alum Tina Fey. The following week welcomed appearances from host Jamie Dornan and a set from Wolf Alice.

Smith rose to prominence with her 2018 debut album Lost & Found, which earned her a BRIT Award for British female solo artist and a Mercury Prize nomination. She followed up with second LP Falling Or Flying in 2023, reaching No. 3 on the Official U.K. Albums Chart. Since then, she has remained a fixture on major festival stages, including a performance at Glastonbury Festival in 2025. Smith also recently released a standalone track, “Price Of It All,” which features in the Amazon Prime original series Bait.

London-raised comedian Whitehall, meanwhile, is best known for his work on the sitcom Bad Education and travel-based stand-up series Travels With My Father. He has also hosted The BRIT Awards six times – more than any other presenter– including this year’s edition at the Co-op Live in Manchester.

SNL UK shares many of the components of its famous American counterpart, with each 75 minute episode including ​an opening monologue, topical sketches, live music and a British take on SNL’s satirical news segment, Weekend Update. It has premiered to mixed reviews from critics in the U.K., though its first series was recently extended to eight episodes from six.

This weekend (Apr. 4), British rock band Kasabian will hit the SNL UK studios for a performance, while actor Riz Ahmed is lined up for hosting duties. Viewers can watch the episode live on Sky One at 10 p.m. GMT before it drops in the U.S. the following day at 9 p.m. ET/PT on Peacock.

SNL UK features a cast of up-and-coming British comedy actors and comedians, including Hammed Animashaun, Ayoade Bamgboye, Jack Shep, Emma Sidi, Paddy Young and more.

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ARMY aren’t the only ones celebrating BTS topping multiple Billboard charts with their newest album.

RM took to Instagram Stories on Monday (March 30) to thank fans for helping the K-pop group reach No. 1 on both the Billboard Hot 100 and Billboard 200 charts.

“Sendin my luv and gratitude” the rapper wrote over a repost of a Billboard Instagram post sharing the news that “SWIM,” the lead single from BTS’ new album ARIRANG, debuted at No. 1 on the Hot 100. In a second, captionless Instagram story, RM also shared Billboard‘s post on ARIRANG topping the Billboard 200.

“SWIM” is BTS’ seventh Hot 100 chart topper, and their first since 2021 — the year before they announced a hiatus. Seven must be BTS’ lucky number right now: ARIRANG is also the seven-piece’s seventh No. 1 on the Billboard 200.

Released on March 20, ARIRANG is BTS’ comeback album after a four-year hiatus. The album debuted with 641,000 equivalent album units earned, marking the largest week for an album by a group since the chart began measuring by units in December 2014. 532,000 of these units were in pure sales, giving BTS the biggest sales week for an album by a group in more than a decade.⁠

With these new chart-toppers, BTS continues its lead as the group with the most No. 1s since it made the achievement in October 2020. The K-pop act also has the most No. 1 among groups since the Bee Gees topped the charts nine times between 1971 and 79. BTS is the group with the fourth most No. 1s in total, following behind the Beatles with 20, the Supremes (12) and the Bee Gees.

Along with their new No. 1, BTS also currently claims the top nine spots on the Global 200 — tying the group with Taylor Swift for both the most top 10s in a single week. With ARIRANG, BTS has also become the first act to take over all of the top 10 spots on the Global Excl. U.S. chart.

Rosalía opened her four-night residency at Madrid’s Movistar Arena on Monday (March 30) — the first stop of her Lux Tour in Spain — just days after being forced to cut short her concert in Milan due to what she described as “food poisoning.” The Catalan superstar appeared fully recovered and completely committed to her audience in a large-scale show sustained by constant emotional tension.

“How are we feeling tonight? I’m so happy to be here,” she said at the beginning of the concert. “Last week, I wasn’t feeling too well, but I’m much better now,” she added, earning the first round of applause from a crowd that responded with unusually focused attention for a venue of this scale — respectful silences, measured reactions, and occasional eruptions during the most demanding moments of the setlist.

The show maintains the structure debuted at its premiere in Lyon on March 16, featuring a setlist of more than 20 songs divided into four acts. At the center of the venue, an orchestra of about 20 musicians sets the pulse of the concert, while Rosalía moves seamlessly between theatrical moments and more electronic ones.

The connection with Madrid was palpable throughout the evening. “Madrid, tonight is special… it’s the first night in the capital with all my ‘chulapos’ and ‘chulapas,’” Rosalía said. “I’ve been coming here for more than a decade… it’s a city I love deeply and one that holds so many memories for me.”

She also reminisced about one of her first performances at Casa Patas, a historic flamenco venue in the city. “I remember feeling the magic there like nowhere else. Who would have thought that a decade later I’d be here, filling this arena? It’s incredible… life really comes full circle,” she added, visibly emotional.

One of the most celebrated moments came with “Mio Cristo,” one of the most challenging pieces in the repertoire. “Who here knows it, even if it’s in Italian?” she asked. The response was immediate: the audience sang it along with her.

The concert also had lighter moments, such as her rendition of “Can’t Take My Eyes Off You,” during which Rosalía posed as a contemporary Mona Lisa before stepping off the stage to join her fans, smiling all the while. In the same segment, she invited several audience members onto the stage and sang to them face-to-face.

The interaction was constant and, at times, intimate despite the size of the venue. Before performing “Sauvignon Blanc,” seated at a piano, Rosalía addressed a fan in the audience in a brief exchange that broke down the distance between the stage and the crowd. The concert balanced monumental production with moments of closeness throughout. Humor made an appearance with the participation of content creator Soy Una Pringada (Esty) in an onstage confessional, where she humorously confessed her “sins” before Rosalía performed “La Perla,” one of the most enthusiastically sung along numbers of the night.

Later, she brought the arena to life with “Despechá.” “Madrid loves mambo. Long live Dominican mambo, and long live flamenco too!” she exclaimed during one of the evening’s most euphoric moments.

The show closed with “Magnolias” in a scene evoking her own funeral, taking the performance to its most minimalist point. Without theatrics, the artist disappeared in a single beam of light after the final note.

Following this first show, the Lux Tour will continue with three more dates in Madrid (April 1, 3, and 4), before heading to Lisbon, Portugal (April 8 and 9) and wrapping up the Spanish leg in Barcelona (April 13, 15, 17, and 18). The tour will arrive in the U.S. in the summer, kicking off on June 4 in Miami and stopping in cities like Boston, New York, Chicago and Las Vegas.

Cardi B has won a court order throwing out a lawsuit that claimed her hit 2024 single “Enough (Miami)” copied an earlier track called “Greasy Frybread.”

A Texas federal judge ruled on Monday (March 30) that there are fatal deficiencies in the litigation brought two years ago by Joshua Fraustro and Miguel Aguilar, who produced “Greasy Frybread” for rapper Sten Joddi. The duo alleges Cardi (Belcalis Almanzar) lifted the song’s melody and bassline for “Enough (Miami),” which hit No. 9 on the Billboard Hot 100 and remained on the chart for 14 weeks.

As is typical in these sorts of song-theft cases, Fraustro and Aguilar initially sued Cardi for federal copyright infringement. But they dropped those allegations after Cardi’s lawyers pointed out that “Greasy Frybread” was not actually registered with the U.S. Copyright Office; they later retooled the lawsuit with a series of related claims under Texas state law.

U.S. District Judge Fernando Rodriguez Jr. said Monday that these state-law claims fail because Cardi does not have any significant ties to Texas. Fraustro and Aguilar argued that she did business in the state via live shows there, but the judge was not swayed.

“Plaintiffs do not demonstrate that Almanzar targeted Texas for concert performances, rather than simply including Texas venues within a broader concert tour in numerous states,” wrote Judge Rodriguez. “Almanzar’s performances in Texas are not distinct from her performances in those other states, rendering the concerts in Texas insufficient to establish general jurisdiction.”

Judge Rodriguez said he would have tossed the lawsuit even without these jurisdictional issues. He ruled that each part of Fraustro and Aguilar’s lawsuit was missing key pleading elements — writing, for example, that their claim for business interference contained “no factual support.”

Fraustro and Aguilar had also brought claims for third-party copyright infringement against Cardi’s label, Atlantic Records, and its parent company, Warner Music Group (WMG). The judge disposed of these as well on Monday, saying the duo’s failure to register a copyright “renders the claims defective.”

Cardi’s lawyer declined to comment on the decision on Monday. Fraustro and Aguilar’s attorney did not immediately return a request for comment, nor did a rep for WMG.

“Enough (Miami)” was recently re-released on a deluxe version of Cardi’s sophomore album, Am I the Drama?, which debuted at No. 1 on the Billboard 200 in October. The song is on the setlist for her ongoing Little Miss Drama arena tour.

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Although the PlayStation 5 was released a few years ago in Nov. 2020, Sony has recently announced an upcoming price increase to the company’s flagship gaming console line, including the PS5 with Disc Drive, PS5 Digital Edition, PS5 Pro and PlayStation Portal. Starting on April 2, each product will see at least a $100 price rise due to global economic pressures, so if you’ve been on the fence about upgrading to the current PS5 generation, there’s no better time to buy the gaming console before it gets even more expensive.

Shop PlayStation 5 Consoles, At a Glance:

With most video game console generations, prices usually decrease over time, but because of issues with global markets due to U.S. tariffs and an an unprecedented surge in RAM memory prices, Sony has decided to increase prices for their gaming products across the board. Sony is not alone in raising the price of consoles, Nintendo already increased the price of the original Nintendo Switch last year with fans speculating that the same will happen with the Switch 2. Microsoft also raised the prices of Xbox consoles, controllers, and headsets in May last year.

As of April 2, the base line PS5 will jump $100 from its current retail rate at $550 to $650, the digital edition will rise from $499 to $599 ($100 increase) and the PlayStation 5 Pro will have an even larger increase jumping from $750 to $900 ($150 increase). The PlayStation Portal remote player will also see a $50 increase from $200 to $250.

“With continued pressures in the global economic landscape, we’ve made the decision to increase the prices of PS5, PS5 Pro, and PlayStation Portal remote player globally,” Isabelle Tomatis, Sony Interactive Entertainment’s vice president of global marketing said in a PlayStation blog post published Friday. “We know that price changes impact our community, and after careful evaluation, we found this was a necessary step to ensure we can continue delivering innovative, high-quality gaming experiences to players worldwide.”

With juggernaut video game titles like Grand Theft Auto VI, Wolverine and 007: First Light releasing later in 2026, this is the best time to upgrade to PlayStation’s current generation console. Fans only have a couple more days before each console gets even more expensive. Shop the family of PS5 consoles below.

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

A federal judge is refusing to dismiss MTV’s lawsuit claiming Nick Cannon’s new battle rap show is a “flagrant” copycat of his long-running series Wild ’N Out.

The case, filed last year by MTV owner Viacom against the streaming service Zeus Network, claims that Cannon’s Bad vs. Wild stole “each and every” element of Wild ’N Out, a popular hip-hop comedy show that’s aired for more than 20 seasons on MTV and VH1.

In a ruling issued Monday (April 30), Judge Arun Subramanian dismissed several key elements of the case, including Viacom’s allegation that the new show infringed the copyrights to the original. But he said Bad vs. Wild had potentially violated trademark law by using a similar name and logo.

The ruling does not mean Viacom (now a unit of Paramount Skydance) has won the case. It must now seek evidence to prove that Zeus infringed its trademarks with the similar name. But the judge said those claims were strong enough to move the case ahead into discovery and toward an eventual trial.

Reps for both sides did not immediately return requests for comment. Cannon himself is not named in the case nor accused of wrongdoing.

Wild ’N Out, which debuted on MTV in 2005, features teams of comedy and hip-hop stars battling in a series of competitions, capped off by a freestyle battle and then a musical performance. Over the years — the show has run for 21 seasons — it has boasted guests including Snoop Dogg, Kanye West, A$AP Rocky and Lil Wayne.

In its lawsuit last year, Viacom said Cannon’s newer show was an intentional clone of the original, cemented by the use of the same host. The lawsuit didn’t name Cannon as a defendant but instead accused Zeus of essentially poaching him, claiming the new show was illegally “cosplaying” as a sequel to the original series.

“In an era where original content is at a premium, Zeus has chosen the path of least resistance: stealing the fruits of Viacom’s goodwill and decades of labor and innovation, and pawning it off as its own original idea for its own financial gain,” Viacom’s lawyers wrote at the time.

In his ruling on Monday, Judge Subramanian sided with Zeus on big parts of the case. Most notably, he rejected Viacom’s accusation that the new show infringed copyrights — saying that the company’s argument would have the “perverse” effect of making formulaic shows like police procedurals and reality TV illegal.

“Many reality shows … would be liable for copyright infringement, as they often recruit the same individuals, place them in similar scenarios, and have similar pacing and themes,” the judge said. “There is a reason that Viacom can only point to a single case for support; if thematic similarities sufficed for a copyright-infringement claim, it would make the development of new television shows much more difficult.”

But he allowed the trademark claims to move ahead, saying Viacom had shown enough to avoid having those claims similarly dismissed, including that the names were too similar to use on directly competing shows. He stressed, though, that more evidence would be needed to win the case.

“While it will have to make a greater showing at summary judgment, Viacom has met its burden at this stage,” the judge said.

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.

If you aren’t familiar, on-ear headphones are styles that feature earcups that rest directly on the ear cartilage, rather than over them like over-the-ear headphones or inside the ear canal like in-ear earbuds.

This design is rather niche, as opposed to the other styles mentioned, and are best utilized for commuting, travel and extended use. On-ear headphones offer good audio performance and are meant to ensure an overall more comfortable fit than the other models, though everyone’s ears are different. As you’ll see throughout my review, on-ear headphones are also very portable and provide great call clarity, especially when tested against their in-ear and over-ear counterparts. In short, the style is meant to cater to those looking for specific functions rather than being “better” than other models.

ShopBillboard’s Favorite On-Ear Headphones at a Glance:

One major thing to note is that a bunch of on-ear styles lack ANC, or Active Noise Canceling. This is because these headphones sit on top of the ear, as the name suggests, making for poor passive isolation. This makes effective ANC difficult, because ANC benefits from a consistent seal on the ear to block out noise. For this reason, you’ll only see two models on this list with ANC. These specific models have good ANC but aren’t made specifically for noise-canceling functionality.

Here’s what I looked for while on my search for my top five picks. I wanted something lightweight, comfortable and portable ( i.e. foldable or equipped with a carrying case). I wanted something with a balance between good sound quality and environmental awareness. As far as my qualifications go, I love music and great audio, and I have always favored headphones rather than earbuds for comfort and quality sake.

With this in mind, I tested these five headphones out as a commuter in New York, an on-ear model’s natural habitat of sorts, so that I could give our readers the most honest review possible. Through rain and some unseasonal snow flurries, I present to you my favorite on-ear styles that made my 50-minute commute a little more bearable.

Beats’ Solo 4 was one of the first on-ear styles I tested and I was pleasantly surprised. For starters, the colors available are extremely stylish, varying from light Cloud Pink hues (my favorite) to complex Slate Blues. I wore these while working and walking around the office and can confidently say these fit snugly and won’t budge.

Of course, you can adjust the fit of your Solo 4 based on the shape of your head and desired tightness. I never felt like they’d slip or falter, even when I was running to catch my train post-work day. That said, the snugness could be a con for some. That’s one of the beauties of on-ear styles. They sit on the user’s ear rather than around it, creating a seal of sorts so there’s less of a chance that your headphones will flatter or slip.

Since the Solo 4 is an on-ear style, more ambient sound was let in, which was great for my commute so I could be more aware of my surroundings in the city. Speaking of, the audio was clear and crisp, especially for calls that I took a lot during my testing period. Again, because the Solo 4 is on-ear, you don’t have Active Noise Cancelling or ANC, so if that’s something you’re looking for in headphones, on-ear models might not be for you.

As far as specs go, I loved the Announce Notifications aspect that reads out notifications, which allowed me to focus on what was around me instead of checking in on who was texting me. Some major wins for the Solo 4 are the battery life of 50 hours and the compact foldable design that fit snugly in the accompanying case for portability.

As far as on-ear models go, Marshall’s Major V is the most stylish of the bunch. As a lover of fashionable tech, this scratched an itch for me with the vintage-inspired design and gold accents. I chose brown, going out of my comfort zone for a headphone colorway I wouldn’t normally choose. I was pleasantly surprised by how much I loved the tone; this espresso brown with contrasting Marshall logo detailing. It’s a sophisticated piece of tech with uncomplicated functionality.

You’ve got an M button on the side that allows users to instantly access Spotify or your default music streaming service, access to your EQ settings (volume, frequency ranges etc) and a voice assistant. I used this feature often if I didn’t want to scroll through my phone to manually play another song or change up the volume. The 100+ hours of playtime isn’t too shabby, especially when compared to the other on-ear models on our list. The Major V was also extremely comfortable, even after hours of wear. This is thanks to the amply padded ear cups that gently sat on my ears rather than smothering them.

As mentioned with the Solo 4, the Major V has no ANC, which is common for lots of on-ear styles, so no biggie there. It also has no rating for water-resistance/ they haven’t been officially rated, meaning these won’t fare well if you’re sweating profusely during a workout or if you’re caught out in heavy rain. That being said, we’re testing these for everyday usage and they hold up perfectly fine.

Headphones have become extremely expensive over the years, which is why I wanted to include these JLab Go Lux headphones. Retailing for $34.99, this on-ear style gave me everything I needed both audio and comfort-wise, which is exactly what I wanted out of my on-ear testing. On-ear headphones are supposed to offer good sound quality, which this JLab style has, and provide environmental awareness which these also have.

The connectivity via Bluetooth was flawless, pairing right back up even when I was separated from my phone for an extended time. It was easy to navigate all the special features this JLab model has to offer thanks to an easy to read button with symbols that clearly stated their function. These headphones are very comfortable, especially the headphone cushions which are neatly labeled “right” and “left” for ease of use. The headband could be a tad tight at times but with a little adjusting, I felt almost nothing on my head.

A lot of these headphones come with a carrying case, which I liked to keep in my bag for aesthetics and organization sake. This JLab style did not unfortunately, which is something I’d love to see JLab incorporate for this on-ear model in the future. I will give the lack of carrying case a pass however, because of their affordability.

Right out of the box, I can say with confidence that the JBL Live 680NC are headphones I will reach for again, even after testing. This on-ear model is extremely comfortable thanks to the extra cushy padding throughout, especially on the headphone cushions, which perch nicely on my ears even when I am wearing earrings. The fit is adjustable, like most, if not all, headphones, giving you that tailored feel. These are on the heavier side compared to the others on this list, although that didn’t bother me.

Feel aside, these headphones have ANC and Awareness/Spatial Audio modes, which, as previously mentioned, are not always available for on-ear styles. The ANC is pretty powerful, drowning out the sirens and car horns that seem to be a constant in the backdrop of my already noisy office. With the tap of a button, I was able to switch off ANC, allowing noise in, a dull murmur that allowed me to talk, listen to my coworkers and converse without issue. I tend to listen to

I will note that I am not used to touch-sensitive controls on my headphones, as I prefer the control I get with buttons. For that reason, it was tricky for me to get a handle on where I should be touching, but that should be no problem for most. It’s a high-tech feature I appreciate aesthetically, but when it comes down to preference, I am a button girl all the way.

Speaking of buttons, the Bluetooth connectivity was simple and fast. I also struggled with switching it on since the mechanism is more of a slider. For practicality’s sake, I prefer a button, but once I understood the controls fully, it wasn’t an issue and didn’t hinder my listening experience whatsoever.

Out of all the on-ear styles I’ve tested, the Skullcandy Icon ANC is the most user-friendly model. Upon opening the box, I was greeted with an easy-to-understand control cardstock. In just three steps, I was using these headphones without much effort. I wasn’t fumbling around at any point to get this style going. Powering the model on, connecting it via Bluetooth and turning up the sound was fast and easy, which was a major plus given I had to test out four other headphones in succession over the span of a month.

Speaking of sound, these headphones can be a bit flat out of the box, making audio a little dull. That being said, I was able to make my own sound customization via the tech’s EQ settings and found that with my changes, the bass was nice and punchy and the sound was more colorful and balanced. In short, I encourage users to play around with their settings to get the audio they crave from this style.

Something that seemed mundane upon opening, but really changed the game throughout my usage of this style was the buttons. I specifically loved being able to easily call up my Siri or change the volume up with a joystick-esque control that felt natural and fun to use, rather than a standard click of a button. Plus, these buttons have audio cues that are extremely satisfying to hear accompanying each touch.

This is yet another on-ear model with ANC and stay aware mode. As mentioned, both of these modes, but specifically ANC, aren’t the main focus of on-ear styles. That being said, the ANC is pretty great, quieting my bustling office with the tap of a button. Even with sirens blaring and the noise of the city, things were nice and quiet with my headphones on. As mentioned, I’d point to this style for those looking for user-friendly models that are easy to use and also happen to be really affordable at $99.99.

Megan Thee Stallion has been flexing her acting chops in The Fall & Rise of Reggie Dinkins, and the Houston Hottie makes another appearance in Monday’s (March 30) episode of the NBC series.

Megan, who plays a divorced mailcarrier named Denise, posted a teaser from Monday night’s episode, which finds her getting flirty with Daniel Radcliffe. The Harry Potter star portrays an acclaimed filmmaker named Arthur Tobin, and he definitely seems into Denise.

“Hey Denise, I thought I might run into you,” Tobin excitedly says, before continuing to make some small talk. “I mean, this is my mail route,” she replies.

“I am just making art, you know me,” he continues to keep the conversation going. “Not really, but it’s nice to see you,” Denise responds, and makes Tobin hit a 360 to see his entire fit. “OK, keeping it tight.”

She goes on to drop a hint to Tobin: “I wish we both weren’t at work right now ’cause I got keys to a lot of package rooms, but holler at me some time.”

To whch Tobin fires back with a hilarious reply: “And at you should be hollered!”

Boxer Franchón Crews-Dezurn had a laugh at the clip, hopping into Megan’s comment section. “Harry Potter dropped the broom & tryna ride a stallion,” she joked.

Titled “The World Is Full of Beaks,” episode 7 is co-written by Mamoudou N’Diaye and Evan Susser. The Fall & Rise of Reggie Dinkins stars Tracy Morgan as Reggie Dinkins, a former football player looking to revitalize his career, along with cast members Erika Alexander, Jalyn Hall, Precious Way and Bobby Moynihan.

Even outside of music, 2026 has been a busy year for Megan Thee Stallion. The Houston Hottie made her Broadway debut on March 24, where she stars as Zidler in Moulin Rouge!

Watch the clip below and the full episode at 8:30 p.m. ET on NBC.

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