Harry Styles is a busy man. When he’s not running marathons or taking romantic strolls with Zoe Kravitz, he’s performing his latest album ‘Kiss All The Time, Disco Occasionally’ on the Together, Together tour.

As One Direction fans know, an extended hiatus can quickly turn into forever, so when Styles announced his return to the stage after three years away, securing tickets was a top priority. Luckily, my sister and I were already headed to the South of France just before the first of his London shows, so the only logical option was to make a pit stop at Wembley before heading home. Girl math!

Styles has never shied away from a fashion risk. We’ve seen him embrace everything from quirky matching sets to massive feather coats, but the ‘Together, Together’ era is being defined by tailored separates, unexpected details, and sporty elements. Thanks to stylist Harry Lambert, Styles’s onstage outfits so far have been effortlessly cool while maintaining a playful point of view. The looks haven’t followed a set color scheme or silhouette, leaving space for fans to take inspiration while expressing their personal style.

The result? A sea of fashionable fan outfits that share a common thread, but aren’t exact replicas. For my ensemble, I embraced the "corpcore" vibe in a pair of navy Aritzia pants, a graphic baby tee, and a crisp white button-up. I topped off the ensemble with a thrifted yellow polka dot tie.

Ahead, I've rounded up a selection of pieces to inspire your own Together, Together tour outfit. Whether you’re going full business casual or shining like a disco ball, the best looks are the ones you’re most comfortable in—because trust me, there will be dancing.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

Hearts2Hearts may be K-pop rookies, but they’re eager to dominate your “song of the summer” debates. That may sound like a lofty goal for a girl group that just debuted 16 months ago, but they’ve already climbed up the charts, landing on the Billboard Global 200 with their infectious, bratty bop “RUDE!” two weeks after their first anniversary. Now, they’re back with their second mini-album, Lemon Tang, which is filled top to bottom with feel-good summer-soundtrack contenders.

“Summer Queen” is an ambitious title to vie for, especially in K-pop. Members Jiwoo, Carmen, Yuha, Stella, Juun, A-na, Ian, and Ye-on (whose ages range from 16 to 20) grew up on the bubbly, crisp earworms that became inescapable in the warmer months, sung by girl groups like their own SM Entertainment labelmates Red Velvet and Girls’ Generation. In recent years, idol music has trended toward a more industrial, bass-heavy sound, leaving behind the electro- and bubblegum-pop of the 2010s. But Heart2Hearts stands out among the young groups leading the charge to bring carefree euphoria back into K-pop.

“In this hot summer, it’s going to be the best way to refresh yourself through music,” Ye-on says of Lemon Tang's title track, as the group speaks with Marie Claire over Zoom. Stella adds, “The lyrics have a really cute meaning of how it's sweeter when everyone's together…When I first heard the song before we recorded it, I just thought, ‘Oh, this is the perfect summer song.’”

While the group has leaned toward a sleek R&B-influenced sound on previous tracks like “The Chase” and “FOCUS,” “Lemon Tang” cements that the best Hearts2Hearts releases are full of youthful pep. Each song transports listeners back to their own teenage days, with sugary songs full of metaphors about the innocent drama of a first love. Flirting is like a tennis game; romantic advice becomes a secret recipe. Loneliness can make thoughts as sour as a lemon, but when someone new captures your attention, that mysterious tang is irresistible and you may not feel so alone after all.

“Even if we speak different languages and are different, we hope that through our music and through the performances, we can build a connection from our heart to their heart,” Juun says as her groupmates nod in agreement.

With Lemon Tang out now, the members share which 2010s pop anthems informed their music taste and what they’re listening to now.

Stella: When I was younger and growing up, I really loved listening to Ariana Grande. Her Yours Truly album was my favorite. I would listen to it every single day after school.

I-an: The first album I bought with the pocket money my parents gave me was aespa sunbaenim's Girls.

Carmen: The first album I bought with my own money was Justin Bieber’s—the “Boyfriend” one, [Believe].

Carmen: Bruno Mars’s newest album, The Romantic. My favorite song is “Risk It All.”

Jiwoo: The 2000s when there was a lot of pop and dance-pop. If you look at the melodies of songs of that time, they’re really catchy, bouncy, and high-energy. It fits the overall brightness and feel that we look for with Hearts2Hearts.

Stella: I've definitely been really into “Midnight Sun” by Zara Larsson, but I really loved her music before that as well.

Jiwoo: Red Velvet sunbaenim’s “Red Flavor.” It's a really cute song, and very high-energy.

I-an: Girls’ Generation sunbaenim’s “Holiday.” We covered this song as trainees, and it’s very happy and bright.

Yuha: I had an opportunity to go to a Taeyeon concert. Needless to say, she was a really good singer, but the way that she interacted with fans between songs was very impressive. That was a performance that I really remember.

I-an: The first fan meeting that we had. It was the first event in which we had the full audience of just fans only. So, of course, before going on stage, I really wanted to do well. I was totally nervous. I think that it was something like when we were first debuting, and so, therefore, that made me totally focused. After it was over, I was so happy. I got a feeling of accomplishment, and that's something that I really remember.

Carmen: When we did a fan meeting in Jakarta, Indonesia. [Ed. note: Carmen is the first Indonesian K-pop idol under SM.] My mom, my dad, my grandmother, and my big family were all watching me perform, so it made me feel so nervous and happy at the same time.

Stella: “RUDE!” It received a lot of love, so I feel like it would be a good starting point for people who are interested in us or want to get to know us.

Stella: One of the groups that we've really looked up to was Girls’ Generation. If we were ever to do a collaboration or share a stage with them, that would be a big honor.

Stella: I like to listen to really loud electronic music to get me distracted. I search "electro music one hour" on YouTube.

Jiwoo: Girls’ Generation’s “PARTY.”

MC: What song describes the stage in life you’re at right now?

Yuha: aespa’s “Live My Life.”

Carmen: “Rock With You” by Michael Jackson.

This interview has been edited and condensed for clarity.

During her senior year of high school, King Princess, alongside her best friend, staged a “sexually explicit” production of Cabaret. She began as the director but was quickly demoted to musical director after being “way too harsh.”

“I was running that shit like the Navy,” the singer/actor tells me backstage at The Public Theatre in downtown New York. Looking back, she says it was the right call, giving her time to focus on the lead role of Sally Bowles.

Nine years later, the performer, born Mikaela Straus, is returning to her theater kid roots with an Off-Broadway debut as one of the leads in Girl, Interrupted, a new musical based on Susanna Kaysen’s beloved memoir. In it, Straus plays Lisa, the wily ringleader of the women’s ward at a psychiatric hospital, deemed a sociopath by 1960s standards—a role first made iconic by Angelina Jolie in the 1999 film adaptation.

At just 27, King Princess has already captivated audiences with her unapologetically queer pop-rock for nearly a decade, but she’s only recently delved into acting with roles in Hulu’s Nine Perfect Strangers, the 2025 drama Song Sung Blue, and the upcoming rom-com One Night Only. But it wasn’t always part of her plan—in fact, when her favorite psychic predicted her pivot to acting, she was reluctant. Music was always her first love, having spent much of her childhood at her father’s Brooklyn recording studio; theater was a favorite pastime but not a career path.

“My secret love for theater has always bled into what I do,” the performer, sporting a black vest and sunglasses indoors, recalls animatedly from across a conference table. “I love a stage piece. I love set design. I like my show to feel theatrical, and I think that comes from a deep love of stagecraft. Getting to do something like this does fulfill this part of me that I've kept semi-underwraps for a long time.”

While still in high school, Straus was signed to Mark Ronson’s Columbia Records imprint, Zelig Records, and was dubbed, nearly overnight, the face of queer pop thanks to her 2018 viral debut single, “1950.” (She’s since left the major label to go independent, releasing her third studio album Girl Violence under the Brooklyn-based indie section 1.) Acting became her way to feel the joy in performance again.

“With music, everything feels like a rejection and personal. I'm deeply triggered by my own art form,” Straus says. “Acting feels fun. I can put my pussy into something and audition and not get it, and that's okay because I learned something.”

This past February, Straus’ agent suggested she audition for Girl, Interrupted. She was initially hesitant, harboring reservations about playing a character synonymous with Jolie’s Oscar-winning turn, but she was inspired by the script excerpts and went through with it. Ultimately, the audition didn’t go as planned, but her moxie landed her the role.

“I fucked up the song five times—but it was funny. I was like, ‘This fucking song!’ which they liked,” she recalls. “It's rare that I'm like, I'm going to get that. But I was like, I'm going to get that.”

It was a full circle moment for Straus, who first watched the movie in high school. “It’s resonated with young women and non-male people who exist outside of what you are supposed to be, which is quiet, put together, and not too much,” she says. “If you were somebody who was referred to as ‘too much,’ that was the movie for you. I was definitely somebody who was referred to as ‘too much.’”

The Off-Broadway rendition of Girl, Interrupted (music by Aimee Mann; book by Martyna Majok) is equal parts poignant and inquisitive. It also feels more timeless than ever, emphasizing what it means to navigate the world as a young, often misunderstood and underestimated woman.

Straus’ feisty and unpredictable Lisa acts as a foil to her co-star Juliana Canfield’s Susanna, a measured, ambitious yet depressive writer who is unsure why she’s been institutionalized. Straus brings a dynamism to the role, making it clear that a deep pain percolates beneath her erratic exterior.

“The biggest thing for me was separating this person from King Princess,” says the singer-turned-actor. Beyond her “blueprint” of the source memoir, Majok’s book, and Jolie’s “incredibly embodied” performance, Straus learned what she could about Lisa’s psychology by reading portions of Patric Gagne’s Sociopath: A Memoir, at the recommendation of her friend and former costar Murray Bartlett. Nailing Lisa’s grandiose gait was just as essential. “I definitely would get stoned and watch YouTube videos of big cats,” Straus says, pointing to how the character often acts like a predator stalking her prey, or a caged animal growing increasingly agitated. She also watched clips of Captain Jack Sparrow, Alan Cumming on The Traitors, and Austin Powers—Straus’ “holy trinity” of references—to build Lisa’s particular panache.

“Her physicality is certainly existing in the in-between of gender,” she explains, “That character is so flamboyant, but the flamboyancy isn't traditionally female. That’s really fun to play with and really interesting to play with—and something that exists within me too.”

Girl, Interrupted came to King Princess, she says, after she spent her mid-20s unlearning the notion that her best creative output would come from being emotionally wounded. Though there’s immense tragedy in the musical, its resonance lies in its belief in women’s resilience and their multiplicity. It felt like the exact project Straus was looking for: “I've never really been someone who fits in one genre…It makes sense that I like stuff that doesn't fit in a genre, and that I like doing cross-media shit. I always want to reinvent and find new ways to write music and act and sing and dance—and this is that for me. This is a crash course in becoming a better performer overall.”

Before Straus has to dash off to dinner, glam, and curtain call, she shares, with a warmth in her voice, how she’s been struck by the way the coming-of-age show has made her reflect on her own adolescence. “My teenage years existed around here, from the trek from Williamsburg to Manhattan, so I am reliving a part of my youth, but as an adult with perspective,” she says. “It’s been really emotional to have this schedule where I get on the train, I go enjoy my city, and I'm a part of this school of fish that goes from Brooklyn to Manhattan.”

She previously made that commute when she was last immersed in theater—painstakingly attempting to recreate the allure and eroticism of the 1998 Broadway revival of Cabaret in her own teenage rendition. While she was doing the most at the time, Girl, Interrupted has been a reminder to let go. “This is allowing me to take myself less seriously.”

When the curtain closes on July 12, that’ll be the sentiment that remains. “I get to do something that very few people get to do for work, and I'm very lucky to be doing that. And at the end of the day, it's not that fucking serious,” she says—as if speaking to the 18-year-old director in her.

Jennifer Lopez has a large collection of Hermès bags, meaning she has one for just about every occasion. Case in point: to attend Ariana Grande's Eternal Sunshine Tour at the Kia Forum in Inglewood, California, Lopez selected a rare Hermès Kelly bag, which perfectly suited the outing.

The Office Romance star accompanied their child Emme Muñiz, along with Ben Affleck's son, Fin Affleck, to the in-demand Grande concert. Lopez appeared to be carrying her Hermès Havane Shiny Porosus Crocodile Sellier Kelly 35 Bag, which routinely trades hands for more than $20,000, for the night out.

Lopez wore a white cropped shirt with oversize balloon sleeves, paired with baggy cream capri pants, worn with a skinny brown leather belt.

For footwear, the Maid in Manhattan star wore her Femme LA Gianni Mesh-Panel Pointed-Toe Sandals, a style she appears to be extremely fond of. A pair of large tinted sunglasses completed the superstar's outfit.

As always, Lopez knew exactly which Hermès bag to select from her extensive collection for the situation at hand.

Shop Outfits Inspired by J.Lo

Jeans are always the main character in my closet, but I never wear them longer than I have to. Six hours is usually my max, before I need to change into an easy sweatpants alternative. So, imagine my surprise when Taylor Swift styled the barrel-leg denim trend all night long.

The pop star entered her favorite recording studio, Electric Lady Studios, around 8 p.m. on June 15. Turns out, she didn't sneak out the back after fueling new music rumors. Swift—and her It girl-beloved denim—stayed put in a sound booth until 6 a.m. the next morning. She could've gotten away with wearing cozy pajamas at her recording studio sleepover. Electric Lady is like a second home to her anyway. Instead, when the "Opalite" singer headed home the following morning, her high-rise, barrel-leg jeans blessed Swifties with major denim and sandals style inspiration for summer.

The denim brand behind Swift's overnight outing is still a mystery at press time. Did she stay loyal to her holy jeans trinity of Stella McCartney, Area, and AGOLDE? Judging by their sky blue wash, not-quite-skintight legs, and roomy hems, the answer could be yes.

This relaxed take on a fashion girls' favorite denim shape also incorporated Swift's penchant for unexpected embellishments. She's sampled thigh slits, asymmetrical rips, and even bedazzled butterfly cut-outs. This time around, the optical illusion waistband mirrored the seams, stitching, and deep pockets traditionally seen on the back of jeans. Swift's chestnut brown belt confirmed they weren't on backwards, though.

Next, she doubled down on work-ready separates with an ivory-and-tan polo sweater from Gigi Hadid's knitwear label, Guest In Residence. Swift hasn't been publicly spotted with her close friend since Nov. 2025, but I'm sure Hadid sent her a "thank you" text bright and early this morning. The Shrunken Polo sold out long ago—maybe because Swift has been a fan of the cropped, cashmere short-sleeve since 2022. (She debuted the ivory version in one of her Midnight Mayhem episodes.)

Swift's leather, top-flap shoulder bag from Chloé matched the cinnamon-colored trim along her collar, cuffs, and hemline. Much like her Guest In Residence polo, the four-figure Penelope Bag is tricky to track down.

Even her platform Gucci sandals are considered rare nowadays. That's because she debuted their horsebit straps at the US Open back in 2024. Swifties snatched the Grammy winner's Gucci heels—and gingham Reformation dress—before the men's final match ended. On a brighter note, similar sandals as well as her $9,400 Cartier Love Bracelet are still available.

This isn't the first time Swift has made me consider styling denim trends at the height of summer. Just weeks ago, she stormed Game 3 in the Cavaliers vs. Knicks NBA Eastern Conference Finals wearing Stella McCartney denim. The $790 Faded Wide-Leg Jeans weren't too different from her recording studio style. Even the wash was almost identical. The A-lister's black tank top, the Dior Cigale Bag, and strappy four-inch sandals gave her jeans the date night treatment.

Once the New York Knicks advanced to the NBA Finals, Swift sampled the black jeans trend with a cut-out pair from Area. They were so similar to the style she wore to watch the Kansas City Chiefs win the 2024 Super Bowl, minus the bedazzled trim. (The two also share the same sold-out status.) No wonder the Knicks beat the Spurs at Game 4. Clearly, they're the good luck charm at any sports event.

Swift's summer 2026 closet is stocked with all the denim trends she could possibly need. Whether she's packing for her honeymoon, or preparing for another all-nighter in New York City, barrel-leg styles with just enough space will never steer her wrong.

As for me, only Taylor Swift could break my six-hour denim limit.

Shop the Barrel-Leg Denim Trend Inspired by Taylor Swift

Olivia Rodrigo's latest style era, which is tied to her forthcoming third album, You Look Pretty Sad for a Girl So in Love, has been all about babydoll dresses. But for a performance at Primavera Sound 2026 in Barcelona, the "Drop Dead" singer decided to switch up her style.

Proving that her Guts era hasn't been totally forgotten, Rodrigo took to the stage wearing a pair of tiny black hot pants—Los Angeles Apparel's Disco Shorts—with fishnet stockings. She also donned her beloved chunky Dr. Martens 1B60 Bex Pisa Leather Knee-High Boots, which retail for $240.

A long-sleeve Breton striped shirt with a bateau neckline completed the outfit, and was adorned with a pink floral corsage brooch.

Unsurprisingly, Rodrigo appeared to be having a ball at the music festival, where The Cure icon Robert Smith joined her onstage for a duet. Their new song, "What's Wrong With Me," features on the tracklist of Rodrigo's next album.

Basically, Rodrigo has made it clear that both babydoll dresses and hot pants are the perfect Summer 2026 attire.

Shop Outfits Inspired by Olivia Rodrigo

Olivia Rodrigo's "Drop Dead" music video outfits were so iconic, she didn't need more than two. The debut single off her third album, You Seem Pretty Sad for a Girl So in Love, opened up on Rodrigo in what seemed to be a simple white dress. Turns out, another It girl first wore it in 1975.

Director Petra Collins starts the four-minute video in a purple-hazed bar to match Rodrigo's lyrics, "I know that the bar closes at 11." What does a pop star wear to the bar? Not jeans and sneakers, obviously. Styling sisters Chloe and Chenelle Delgadillo tracked down a vintage mini dress from French-Italian designer Loris Azzaro, originally worn by Jane Birkin in 1975's Catherine & Co.

The crocheted LWD's flattering boatneck, three-quarter-length sleeves, and micro, thigh-grazing skirt honor the nostalgic Parisian backdrop of Rodrigo and Birkin's respective roles. It's teeny-tiny to start, but supersize pearl appliqués decorate the cropped cuffs and hemline.

Birkin's dress disappears before the two-minute mark—and before Collins revealed Rodrigo's footwear. (Perhaps this was another cue Collins took from Catherine & Co., which also keeps Birkin's shoes a secret.) Thankfully, Rodrigo's behind-the-scenes Instagram post confirmed she likely wore the same over-the-knee socks seen in the next (and final) look.

Rodrigo sings "you're looking like an angel on the walls of Versailles" while the camera reveals she's no longer in the bar, but the actual Palace of Versailles. The Grammy winner twirls through the famous Hall of Mirrors in a Chloé Pre-Fall 2026 top made for dancing. (Perhaps she borrowed it before watching the label's Paris Fashion Week show last month.)

Nude chiffon served as the blouse's base, before blue and white-trimmed ruffles curved in cadence with its neckline. The cornflower-colored tiers returned beneath an empire waistline, which covered her pleated satin bloomers ever-so-slightly.

To finish, white pointelle socks stretched over her knees, a full foot higher than the pair seen on her You Seem Pretty Sad album cover. Rodrigo went shoeless throughout the entire video, but headphones and a pink Fender guitar (the same shade as her OG babydoll dress) acted as occasional accessories.

"Drop Dead" marks the first time Rodrigo and Birkin's styles have intersected, but the 23-year-old has channeled Birkin's effortlessly chic closet for years. While off-duty, the "vampire" singer regularly wears jeans, white T-shirts, and ballet flats in the same French-girl vein as Birkin. For proof, see her pre-show set at the Fire Aid Benefit Concert last January. (She's still waiting on her Hermès Birkin bag, though.)

Devoted Livies already knew this era was particularly Parisian, judging by her babydoll-clad album cover. Now with the reference to Birkin's French film, there's no doubt it'll be one for the look books—maybe even the Louvre.

Some songs move you. When Mitski released “Your Best American Girl” in 2016, it was the rarefied kind of track that rattles you to your core and makes your heart swell. It also felt like an indie rock paradigm shift.

When Mitski dropped “Your Best American Girl” as the lead single off her fourth album, Puberty 2, she described it at the time as one of her most personal songs to date. Lyrically, the musician (born to a Japanese mother and an American father) explores letting go of “an all-American boy” because they were simply too different to be together. But she chooses herself, and the track ultimately becomes a story about accepting one’s own identity and upbringing.

Not only did the release’s instant acclaim increase her buzz-band cachet, but its resonance held no bounds, touched many listeners in a way they hadn’t felt seen before, and even inspired conversations about representation in the scene. One can trace the boom of women-led groups, and especially more women of color fronting bands, to Mitski’s ascension, and Puberty 2—frequently cited as one of the best albums of the 2010s—and “Your Best American Girl” certainly contributed to that. Today, the song’s significance is a topic of conversation among fans on Reddit forums, in TikToks, and academic dissertations; it’s the entry point for many new Mitski fans into her discography and exemplifies the poetic yet heart-on-her-sleeve lyricism she’s beloved for.

The music video for “Your Best American Girl” amplified its message—and remains just as iconic. Directed by Zia Anger, the visual dropped on April 13, 2016, just over a month after the single’s release, and instantly went viral for its biting depiction of Mitski kissing her own hand, no-holds-barred, opposite a white couple sloppily making out. Tweets and comments poured in of fan interpretations—and admiration for how badass the singer-songwriter looked picking up her bass guitar, shredding in a fit of exuberance, and walking away with a smile on her face.

Although Anger (who had worked with Jenny Hval and Angel Olsen) wasn’t familiar with Mitski, upon hearing the track, she could tell she was a “once in a lifetime talent” and needed to helm the video. “It was something about her lyrics. It was something about the music. It was something about her voice. It did something to me,” the filmmaker recalls to Marie Claire over Zoom. The concept came to her after just one listen—and it’s not lost on her how much it’s touched fans who still leave their personal stories in the comments below the video, which has now raked in over 10 million views.

“[Mitski’s] running this counterculture course that I think, in the YouTube comments, is reflected. People who are deeply moved by her music and visuals, because she stands outside of whatever is popular and charts her own narrative,” says the director, who has become a frequent collaborator of the indie star. “I'm thrilled to be a part of the universe and to have helped contribute to the [music video that] felt like the first one that really broke through.”

As the music video for “Your Best American Girl” celebrates its 10th anniversary, Anger spoke to Marie Claire about how she developed the idea for the video, what it was like shooting with Mitski in a Brooklyn warehouse in February 2016, and how their working relationship has evolved.

Marie Claire: How did you first get attached to direct “Your Best American Girl?” Were you previously familiar with Mitski?

Zia Anger: I was trying to get out of music videos because they're a hard medium to make money and do your own creative work in. I got an email from Eric Deines at Secretly Group, which is the umbrella of Mitski's [label] Dead Oceans. I had worked with him on a few other things, and he said, "Can you listen to this song and tell me if you want to do a music video for it?” Hearing “Your Best American Girl” in that email was the first time I heard her or heard of her.

When I made music videos, I had three criteria: You have to make money, like the artist, and like the song. At least two of those things had to be true. I heard the song, and it was undeniable. I felt so much all at once. I felt the experience of being young and feeling on the outside of things in so many kaleidoscopic ways. So, I only had one of the three criteria because there was no money to make the music video. But I was like, "This is undeniable, and I want to meet her."

MC: How was the video conceptualized?

ZA: I came up with an idea, sent it over, and was told, Yes, let's do this, by the label. I did a pitch deck, but I also sent a video where I was like, "I think she should raise her hand. I think it should come down. I think she should start making out with it.” I happened to be sitting in front of an American flag when I did it at an apartment I was in.

MC: How did you come up with the concept of her making out with herself, opposite the very cliché Coachella-looking couple?

ZA: I think about movement first, and for some reason, I landed on this idea of her making out with her hand. But then I thought, What do you put in juxtaposition to that? I was in high school when Abercrombie & Fitch was really big. In my mind, the people I was on the outside of were the preps. So I had these references of who I thought she was supposed to be in opposition to. My production designer, Caiti Hawkins, helped with the costumes. She sent me back a collage of what she thought was more of a current-day popular person, [which was like] Coachella with crochet tops, Native American headdresses—all this stuff that when you're on the outside of it, it looks at best comedic, at worst, derogatory, and truly bad. Again, it's about America.

MC: How did Mitski react to the concept? Did she have any suggestions?

ZA: [Mitski and I] talked on the phone before because we did a little bit more work on the idea. I said, "Well, what do you want to look like?" because I didn't know her, and there weren’t a lot of moving images of her, so it was hard to know what her vibe wanted to be. She said, “I want it to be this PJ Harvey video, ‘This Is Love.’” It's her against a white background, shredding. That's where that came from.

MC: What was your first impression of her when you met in person?

ZA: We met on set. She was almost stoic and professional. I was immediately drawn to this energy of somebody who felt all-knowing. She was really in the zone, but also very kind and humble. You don't know when you have never met somebody, how much they're going to go for it in front of the camera, but she went for it. And then you would push her in a respectful way, and she would go for it more. I was like, Wow, this person is really pro. She is so self-realized in a way that I felt imposter to.

When you're making something, you can feel if it's good or not. I remember watching the two people make out and the camera whip over to her shredding on this guitar. I was feeling all the stuff that I think the music video and the song make you feel. I was so crushed in that moment, but also liberated and excited. I had really never had that type of experience where I did not know who I was getting into and working with—and I was deeply, from the minute I met her, in awe of her. And still am to this day.

MC: What else do you recall feeling on set?

ZA: I remember laughing a lot when the Coachella people were getting really into it because it was so absurd. When you're young, and you think you have a chance with someone, you build it up in your mind—like I remember looking at the guy, and he's obviously making eye contact with the camera, but it feels like he's making eye contact with me—I remember feeling like, For this moment, I got a chance. And then what happens is just so devastating. But watching Mitski really shred, and when she takes the guitar off, and she walks out, I remember thinking, This feels empowered.

This felt a lot like, Wow, I haven't seen this before. I haven't seen this tension on screen. Of course, it's been done a million times, but I really felt, This is a contemporary tension that we're speaking to, and this is the first time I'm seeing it. But great music videos come from great songs. So many emotions I was feeling on set were because I was listening to this song on repeat.

MC: At the time, Mitski spoke about how personal the song was. Did you two have any conversations about what it meant to her?

ZA: The music said it all. We have since, with other projects, gotten more into depth and meaning, but this was just me reacting to this incredible thing she had written that you could tell was so specific. The best art is the most personal, and it does then become the most universal. In chasing your own personal feelings, you often speak to something universal that everybody else feels, not everybody, but lots of people feel too.

MC: You also work with cinematographer Ashley Connor a lot. She was also on the “Your Best American Girl” video. What do you think working with so many women has contributed to your projects?

ZA: What I do with Mitski, we're all moving towards the same target. We don't know what that target is, but we know we can keep pushing it and getting better, getting the idea bigger and stranger. As a director, I feel really de-centered. I feel like my job is to bring these people together and let them do their best work. So, I tend to work with the same women because I trust that they're going to push the idea in ways that I could not figure out on my own. I trust that at the end of the day, we're going to make something really true to this multitude of experiences of being a woman.

MC: Do you have a favorite video that you’ve worked on with Mitski?

ZA: “Your Best American Girl” is so amazing because it touches upon all these things that I was interested in, and Mitski was interested in, but “Working for the Knife” feels so accomplished. Me, Ashley, Monica, and other people who worked on that first video—Daniel April was a gaffer on “Your Best American Girl” and one of the producers on “Working for the Knife”—we all worked together again, but at a bigger scale with more time to rehearse. So, it just feels like the most accomplished in terms of my ethos when it comes to making something together. I love, above all else, watching my friends and collaborators flourish, and I include Mitski in that. That felt like the next level, and it really, I think, kicked off this next phase of her whole thing.

Just a few months after gracing the Grammys stage, KATSEYE's future is unclear. The girl group, whose formation was documented in the Netflix docuseries Pop Star Academy: KATSEYE, shot to global fame last year, with the release of their hit tracks "Gnarly" and "Gabriela." On April 10 and April 17, the group will make their Coachella debut with a primetime slot on the main stage, right before headliner Sabrina Carpenter. However, not all of the members will take part in this monumental achievement.

The day before their set, KATSEYE's label HYBE x Geffen confirmed that Manon Bannerman, the Swiss-Ghanaian eldest member of the group, will not be joining Sophia Laforteza, Daniela Avanzini, Lara Raj, Megan Skiendiel, and Yoonchae Jeung at the festival. In fact, Manon is currently on hiatus from the group—and many fans are wondering when, and if, the singer will return. Read on for everything to know about Manon's uncertain future with KATSEYE below.

What happened to Manon in KATSEYE?

On February 20, 2026, HYBE announced that Manon would begin a temporary hiatus from KATSEYE due to health reasons. The full statement reads: "After open and thoughtful conversations together, we are sharing that Manon will be taking a temporary hiatus from group activities to focus on her health and wellbeing. We fully support this decision. KATSEYE remains committed to showing up for one another and for the fans who mean everything to us. The group will continue scheduled activities during this time, and we look forward to being together again when the time is right. Thank you to our EYEKONS [Katseye's fanbase] for your continued love, patience, and understanding."

Later that day, Manon shared a personal message on the social media platform Weverse. "Hi friends. I want you to hear this from me. I’m healthy, I’m okay, and I’m taking care of myself. Thank u for checking in!" she wrote. "Sometimes things unfold in ways we don’t fully control, but I’m trusting the bigger picture. Thank you for standing by me. I love you endlessly and can’t wait to see you again."

Fan speculation about Manon's potential departure from KATSEYE rose in the first days of April, when the 23-year-old removed mention of the group from her Instagram bio. According to Teen Vogue, on April 2, Manon also posted a second message on Weverse, thanking fans for their continued support.

"Thank you so much for all the love and support you've been sending my way," she wrote. "I'm really grateful for the patience and kindness everyone has shown during this time. HxG [HYBE and Geffen Records] and I are having positive conversations and I feel supported. I'm happy and I'm healthy. I'll share more soon. Thank you for always being there for me."

Coincidentally, April 2 was the same day that HYBE released the first music-video teaser for KATSEYE's latest single, "Pinky Up." The full music video for "Pinky Up" dropped on April 9, and Manon is missing from both the video and the studio recording of the track. This is despite a rehearsal clip leaked online in late March, which showed Manon practicing the single's choreography with the rest of the group.

Finally, on April 9, HYBE also confirmed that Manon would not be performing at Coachella with KATSEYE. The company confirmed to The Korea Herald, "Manon remains on hiatus."

Is Manon leaving KATSEYE?

As of April 10, Manon is still on a temporary hiatus from KATSEYE. Neither she nor HYBE x Geffen has given any hint of when the hiatus will conclude.

Her bandmates, however, have spoken out. Ahead of Coachella, Sophia, Daniela, Lara, Megan, and Yoonchae discussed Manon's absence during an interview with Apple Music’s Zane Lowe. "Manon has been on hiatus, and we love her so much! We know she’s doing well, and she got to talk to the fans about it. We’re just really excited and rooting for all of us and each other," Sophia said. "You know, we’ve gotten through so much together, so at the end of the day, we all just want each other to win, be okay, and feel good."

Lara added, "I also want to say that she’s our sister forever, and we love her so much! We built this together, so we want to give her all the space, whatever she needs."

Fan speculation has continued in the hours leading up to KATSEYE's Coachella debut, with some fans calling for a boycott of the group until they receive transparency regarding the sudden hiatus. Manon's alleged treatment has also reignited discussion about the plight of Black girl group members, who often face rampant racist criticism, as well as the "twice as good" mentality that Black women face in the workplace. In KATSEYE's February 2026 interview with The Cut, Manon notably addressed criticism she received from both fans and future members during Pop Star Academy, due to her reputation for missing rehearsals due to illness.

"It’s the way I grew up. America has a very different culture when it comes to work-life balance. You guys are all about grind and hustle," she said. "In Switzerland, if you’re sick, you take a day off. No one’s going to expect you to work."

She continued, "Being called lazy, especially as a Black girl, is not fair. Now I feel like I always need to put in extra work to prove something, even though I really don’t."

At the end of the interview, which took place before her hiatus was announced, Manon expressed her hopes for the group's longevity. "When One Direction split, that was really hard,” she recalled. "I don’t want our fans to go through that. I don’t want to be responsible for breaking so many hearts....KATSEYE is going to stay KATSEYE for a while."

The fashion industry is Olivia Rodrigo's playground, we're just frolicking in it, says the cover of her new album, You Seem Pretty Sad for a Girl So in Love. Any spring 2026 dress trend would've started this era strong: most turn traditional femininity on its head, as the pop star often does. But Rodrigo's babydoll dress proved the record's vibe has been under our noses for weeks. Over the past two months, Rodrigo's aesthetic has officially evolved from punk-rock to preppy.

Nothing confirms a celebrity's sartorial shift like deleting every post on Instagram, which the It girl did bright and early on April 2. The last photo standing? The album cover, starring an upside-down Rodrigo on a swing set. She dangled from the metal swing in a bubblegum pink mini dress, with all the makings of a quintessential babydoll. A flat Peter Pan collar, contrasting cuffs, and cascading buttons all in white popped against the short-sleeve bodice. The word "love" embroidered on a white underlay emerged from beneath the dress's micro-mini hem. Fingers crossed this wasn't custom so we can all have a babydoll-clad summer.

Getting déjà vu? That's because Rodrigo wore an almost-identical look in Paris last month. On March 6, she posed in front of the Eiffel Tower in a vintage Anna Sui babydoll dress, featuring the same curved collar, white cuffs, and bust buttons seen on the album cover. Long sleeves and its Spring 1994 runway date were the only major differences.

Judging by the Grammy winner's cover, black and pink are the album's signature shades. She started teasing her shift from Guts purple to pink on her Feb. 20 birthday, dressed in a babydoll-adjacent Blumarine mini, a rosy Burberry trench coat, and matching mules. A week later, the "Vampire" singer wore a salmon-colored take on the lace-trimmed slip trend in Chloé's Fall 2026 front row.

Rodrigo even tested the anti-Sour hue at the 2026 Vanity Fair Oscar Party. Valentino created a micro-mini dress—including a skirt full of feathers—from various pastel shades of pink. Even the oversize bow atop her waistband got the You Seem Pretty Sad for a Girl So in Love memo.

Rodrigo has been tight-lipped about her third studio album in recent weeks. At the Chloé fashion show, WWD asked if pink was her "new signature color," to which she replied: "Oh my gosh, I don't know. I'm just feeling girly lately, I guess!"

Her You Seem Pretty Sad era marks a major shift from Rodrigo's first two album covers. She wore a plaid Clueless-esque skirt for Sour, and channeled the peekaboo bra trend for Guts, both of which set the tone for future performance and press looks. That said, expect Rodrigo to bring on the babydoll dresses before the album's June 12 release. In the meantime, get in the You Seem Pretty Sad for a Girl So in Love spirit by shopping the styles below.

Shop Babydoll Dresses Inspired by Olivia Rodrigo

The documentary BTS: The Return had a high bar to reach from the outset: How do you show a new side of the world’s biggest musical group? While their Netflix pop-doc debut may be the first time passive listeners become more familiar with the group, for many members of BTS’s dedicated (at times overprotective) fan base, ARMY, it follows their 11 HYBE-produced docs, long-running variety shows, and countless livestreams on the fan platform Weverse. It's no easy feat to present fans of the most-documented band of all time with something unique.

Still, the seven-piece is at an unprecedented moment in their career. The group has been on hiatus for four years; after all the members completed their mandatory military service last year, they moved to L.A. for two months to work on what would become their comeback album, ARIRANG. The matured boy group faced a crossroads at a moment when they were also at their most visible: Where does “a global emotional support system, a cultural juggernaut…[and] a multibillion-dollar economic ecosystem” go from here?

BTS: The Return follows that journey, while introducing both new fans and old to the K-pop phenomenon at their most personal and experimental. Produced by Martha and Marc and Sofia producer Jane Cha Cutler and helmed by The Greatest Night in Pop director Bao Nguyen, the film captures RM, Jin, Suga, J-Hope, Jimin, V, and Jung Kook in both domestic settings in L.A. and the studio, continuing through to their comeback preparations upon their return to Seoul. Throughout, viewers are placed in the band's POV, as they get candid about the pressures of the album's fast-tracked release schedule and debate with their label on making their music relatable and accessible to a global audience.

Though BTS has already filmed over 100 hours of content since their debut in 2013, Nguyen and Cha Cutler’s documentary marks the first time the group has worked with a production team outside their label/management HYBE. Nguyen tells Marie Claire how essential it was to establish a vulnerable trust with the members, in a private interview at the Four Seasons Hotel Seoul, hours before the band’s highly anticipated performance at BTS THE COMEBACK LIVE | ARIRANG. “It's important: that relationship that we have to build together, and the trust that they instill in me and our team to tell the story…I always say I'm not trying to make films about people. I'm trying to make films with people.”

With BTS: The Return out on Netflix now, Nguyen and Cha Cutler chat with Marie Claire about being a fly-on-the-wall in the band’s recording sessions, bringing their relationship with fans to the screen, and how they’ve reacted to the film.

Marie Claire: What was your first reaction when you heard about the opportunity to make this documentary?

Bao Nguyen: I had originally talked to some people at the label previously during their SoFi [shows in 2021] and had this idea of it being this sort of Homeric myth, like The Odyssey. That didn't work out, but when they came back, I was like, Oh my gosh, this is the craziest opportunity. I was surprised and honored that they had reached out about it. To be honest, I was super busy with other projects, but I was like, We’ve got to find a way to make this work. It worked out perfectly because it's such a specific moment in their next chapter.

Jane Cha Cutler: I had actually talked to HYBE America soon after [the members] went into military service, and tried to stake my flag in the ground, like, "I really want to do the documentary when they come back." So I would just check in every so often. And then it turned out great because Bao and I knew each other from working together and developing together.

MC: How long did it take for you to establish that comfort with the group where they were able to be super vulnerable on camera?

BN: I think because they are used to being on camera and have had many documentary crews with them, they were easier than a lot of other film participants and previous projects I've worked on. But at the same time, you're letting these strangers into your world that's really intimate, that's really personal. So it was over time that they opened up, in terms of what they were going to talk about.

At the beginning, I like to have a process where I'm not intervening at all. I'm just a fly on the wall and observing, not trying to interrupt the creative process in any way. But as they're getting used to our faces and our presence there, then I'm possibly asking questions that are slightly deeper.

We didn't [want to do] sit-down interviews because we wanted to be in the present moment of the story. But [one day] we were driving to the beach with Jin. I was hoping to capture him being driven to the beach and looking out at the Westside [of L.A.], but then he started talking to us. [The members] had so much on their minds that they wanted to get off their chests, and these car rides became confessionals for them. I knew when they started opening up voluntarily, then we had gained their trust, and they would let us into the room. That scene with Jungkook and Jin [saying goodbye before Jin returned to Korea] was really interesting too because it's the youngest member and the oldest member. I thought that was really special to see how they interacted with each other at that moment.

MC: You mention being a fly on the wall, but the film includes a lot of very close, intimate shots. How did you capture that while also staying inconspicuous?

BN: We shot mostly on zoom lenses because, especially in the recording studio, they're very small spaces, and I didn't want to move the camera around to get the shot too much. With moments like on the beach, we would use these zoom lenses as well to be there and capture these close-ups without intruding on this beautiful moment that they were sharing together as a band.

JCC: I also think it helped that half of the movie was shot in L.A., where things are a bit more relaxed generally, but also for them in particular. I feel like they could kick back a little. Even though there was this stress of having to finish the album, it's not their home. There was a little bit of an ah, okay [feeling], not as much chaos around.

MC: Media coverage about K-pop groups tends to focus on how passionate the fans are—there’s that cliche image of a bunch of screaming girls—but this film only includes brief nods to BTS’s ARMY. How did you decide when to mention the fans and when to leave them out?

BN: For me, it's always looking at POV and whose perspective each scene is from. In the moment where [the members are] doing a Weverse live, they're very front-facing, so you can see how the fans interact with them. Starting the film at that moment was really important for me, because it's this anchor that most people, and obviously ARMY, recognize. We show the interaction with the fans, and then we cut to Jungkook's hand holding the camera, seen through our own lens. It shows that this film is about something intimate and behind the scenes of what the fans are interacting with publicly. And I know that the livestream was recorded and dissected by the fans. ARMY freeze-framed it and showed our boom operator's foot, and I was like, 'Oh, no.'

For me, that's when the group's personal lives and the story of the film collide with the fan reaction. And another moment was when V was at Dodger Stadium. But for the most part, they were there recording the album with themselves, with each other. So it was important for me to keep that perspective on our story. They talk about how much they owe to the fans and how much they're inspired to create something great because they don't want to let the fans down. I thought having their intimate conversations about what they were doing in relation to the fans was different than necessarily cutting back to fan reaction all the time.

JCC: For that question of, like, ‘Why didn't you show K-pop fans as like the screaming group of girls?’ I think that's because the members don't look at their fan base that way. They don't think of ARMY that way. There are moments like during the Weverse live, when the comment, "Miss you husband," comes up and RM replies, "Miss you wife." That's the playful interaction. But then it's more serious or a touching emotional moment when they're watching the old videos of themselves, and they see the Busan concert, and it's like, "Oh, I miss them." I think that's a beautiful thing. That's a genuine reaction to their fans, whom they love.

MC: I found it interesting that, after the documentary focuses on the behind-the-scenes, day-to-day lives of the members, it ends with just a preview of this massive, global cultural event comeback performance for Netflix. Was that a decision from the beginning to save those big rockstar moments for the film’s conclusion?

BN: I wanted the film to ramp up. The L.A. chapter and them recording is very unique and different from their image in Korea, right? You recognize these images of them in photo shoots and being huge celebrities coming back to Korea at the airport, but these quieter moments where they're interacting with each other at the dinner table or riffing on the direction of the songs and albums. I think that progression was really important. For audiences that don't understand the scale of BTS, we had to show that, but we knew we weren't going to have this big concert scene. How do you negotiate showing the scale, but it has to be in relation to what the story of the film is? That's why the [Yet to Come] screening scene where they could reminisce was really important, because you're seeing them react in real time to the fans and what they miss.

MC: How has the band reacted to the film?

BN: I haven't seen them since they've seen it, but we've gotten messages where everyone's like, "They love it. It's so different. They're really grateful for us." That warms our hearts. I mentioned earlier that I like making films not about people, but with people, and this felt like they were part of this journey with us. It's hard seeing yourself onscreen even if you're used to it. So them being generous with their time and them showing us gratitude for making this film means a lot to me.

This interview has been edited and condensed for clarity.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

It’s hard not to see Ellie Rowsell, the lead singer of Wolf Alice, as a forerunner of the female-led indie rock takeover of the past decade. You would’ve been hard-pressed to hear many guitar bands with a female vocalist on alt-rock radio in the mid-2010s—but the British group emerged as iconoclasts of the Tumblr generation with their instantly iconic 2015 debut, My Love Is Cool.

Eleven years later, and they’re indie rock mainstays, with their 2025 record The Clearing earning them Best British Group at this year’s BRIT Awards—and Rowsell is still cool as ever.

Speaking with Marie Claire, the musician reflects upon what she wished she knew when Wolf Alice was still playing small gigs in Shoreditch: “I always thought my best work or even the best version of myself was something that would happen in the future, but actually you should treat your present days as paramount or at least as equally precious as the future.”

Rowsell explores just that sentiment on The Clearing, a coming-of-age album about entering your 30s and disavowing expectations placed upon you, especially as a young woman. “Once I realized that I wasn't going to figure myself out and be able to present myself in an easily consumable way, I was liberated,” Rowsell says.

Most recently, Rowsell lent backing vocals to Harry Styles’s Kiss All the Time. Disco, Occasionally. After Wolf Alice joined him on tour, Styles tapped her to contribute to his new dance-pop-leaning “Aperture,” “Taste Back,” and “Season 2 Weight Loss.”

“I love singing harmonies, and I love Harry, so I was excited to sing on those tracks...Harry has a huge range vocally. I was really impressed by his placement of harmonies and stuff, I just copied what he’d already done!” Rowsell says.

She adds, “It’s nice to go into the studio with other artists and see how they work and what vibe they create when working. I’m not sure it's as common in indie/rock as it is in other genres because, I guess the nature of being in a band is that you are always collaborating, so maybe you don't feel as much of a need, but it's really fun.”

With Wolf Alice already gearing up to get back in the studio—Roswell teases they’re itching to write more danceable music—she tells Marie Claire about her musical tastes, from the pop star she wants to work with to the recent movie music moment that made her cry.

Kings of Leon got me into indie music… Those first three albums are great songwriting—a mix of emotions from a singer who can do sensitive as well as abrasive.

I was also very inspired by Patrick Wolf, who produced all his own stuff. He can’t really be pigeon-holed; I hear musical theatre and folk, but I also hear something quite industrial and futuristic. I found a lot of music through my friend's older sister, and MySpace introduced me to a lot of stuff outside of my parents' influence.

I remember receiving P!nk’s M!ssundaztood early on and really being obsessed with it as an album rather than just one song.

When I was younger, it was Grace by Jeff Buckley. I often bring up Lemonade by Beyoncé as a no-skipper (although, secretly, I have one song I skip). Then yesterday I re-listened to Chris by Christine and the Queens and was like, Oh, yeah, this is 10/10.

I loved the Yeah Yeah Yeahs growing up, and I think Karen O is one of our best rock stars.

It would have been fun to have been around for the post-hardcore scene ‘80s D.C. I like Fugazi, but I imagine it would have been a whole other experience to see [them] live back then.

Recently, it was "On the Nature of Daylight" by Max Richter in Hamnet. I know a lot of people were annoyed by that moment because that song is used in a lot of movies—and I guess it did take me out of the moment a tiny bit. But it also just complemented it so perfectly, and maybe we should try to experience things without context. It also reminded me how powerful music can be; I literally involuntarily started weeping when I heard it again a few days later on TikTok.

I watched my friend play a show at the Green Note in Camden fairly recently with his group called A Curious Dance, which is two pipe players, a double bass, and a guitar. There is no singing, no performing, really—just four talented musicians playing beautiful music in a tiny room.t I think I'd been thinking a lot about the other stuff that comes with putting on a show, and it was a nice reminder not to get too bogged down in that stuff and forget why you're there in the first place.

We start at about 3 pm, when the sun is high. We are out in the field to watch Stevie Wonder deliver his greatest hits, then we all go and mosh amongst the trees to Pond. As we need a bit of a break after, we sit down on the grass to watch Big Thief and gather our breath as the sun goes down. Then we move into this disused barn where FKA twigs is performing, followed by Rosalía and a full orchestra. We go outside where something akin to The Globe has been built, and we watch Christine and the Queens when they were touring with that amazing dance troupe. And then we go behind the stage where there's a little bar, and we watch Lankum, who then opens the floor to anyone who wants to sing a tune, and Elton John delivers an acapella of “Tiny Dancer,” which everyone joins in, before we go outside to rave the rest of the night away to Underworld.

Rosalía. You can't second-guess what a Rosalía song will sound like anymore, so I'd be fascinated to see what it turned out to be.

I listen to music without words, so I can indulge in my own feelings, so a lot of contemporary classical or film scores. If I'm really feeling masochistic, I might listen to The Hours soundtrack.

On the other hand, I might listen to something fun and empowering to remind me of joy, like Chappell Roan or something I liked in my childhood, like All Saints.

“One Strike” by All Saints.

"My Way" by Frank Sinatra.

"Midnight Song" because I think I kept it outwardly vague and poetic so people can take from it what they want, but everything makes perfect sense.

It's about my grandparents. They were both Irish, and they were also very fun and loved to party. When they both died, my cousins and I were worried about who would carry on the party and whether that part of our family identity would still be present, along with feeling Irish at all without them.

My favourite song at the moment is "be the girl!" by Hemlocke Springs. I'm thinking a lot about my past and about girlhood, and there is an extremely youthful and feminine energy to that song.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

Hilary Duff has done what few other teen stars have: achieved staying power. It’s not lost on her that her ‘00s pop hits and beloved tv and film roles raised a generation—and even as she took a decade-long break from music, that fans have always been eager to hear more.

Now, Duff is ready to soundtrack the next era of her listeners’s lives. On February 20, the singer/actress released luck… or something, her sixth studio album and first LP since 2015’s Breath In. Breath Out. Duff, 38, tells Marie Claire over Zoom she’s “honored” that she’s been able to reintroduce herself as a musician in an industry that tends to disregard female artists after a certain age. “I’m completely moved and ecstatic that I still get to come to play.”

Having lived a lot of life since the last time she was in the studio, Duff explains it was important to the hitmaker that she “make a record about someone in their 30s.” For the project, she also worked with her husband, music producer Matthew Koma; it allowed her to feel more empowered to speak up about her artistic vision in a way she didn’t always in the past.

Together, they created Duff’s most confessional work to date. “It was very cathartic to make this record, but also at the same time, I cared a lot less about, Oh, what’s the outside world going to think about this?, and I think that just comes with age.”

“It has an emotional depth, but it's disguised as fun,” she adds of the glistening, ‘80s-homage tracks. “I think that really sums up what the mission was, and what I'm drawn to in my musical taste, anyway.”

With luck… or something out now (and a highly anticipated tour on the way), Duff tells Marie Claire all about that taste, from the singer-songwriter who still leaves her starstruck to the Gen Z pop star she and her kids can agree is great.

The first time I lyrically paid attention to something—and it took over my brain—was Jagged Little Pill [by Alanis Morissette].

Spiceworld [by the Spice Girls].

Rumours by Fleetwood Mac is a 100 percent perfect album. And then Tragic Kingdom [by No Doubt]. I remember being in my childhood bedroom and making up dances with friends to “I'm Just a Girl.”

Well, I did get to experience—but if I could place my adult self in it—all the way through the ‘90s into early 2000s. Third Eye Blind, Semisonic, R.E.M.—I would love to be back in that time as a young adult.

Maybe I should form a side project, like a grungy girl group. See if Sabrina Carpenter wants in. It's like the dirty “Lady Marmalade.” Less polished, more grunge.

Taylor Swift. She’s the one who leveled up the game for me for live shows. The Eras Tour was so sick.

I'm on Taylor Swift's mailer list, so I get all of her mailer merch. I'm always really excited about it. I would like to stay on that list and continue racking my little Taylor corner in my closet.

I have to say Alanis. She's the epitome of the coolest for me.

I was actually at a Taylor show in a "Taylor Tent," and I was in there with Alanis. It was like the restaurant brought me all the desserts for free. It was insane. I was so distracted because I was in there with Alanis. She’s queen.

We're going to head on back to the '80s. It's really random—and it's not even like it connects with me so much—but I could just listen to it over and over and over and over again. It's just the feeling of it. Paul Simon's song “You Can Call Me Al.”

Also, anything on Rumours. “Everywhere” [off Tango in the Night]—I fucking love that song. It's pretty simple, but it's so beautiful.

Tapestry [by Carole King].

I'm either listening to legit yacht rock or hip-hop.

If I'm with friends, one of my friends is a hip-hop queen, so it's a lot of Saweetie and Latto. We'll listen to that, and I will listen to “MMMBop” radio. Or dead silence.

Unfortunately, my kids dominate the radio. So Mae-Mae, my 4-year-old, is deep on Kpop Demon Hunters. And Banks wants to listen to Harry Styles. Then my son, Luca, wants to listen to Lil Tecca and Kendrick [Lamar]. They all know a lot.

Any chance I get will be ‘90s, or we all can agree on Olivia Dean for a few tracks. I love her fully, but Mae-Mae thinks the beginning of “Man I Need” where she’s like, “Talk to me / Talk to me,” is “Sesame / Sesame.” I live for that.

My husband, Matt, has insane musical taste. He's more like Bruce Springsteen, Brandon Flowers is one of his heroes, and Dawes. So Mae-Mae will also be like, “Dawes is my favorite band.” And I'm like, “I think Dawes is Daddy's favorite band, and he's driving you somehow to say that, but that's fine.”

This interview was edited and condensed for clarity.

Music’s Biggest Night is finally here, and the 2026 Grammy Awards are ready to celebrate the best releases of the past year. As pop-culture obsessives, the best part of the award show (aside from the performances by our favorite icons) is the commentary from fellow music fans. That’s where you can count on us at the Marie Claire Culture team. We’ll be discussing this year’s ceremony here live.

Tonight, the world’s most popular recording artists have gathered at L.A.’s Crypto.com Arena, where host Trevor Noah will lead the ceremony for the final time. The red carpet brought the night’s first buzzy moments, with Doechii taking us back to the ‘90s in Roberto Cavalli and Sabrina Carpenter pairing dreamy blush with her boho-chic gown. Now that the main event’s set to begin, we’re just moments away from Carpenter, Lady Gaga, Bruno Mars, Tyler, the Creator, and Justin Bieber’s returns to the Grammys stage, along with the performance debuts of Clipse, ROSÉ, and this year’s Best New Artists nominees—Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, SOMBR, and The Marías—among others.

Speaking of nominees, superstars like Bad Bunny (DeBÍ TiRAR MáS FOToS) and Kendrick Lamar (GNX) are vying to make history in the Album of the Year category, where they go up against Clipse (Let God Sort ‘Em Out), Gaga (Mayhem), Bieber (Swag), Carpenter (Man’s Best Friend), Leon Thomas (Mutt), and Tyler, the Creator (Chromakopia). With Thomas, Kehlani, FKA Twigs, and HUNTR/X already taking home wins in this afternoon’s Premiere Ceremony, this year’s awards have already gotten off to an excellent start.

As we watch the star-studded ceremony together, we’ll be here sharing updates on the can’t-miss performances, the biggest wins, and the viral moments so you don’t miss a thing. We’ll also pull in Marie Claire’s editors to share their favorite surprises of the night. Now, let’s get ready for some music.

It’s Music’s Biggest Night, baby! Although I must say, going into this Grammys has been interesting because it doesn’t feel like there’s necessarily that clear a narrative this year. Last year was all about “the pop girls” (Beyoncé! Billie Eilish! Chappell Roan! Charli xcx! Sabrina Carpenter! Taylor Swift!) sweeping nominations, and the anticipation of whether Queen Bey would finally snag her Album of the Year title for COWBOY CARTER (which she inevitably and rightfully did!). This year is more of a toss-up, though.

However, I think one thing to look out for is whether this becomes Bad Bunny’s big year, which I certainly think is possible and would love to see. He’s won in the Best Música Urbana Album and Best Latin Pop or Urban Album categories and was nominated for Album of the Year in 2023 for Un Verano Sin Ti, but this could be the first year he wins big. The stellar DeBÍ TiRAR MáS FOToS and its hit “DtMF” are up for the big three categories—Album of the Year, Song of the Year, and Record of the Year. He’s already made history as the first Spanish-language artist to be nominated in the categories at once, and, if he wins Album of the Year, he’ll reach another milestone with the first Spanish-language album to do so. DeBÍ TiRAR MáS FOToS is his best yet, immensely colorful sonically, and a compelling piece of anti-colonialist art. Plus, a winning streak from him would be powerful to see right now, given how the Puerto Rican hitmaker has long spoken out about what we gain by bringing people together and the efforts he’s made protecting his international fanbase against ICE and division. Benito, I’m rooting for you!

It’ll also be interesting to see how the Best New Artist category unfolds. The Recording Academy loves to honor artists with an old-school flair, like Olivia Dean and Leon Thomas (I think Olivia Dean will likely take the title), but I would love to see Addison Rae win. She’s arguably made the most daring, innovative choices of the nominees—and arguably of anyone in pop over the past year—and arrived fully formed as a recording artist with her dance-pop fantasia Addison. Her performance is my (and every other club rat’s) most anticipated of the night, and I feel certain the showgirl is going to deliver. That’s my best new artist. —Sadie Bell, Senior Culture Editor

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I agree that 2026 is likely Bad Bunny’s year, and his potential win would be part of hip-hop’s biggest Grammy year in recent history. Along with Bunny’s genre-bending reggaeton record, three rap albums are nominated for Album of the Year: Kendrick Lamar’s GNX, Clipse’s Let God Sort ‘Em Out, and Tyler, the Creator’s Chromakopia. Hip-hop heads like me have our best chance in a decade of a third rap Album of the Year, joining The Miseducation of Lauryn Hill and Speakerboxxx/The Love Below. (Yes, there have only been three in the past 67 years.)

I also have more excitement for the performances this year than I’ve felt in a while. The Best New Artist medley was my highlight of last year, and I’m hoping its return will feature an Olivia Dean/KATSEYE hand-off that will give me as much life as the RAYE/Doechii one did. Lauryn Hill’s D’Angelo tribute is guaranteed to bring me to tears. That’s not to mention Lady Gaga, Tyler, the Creator, and ROSÉ bringing K-pop back to the main ceremony!

Also, this may be a controversial opinion, but I like that the Grammys have become an opportunity for a pop superstar to announce a new release. Maybe Bruno Mars could debut a new single off The Romantic. Perhaps the night’s “additional surprise presenter”(ahem, Beyoncé, is that you?) will tease their next act? Maybe BTS will take a break from their social-media pause to promote Arirang? All of these are long shots, but it’s the Grammys! Let a girl dream. —Quinci LeGardye, Culture Writer

The 2026 Grammys started off with a party! To bring up the energy early, ROSÉ and Bruno Mars opened the ceremony with a performance of the Song of the Year nominated collab "APT.," complete with Mars's live band and some dancers partying at the foot of the stage. (Also, thanks to host Trevor Noah for the quick explainer on the song's Korean-drinking-game influence.) Excited to keep this going all night! —QL

Sabrina Carpenter had a big performance to top after last year’s Old Hollywood screwball comedy debut—and she stuck the landing. You can tell she has a total blast on stage, and this year she delivered an adorable, theatrical showstopper of her four-time-nominated “Manchild,” set in a bustling airport. Plus, Pan Am-inspired look! We were on board with this one. —SB

The Best Moments From the Pre-Ceremony

The Grammys famously only air a handful of the awards during the live ceremony, dishing out most gramophones during the pre-show. But that doesn’t mean there weren’t wins worth paying attention to, even if they didn’t make the broadcast. I was thrilled to see avant-pop auteur FKA twigs finally getting her flowers, with her phenomenal EUSEXUA winning Best Dance/Electronic Album. Another well-deserved win? Amy Allen won Songwriter of the Year for the second year in a row, thanks to her collaborations with Sabrina Carpenter, ROSÉ, Tate McRae, and others. With songwriter/producer opportunities for women in the studio still being few and far between, we love to see Allen’s work getting recognition.

Plus, as an indie/DIY fan, I personally also love that hardcore experimentalists Turnstile have become somewhat of Grammys darlings ever since their 2021 album GLOW ON propelled them to new heights. They won Best Rock Album for NEVER ENOUGH and Best Metal Performance for its single “BIRDS,” and I’m always for The Recording Academy embracing genre-bending guitar music (rather than exclusively honoring legacy acts, as they’ve done in the past). —SB

Some pre-ceremony wins that I’m celebrating: Kehlani is finally a Grammy winner! The singer took home Best R&B Song and Best R&B Performance for “Folded,” a decade after her first-ever nomination in 2016. Some of my other R&B faves who took home awards include Leon Thomas’s MUTT for Best R&B Album and Durand Bernarr’s BLOOM for Best Progressive R&B Album. Also, the team behind KPop Demon Hunters continued their awards-season sweep, with “Golden” winning Best Song Written for Visual Media. —QL

Leave it to our resident gonzo pop princess Addison Rae to bring camp to the Grammys. It was all too fitting for her to perform her Addison album standout “Fame Is a Gun,” a song about the price of ambition, on the awards show stage. She sang in a bedazzled trench with a troupe of dancers backstage, leaning into her skill as a true performer with a captivating dance break. I think I gasped, “Oh, my god,” several times—which is exactly what we want from our pop girls! She may have just gotten a “taste of the glamorous life,” but may this be her first of many Grammys to come. —SB

KATSEYE cemented their place as the girl group to watch with their performance of “Gnarly,” which took viewers through the venue to the Grammys stage. The sextet brought their signature high-energy performance, including synchronized twerking in front of vanity mirrors backstage, and a frenetic dance break with jaw-dropping splits. As someone who binged Pop Star Academy on Netflix in a single day, it was hard not to get emotional about how far the pop princesses have come. —QL

One star-making moment of the night? Olivia Dean’s set right into her big win for Best New Artist. Her vocals sounded pristine while she performed her mega-hit “Man I Need,” and she brought sheer charisma to the stage. Maybe it’s the old-school, soulful flair of her sound, but she felt like a musical legend of yesteryear up on the stage. That made all the more sense when moments later, last year’s Best New Artist winner, Chappell Roan, revealed that the British singer-songwriter had earned this year’s gramophone.

Dean herself was surprised, making a humble speech and taking the opportunity to speak out in support of immigrants. “I guess I want to say I'm up here as a granddaughter of an immigrant,” she said. “I'm a product of bravery, and I think those people deserve to be celebrated.” Amen to that—and to Dean’s well-deserved win. —SB

​​I think Justin Bieber may have felt he had a lot riding on this Grammys performance. He hasn’t taken to the awards show’s stage since 2022 and has seldom performed in general over the past few years. And yet, he made his grand, long-awaited return to the spotlight in 2025 with the release of SWAG, and he’ll be headlining Coachella in April. It felt like this performance may have been a tease of what to come—and to prove he’s still got it. Walking out on stage shirtless, in boxer shorts, with solely a guitar, he might’ve left viewers questioning what was to come. But singing a stripped-down “YUKON,” he highlighted what’s always been his strength: his swoon-worthy vocals. By the end, he definitely left us feeling Bieber fever.

As Bad Bunny took home the award for Best Música Urbana Album, he delivered the speech we all need to hear right now. The reggaeton superstar began with a simple statement, “ICE out,” and sent a positive message of hope. “We're not savages, we're not animals, we're not aliens. We are humans, and we are Americans,” he said. “The only thing that is more powerful than hate is love. So, please, we need to be different. If we fight, we have to do it with love. We don't hate them. We love our people, we love our family, and that's the way to do it: with love. Don't forget that, please.”

It was a moving moment and a powerful statement from the star who was just awarded for his anti-gentrification, anti-colonialization, uniquely Puerto Rican LP—and I’m hoping this was just his first of many honors of the night. —SB

Whenever Lady Gaga steps onstage, I lose any ability to look away. For her live rock remix of “Abracadabra,” Mother Monster skipped the intricate choreography for a close-up performance from herself and her band. Outfitted in a rattan headpiece with an eye-shaped cutout surrounding her face in lashes, Gaga sang directly to the camera, starring it down as it moved from angle to angle. The captivating performance led right into the singer’s third win on the night, as MAYHEM took home Best Pop Vocal Album.

After thanking her partner Michael Polansky and her producers, Gaga shared a message for women in music. “I know sometimes when you're in the studio with a bunch of guys, it can be hard,” she said. “So, I urge you to always listen to yourself and always fight for your ideas, fight for your songs, fight for yourself as a producer. Make sure you are heard loudly.” —QL

Our nicest surprise of the night so far goes to Lola Young, who took home Best Pop Solo Performance for "Messy." We couldn't really hear the speech due to the live censoring, but her unfiltered shock was adorable. —QL

If we didn’t get a performance from Bad Bunny, at least we got a truly adorable bit from Trevor Noah about how much we wished we got a performance from Bad Bunny! Throughout the night, the host negged Benito about why he wasn’t taking to the stage; he’s saving it for the Super Bowl Halftime Show next weekend, NBD. Eventually, Noah joked about how it’s his last time hosting the Grammys and that he should’ve taken more photos over the years—just like the lyrics of Bad Bunny’s multi-nominated “DtMF.” Noah started serenading Bad Bunny, who finally cracked and gave us a verse as a band came out to back them up. Benito is such a charmer, so seeing him grin, play along with the bit, and give in to it had me giddy, kicking my feet. Take that energy all the way to the Halftime Show! —SB

A confession: Tyler, the Creator’s Chromokopia is my personal pick for Album of the Year, and his high-concept performance may be my biggest highlight of the night. After his St. Chroma alter ego started off with a performance of “Thought I Was Dead,” the rapper appeared on another part of the stage, listening to some sage advice from his fellow L.A. native, Oscar winner Regina King. Then, after (accidentally?) mowing down St. Chroma with a Ferrari, Tyler began a rendition of “Sugar on My Tongue,” from his second nominated album of the night, Don’t Tap the Glass. Tyler’s partying through the chaos ended with him accidentally blowing up the St. Chroma gas station, closing the chapter on Chromakopia and preparing his fans for a new era. —QL

Tonight's joint tribute to D'Angelo and Roberta Flack was instantly a major moment in Grammys history. Despite the jokes and doubts, Ms. Lauryn Hill led the “deeply-personal” tribute, starting off with her and D’Angelo’s duet “Nothing Even Matters.” Hill later paid homage to her lifelong influence by singing Flack’s “The First Time I Ever Saw Your Face,” before ending the performance alongside her Fugees bandmate Wyclef Jean, as the pair performed both Flack’s and their own renditions of “Killing Me Softly With His Song.”

Hill was joined onstage by over a dozen other artists, both talented up-and-comers and R&B legends. From Leon Thomas and Lucky Daye to Bilal, Raphael Saddiq, Lalah Hathaway, Chaka Khan, and many more, the tribute was a celebration of soul that had me fighting back tears as I sang along. —QL

The Grammys teased a surprise presenter, and as it turned out, they weren’t just a presenter—they were also a Lifetime Achievement award winner. Cher ended up presenting Record of the Year, but before she did, she accepted her honor to a standing ovation and applause from the elated crowd. Forever glamorous and inspiring, the true icon (dressed in a leather-and-lace ensemble, no less) shared words of wisdom from her career spanning “50 fucking years,” speaking to both the highs and lows.

“In my 20s, actually, I kind of thought I had it made. It didn't occur to me how rough my career was gonna be, and my life was gonna be, and I'm not saying, Oh, poor me,” she said. “I was either on the top or the bottom, you know? I was either a loser or winning an Oscar.”

“I’m sure a lot of you in the audience know what I'm talking about,” continued the hitmaker. “In the early 80s, it got so bad that I had to go to Las Vegas, and it was called the Elephant's Graveyard in those days, and then I got dropped from my label, and then another label picked me up, and I recorded a song called ‘Believe.’”

She concluded, “I just wanna tell you never give up on your dream, no matter what happens. Live it, be it, and if it's not happening now, it will happen soon.”

The kids love to call our pop divas “mother,” but that’s mother right there! Her walking off stage before actually presenting the Record of the Year title made it all the more incrediblet While she could’ve mic-dropped right then, but our gracious queen did turn back around—although not without voicing her annoyance at how not all the text was on the teleprompter. 10/10 Grammys moment. I would expect no less from Cher.

Did I tear up the moment presenter Harry Styles announced Bad Bunny won the prestigious Album of the Year award for DeBÍ TiRAR MáS FOToS? Yes! Did I fully start crying when he started tearing up and was so stunned he couldn’t get up to the Grammys stage? I sure did! It truly felt like his year and the honor couldn’t have felt more deserved.

In winning the award, the musician made history with the first Spanish-language album to take home the honor. It felt especially touching that he made most of his acceptance speech in Spanish, as well, thanking everyone who contributed to the album and expressing his love for Puerto Rico. “I want to dedicate this award to all the people that had to leave their homeland, their country to follow their dreams,” he added.

What a special moment to cap off the awards show—and a thrilling send-off to his highly anticipated Super Bowl appearance next week. —SB

The 2026 Grammys have officially come to an end. A lil’ recap of the wins and historic moments: Bad Bunny’s DeBÍ TiRAR MáS FOToS is officially the first all-Spanish-language album to win Album of the Year. With his five trophies tonight, including Best Rap Album for GNX” and Record of the Year for his and SZA’s “luther,” Kendrick Lamar is now the most-awarded hip-hop artist in Grammys history. Meanwhile, Billie Eilish and Finneas became the first artists to win Song of the Year three times, after taking home the prize for “Wildflower.” Other artists who earned major awards at this year’s ceremony include Olivia Dean (Best New Artist), Lady Gaga (Best Pop Vocal Album - MAYHEM), and Lola Young (Best Pop Solo Performance - “Messy”).

Perhaps most importantly, several artists throughout today’s premiere and primetime ceremonies spoke out against the Trump administration’s immigration crackdown. Bad Bunny, Eilish, Dean, and country artist Shaboozey—who won Best Country Duo/Group Performance for his and Jelly Roll’s duet “Amen”—all took time to honor immigrants and call out ICE. Offstage, many celebs wore “ICE Out” pins while walking the red carpet, including Eilish and Finneas, Justin and Hailey Bieber, Jack Antonoff, Brandi Carlile, and Samara Joy.

And that’s a wrap for tonight! Hope you enjoyed following along for the biggest night in music.—QL

When it comes to music royalty, there are few people in the same stratosphere as Joni Mitchell. The award-winning singer-songwriter graced us with her presence at the 68th annual Grammy Awards on February 1st, looking like a vision in gold—a nod, perhaps, to her previous 11 wins at the ceremony. She's up for an award tonight for Best Historical Album for Joni Mitchell Archives − Vol. 4: The Asylum Years (1976-1980), but truthfully, it was her stunning red lip that won the evening.

"Joni loves a pop of color on her lips," her makeup artist, Loren Canby, tells me over the phone. "She loves rosy tones, and she has beautiful blue eyes, [so] she wants her makeup to enhance her, but to still look like her." Canby used Merit products to achieve Mitchell's red carpet look, and the Merit Signature Lip in Vermillion, a warm red shade in a matte finish, looked absolutely stunning on the 82-year-old. As for the trick to helping the lipstick last for mature skin, without feathering or settling into fine lines? It's all about layering.

"I used multiple layers," reveals Canby, noting that she would blot each layer with tissue, see what came off, and then go back in with a lip brush for another layer to stack the pigment. After four rounds, she used a setting powder to lock the lip into place for the night.

And then there's Mitchell's complexion, which Canby reveals is mainly due to the Grammy winner being "a magician," adding that, "she doesn't have pores, and her skin is incredible." She used the Merit Great Skin Serum and Great Skin Moisturizer to prime and prep Mitchell's skin. "Joni loves to glow," she says. "[The serum and moisturizer] are really hydrating and glowy. [Then] we used the [Merit] Minimalist Complexion Stick in Bisque, but not all over her face; just around her nose and chin."

Believe it or not, there was no additional highlighter to create this otherworldly glow—just a bit of cream blush, the Merit Flush Balm in Stockholm, a lively baby pink shade. "I love them because they're super sheer, and it looks like a natural flush," says the makeup artist, who applied the blush just around the apples of the cheeks. No other contour or highlight was needed, she says, as "the flush balms are dewy, and they give a nice glow to the cheek."

Although Canby used nothing on Mitchell's brows ("her brows are almost white and she likes to keep them au naturale") the eyes looked defined and fluttery with couple of coats of the Merit Clean Lash Lengthening Mascara in Black. "I wanted her lashes to pop, and she has super long lashes already," says Canby. Finally, she added a hint of brown liner, using the already-cult-favorite Solo Shimmer Shadows instead of a traditional eyeliner. "[I used] Brun, a deep brown, [instead of black] because she’s fair and has light eyes, and she’s wearing a navy undertone to the outfit," says the makeup artist.

Paired with the flush of color on her cheeks and that brilliant, warm red lip, it's clear the Joni Mitchell still knows a thing or two about owning an award show carpet.

Eager to try out the Grammy-winner's glam for yourself? Keep scrolling for all the products used to create her look.

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This story contains spoilers for The Moment. Minutes into The Moment, Charli xcx asks a question that defines the entire mockumentary. Speaking to her manager, Tim (played by Jamie Demetriou), she posits if the Atlantic Records-backed director Johannes (Alexander Skarsgård) “makes adverts for women." Tim responds confused, assuming the pop star is referring to Johannes’s commercial work he’s unaware of. But Charli is, in fact, talking about the glossy, controlled tour movies and pop docs he’s known for; she just sees them as no more than A-listers carefully curating their image. “No, like the woman is the advert.”

The Moment may very well be Charli xcx’s own form of brand management—but it’s also an anti-capitalist critique of the music industry and its proclivity to turn female artists into sellable brands. While the A24 film—set after the release of the British artist’s 2024 album brat, as she prepares for a tour—has seen rightful comparisons to This Is Spinal Tap and Spice World, it’s also like the less referenced early ‘00s spon-con, subliminal messaging send-up Josie and the Pussycats. Much like Josie, Charli's film is a pop machine reckoning, and it most shines in all its neon, strobing glory when she satirizes how quickly a musician’s art can be stripped of its meaning to become a parody of itself.

Throughout The Moment (in theaters January 30), almost everyone around the fictionalized version of the avant-pop musician tests how far they can push her into being an “advert,” rather than an artist. So while Charli xcx could’ve made a traditional tour movie like many before her (and as her label originally approached her to), she, co-writer/director Aidan Zamiri, and co-writer Bertie Brandes seemingly took the opportunity to depict how detrimental it can be to musicians, fans, and culture at large when female artists and their art become a product to milk for all that they’re “worth.” As The Moment illustrates, even if a woman has crafted a cultural moment deemed bankable by industry insiders and marketing execs, she’s nothing to them if not continuously exploited.

In a time when “the pop girlies” run music, the film feels like a timely, cautionary statement.

The Moment essentially imagines what could have come of the pop cultural phenomenon sparked by brat, were it to have fallen out of Charli xcx’s creative control. Early on in the movie, the singer is made to participate in an overtly outrageous (if on-the-nose) capitalist scheme: launching a lime-green credit card in collaboration with her label and a bank. Signing up comes with a tie-in to secure tickets to the brat tour, ensuring the label’s excitement, and it also helps the bank reach its absurd goal of targeting younger, queerer clients. But only Charli is to blame when the rollout doesn’t go as planned.

In another plot line, the hitmaker is told her concert film must appeal to a wider audience (read: garner as many viewers on Prime Video as possible), rather than speak to her own fan base. That means that any decision she and her creative director, Celeste (Hailey Gates)—the genius behind brat’s original success—try to make is ignored and side-stepped by a man who seems to think he knows better.

In these scenes, it’s hard not to empathize with the real Charli xcx when she, too, became a mockable trend for brands to cash in on. As much as the star in the film wrestles with whether she should fear the end of “the moment” she’s been having or go to dangerous lengths so it never dies, one thing she seems certain of is what a loss of self feels like when her art is no longer hers. It’s an especially pertinent message coming from the “Von Dutch” singer, who, for years, was considered a hyperpop pioneer solely because of her talent. Now, with a platform, she seems to be saying, if the music industry is going to revel in the women leading the charge, that shouldn’t come at the expense of their artistry and personhood.

By the end of The Moment, Charli loses herself, too, saying she’s doing so in a concerted effort to “kill” brat. It’s not unlike the movie’s purpose in reality, ushering in the next phase of the musician-turned-actress’s career while also reclaiming ownership over a project that became bigger than itself. In many ways, it feels just as much like the artist making a promise to herself. But at the very least, she’s laughing at the possibility that she could buy into whatever “advert of a woman” that the industry might try to make of her. After all, that’s pretty fucking brat.

Calling all music fans: It's time to celebrate the tracks that powered 2025. The 68th Annual Grammy Awards are just days away, with "music's biggest night" returning to celebrate an...interesting year in pop culture. Of course, the Grammys are still a can't-miss event, as our favorite recording artists gather for the most unpredictable red carpet of the year.

This year's nominees include the biggest pop girlies, rappers, and R&B singers, with Lady Gaga, Bad Bunny, Kendrick Lamar, Sabrina Carpenter, and Leon Thomas among the frontrunners. Read on for everything you need to know about the 2026 Grammys, including how to watch the ceremony live and which pop divas will be performing.

When are the 2026 Grammys?

The 68th Annual Grammy Awards will air live on CBS on Sunday, February 1, at 8 p.m. ET/5 p.m. PT. The event will take place at its regular venue, Crypto.com Arena in L.A.

In addition to the main ceremony, the Grammy Premiere Ceremony—which features the un-televised wins and additional performances not shown during the main broadcast—will stream before the main show on the Recording Academy’s YouTube channel and live.GRAMMY.com, starting at 3:30 p.m. ET/12:30 p.m. PT.

How to watch the 2026 Grammys:

Viewers with cable can tune into their local CBS channel or use their cable login to watch on a computer, phone, or tablet via CBS's website or app.

The Grammys will also stream on the Paramount+ app in the U.S. only. However, the ceremony will only air live on the Paramount+ Premium tier, which starts at $13/month and offers a seven-day free trial. The following day, the full event will stream on demand for all subscribers, including those with the Paramount+ Essential tier (at $8/month).

If you don't have cable or a Paramount+ with SHOWTIME subscription, there are a few other ways to tune into the Grammys online. Live streaming TV services like Hulu + Live TV, DIRECTV STREAM, Fubo, and YouTube Live provide access to CBS (and offer free trials).

How to watch the 2026 Grammys red carpet:

The official "GRAMMY Live From The Red Carpet" special will air ahead of the live ceremony, with the exact start time to be announced. Last year, the special streamed on live.GRAMMY.com, as well as the Recording Academy's YouTube and TikTok accounts.

Who is hosting the 2026 Grammys?

Trevor Noah will return to host the Grammys for the sixth year in a row. In the announcement, the Recording Academy confirmed that this will be the former Daily Show host's final year hosting.

Who is performing at the 2026 Grammys?

The Recording Academy has been announcing performers in batches. Sabrina Carpenter was the first confirmed act, set to return after her comedy-tinged Grammys debut last year. And the pop diva who's up for Album of the Year isn't the only major nominee to take the stage: Clipse and Pharrell Williams will perform tracks from their release Let God Sort 'Em Out; Mother Monster herself, Lady Gaga, will belt it out as well; Tyler, the Creator is set to perform for the first time since 2020; ROSÉ will make history as the first K-pop star to perform solo; and Bruno Mars may perform a single off his upcoming album. Meanwhile, Justin Bieber will return to the Grammys stage for the first time since 2022; while his live shows have been few and far between in recent years, he is gunning for some major trophies and set to headline Coachella later this year.

Meanwhile, the Grammys are bringing back their Best New Artist performance segment, with all eight nominees—Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, SOMBR, and The Marías—gracing the stage.

We also know who will appear in the In Memoriam segment. Honoring D'Angelo and Roberta Flack is Ms. Lauryn Hill, while an epic Ozzy Osbourne tribute will be performed by an ensemble featuring Post Malone, Andrew Watt, Chad Smith, Duff McKagan, and Slash. Reba McEntire, Brandy Clark, and Lukas Nelson are also said to team up to recognize others lost in the musical community in the past year.

The lineup is already looking stacked for Sunday, but you can bet The Recording Academy will announce more performers closer to the show.

Who is nominated at the 2026 Grammys?

Kendrick Lamar leads this year's nominees with nine nods, including Album of the Year for his post-"Not Like Us" victory lap, GNX, and Record and Song of the Year for his latest duet with SZA, "Luther." Right on his tail is Lady Gaga with eight nominations, breaking her previous record of six nods in 2010.

Other artists leading the nominations include Bad Bunny, Sabrina Carpenter, and Leon Thomas, each with six noms; and Doechii, Clipse, SZA, and Tyler, the Creator with five each. (For any Taylor Swift fans wondering, The Life of a Showgirl came out after the eligibility period ended. Should it receive any future nominations, that would be for the 2027 Grammys.)

In addition to GNX and Let God Sort 'Em Out, nominees for album of the year include Bad Bunny for DeBÍ TiRAR MáS FOToS, Justin Bieber for Swag, Sabrina Carpenter for Man’s Best Friend, Lady Gaga for Mayhem, Leon Thomas for Mutt, and Tyler the Creator for Chromakopia.

As for Song of the Year, nominees include Bad Bunny's "DtMF," Billie Eilish's "Wildflower," Carpenter's "Manchild," Doechii's "Anxiety," Lamar and SZA's "Luther," ROSÉ and Bruno Mars's "APT.," and "Golden" from KPop Demon Hunters. The Record of the Year category includes all the same songs, with one exception: Chappell Roan's "The Subway" takes over the "Golden" slot.

Finally, some notable stats: 2026 marks the first year that three rap albums—GNX, Let God Sort 'Em Out, and Chromokopia—are nominated for Album of the Year. Bad Bunny is the first Spanish-language artist to be nominated in Album, Record, and Song of the Year simultaneously. Meanwhile, "Golden" and "APT." are the first K-pop songs to be nominated in the Song and Record of the Year categories.

Who is presenting at the 2026 Grammys?

We know several names presenting at this Sunday's awards show—and they're big ones. The Recording Academy began announcing presenters about a week before the ceremony, with fan-favorite stars Harry Styles and Doechii as the first two set to take the stage. Other stars confirmed to present include Carole King, Chappell Roan, Charli xcx, Jeff Goldblum, KAROL G, Lainey Wilson, Marcello Hernández, Nikki Glaser, Q-Tip, Queen Latifah, and Teyana Taylor.

Also, the Academy has been teasing an "additional surprise presenter." One popular guess floating around: Beyoncé could show up to present Album of the Year, the year after her own win. We'll have to wait and see.

Just about anyone who has logged into Netflix or turned on the radio in the past year has heard EJAE’s voice. Whether K-pop stans, animation enthusiasts, or every kindergartener on the planet and their unsuspecting parents know her name or not, they're certainly familiar with the 34-year-old songwriter's performance as Rumi, the leader of the titular KPop Demon Hunters. But beyond playing HUNTR/X's charismatic leader, EJAE was also instrumental in turning the musical into a full-blown phenomenon, serving as a co-writer on three of the Billboard-topping songs from the soundtrack.

In the months since KPDH became Netflix’s most-watched movie of all time, EJAE has gone from working behind the scenes in studios to gracing the world’s biggest stages and red carpets. Her anthem "Golden," which she co-wrote with Mark Sonnenblick, 24, Ido, and Teddy, is up for four Grammys, including Song of the Year. And it's already started to rake in awards and break records: In early January, she became the first Korean-American woman to win Best Original Song at the Golden Globes. With "Golden" nominated for Best Original Song at the Oscars, she also made history, as the track marks the first K-pop song recognized.

Even as "Golden" started exploding, EJAE couldn't fathom just how much her life was about to change. "My publicist was like, 'You’re going to have no life for six months,' but I was like, Whatever," she recalls, speaking to Marie Claire over Zoom in early December. "I genuinely have no life right now," she adds with a laugh.

Long before KPop Demon Hunters, EJAE, born Kim Eun-jae, had accepted that fame wouldn’t be coming her way. Growing up between Seoul and Fort Lee, New Jersey, the aspiring singer joined K-pop juggernaut SM Entertainment’s training program in 2003, at age 11. She spent 12 years putting in “literal blood, sweat, and tears” in hopes of being chosen to debut as a solo artist. But when other trainees were chosen for groups like Girls' Generation, the singer-songwriter turned her attention to her education—fast-tracking her degree in music and psychology at New York University, expecting to make her debut after graduation. Instead, SM dropped her in 2015, and she faced an uncertain future.

But—just as EJAE put it herself while accepting her first-ever Golden Globe—she turned her rejection into redirection. The would-be music therapist pivoted to music production; two years after she was dropped, she returned to SM for a songwriting camp and penned the topline melody that would become Red Velvet’s platinum hit “Psycho.” She went on to write for artists like TWICE, aespa, LE SSERAFIM, NMIXX, and Billlie, and was also tapped to work on early demos for an in-the-works animated film about otherworldly idols.

“When you don't use that muscle of making decisions on your own, and suddenly you have to do it, it's scary,” she says of her early songwriting days. “Moving to the States, not wanting to live with my parents, and figuring it out on my own really did help me find the beauty in my voice.” It's safe to say that leaning into her unique voice as an artist is exactly why EJAE became "the heart and soul of HUNTR/X," as director Maggie Kang has called her.

Below, EJAE chats with Marie Claire about establishing herself outside of the trainee system, bridging K-pop songwriting with musical theater, and the importance of exploring every side of your artistry.

MC: During your trainee years, you got the opportunity to join a ballad group at 18, but you chose to go to college instead. What informed that decision?

EJAE: Honestly, that decision wasn't that hard because I took my studies very, very seriously at a young age. I feel like I was more mature then than now. I knew that K-pop idol life wasn't forever. Also, being in the industry, I've noticed that a lot of my friends around me were depressed, and seeing that, music therapy was something I really wanted to do and pursue.

On top of that, I had sacrificed so much of my youth—essentially my childhood. I am not kidding when I say I practiced my ass off: “Blood, sweat, and tears” is quite literal blood, sweat, and tears. I wanted to be a solo artist, and that's always been my main goal. I didn't want to be in a girl group. So I think those two combined gave me the confidence to be like, “No.”

MC: Even as a K-pop fan, I had to watch a couple of documentaries to really understand how intense training is.

EJAE: I really went above and beyond as a kid. When everyone was leaving after class, I stayed and kept practicing. I would book studios and stay there for six hours, for eight hours, just dancing by myself. It was brutal, and the fact that there's a lot of critiquing and certain ways you have to eat or look or be. We couldn't chew gum because that would make our jaws bigger. We couldn't do a kimchi squat 'cause that would ruin the knees. It's very difficult to get used to, and obviously, there's a lot of showcases and competition. It was quite rigorous in what we had to learn, but I did work my butt off for it all.

MC: Looking back on your trainee days, did you ever feel like you struggled to fit your natural vocal tone into the kind of sound K-pop companies tend to make?

EJAE: Well, I'm not going to lie. At that time, I wasn't that good at singing. Finding your voice on your own terms and finding your voice because someone's telling you what you need to sound like are two very different things. I think you find more strength and confidence, and you become a better singer when you find your voice on your own.

During that time, SM had a very specific brand or sound. I was definitely told to push my voice to sound cleaner, even though, naturally, I have a low-toned singing voice. I was trying to sound like Ariana Grande—she has a very clean, beautiful voice—but my voice is a little bit husky, kind of Alicia Keys, Adele vibes. Confidence is an important part in singing, and in selling the lyrics and story. When you're confused about your voice, it's really hard to do. So I think that's where I was at that time.

MC: How would you describe K-pop/idol-music songwriting to someone only familiar with Western pop?

EJAE: Being a K-pop idol is about a whole package and a whole experience. When I write for K-pop, it's a very different strategy than for pop. I'm thinking about whether the creative director would have more inspiration from this song concept. Choreography, music video ideas, makeup ideas, those things are very important when writing for K-pop.

I actually got better at singing because of songwriting for K-pop, because it challenges you to do different genres. Sometimes I would do rock. Sometimes I would have to do diva vocals. Sometimes I have to do the prettier NewJeans or TWICE-style vocals, or Rihanna girl crush vocals. I would rap. It made me realize, Oh, I actually like my voice when I do this. Oh, I like it when I do that. Experimenting with my voice is what helped me get to where I am right now, so I don’t regret any of the whole experience I had.

MC: You and your KPDH co-songwriter Mark Sonnenblick have said you had to bridge the worlds of theater and pop to make songs that could be storytelling devices, but also hits. What was that like?

EJAE: It was so, so hard. I remember talking to Mark, like, “Damn, if we figure this out, we're freaking geniuses.” I've never worked on a song for K-pop where it's not just me and the producers or other co-writers. For KPop Demon Hunters, it's me, co-writer, producers, studio execs, music director. We had to fit Maggie [Kang]'s specific vision of the storyline and her taste, but also the studio's taste, Sony's taste, Netflix's taste. It's a lot of layers that we have to go through. Thank goodness Mark is the nicest person in the world. We had no ego. It was all about the song that was really important, the collaborative energy.

And on top of that, it's a movie, but it also has to be a pop song. We really worked hard in making it commercially acceptable and catchy, have the melody still be enough where we can put in lyrical words that fit the storyline of the characters. I love musicals, but they can get very wordy. A lot of people can say it sounds corny because it's quite literal. Whereas with pop music, simplicity is the thing. It was really important to me as a pop writer that the concept not only works for the movie, but works for everyone. If a random person heard it, they can relate to it too.

MC: “Golden” is obviously the biggest hit, but “How It’s Done” is probably my favorite song of the movie. How did you approach HUNTR/X’s take on the girl-crush sound?

EJAE: “How It's Done” was the hardest song I worked on. There were so many different passes, trying to find a hook that’s hook-y. We were given this massive track, and we needed a melody that's good enough that can pierce through it. If a melody was too busy, then it wouldn’t work. When we got that dun-dun-dun, we were like, “Yes! But what do we say?” [One day], I think I was watching a TikTok, I said, “That's how it's done.” I was like, “Wait, ‘done, done, done…How it's done, done, done.’ Oh shit. That works really well.” I think that was an inspiration too: trying to find sentences that people use every day that can work as a pop song, but also, it works in the film. HUNTR/X shows how it's done.

The raps were where we took full advantage of K-pop writing, which worked really well with theater. All the verses had rap, so we could put all the storyline in there, and the chorus could be as simple as possible. So everything was just really strategic. It was a hard song, but super fun.

MC: You released your debut solo single, “In Another World,” in October, as “Golden” was starting to gain awards-season buzz. Why did you choose an emotional ballad for your first release?

EJAE: “In Another World” was just exactly how I felt at the time. Everything happening right now is so weird. I thought this would all happen in another world, so I wanted to talk about that. I’m sure a lot of people are going through times when things don't happen the exact way they want it to happen. I don't know what life is going to give me, especially right now when there's so much attention and spotlight on me. So “In Another World” helps me deal with that pressure. Being like, You know what? If it doesn't work, okay. Maybe in another world, it would be fine, but right now it's not meant to be in this lifetime.

“Golden” and all these K-pop songs were very high energy, very performative melodies. “In Another World” is a different side of me, a little chill. I wanted to show that personal side.

MC: You’ve mentioned that you’re glad fame came at this stage in your life. As you craft your solo music, what do you want to explore? What does the music that EJAE makes in her 30s sound like?

EJAE: My core is a songwriter, so my core is always working with artists and writing great music. Taking whatever we're feeling, trying to find a universal emotion that we can express in a different, creative way, that's songwriting. I want to continue that and transition into the pop world as well. I mean, pop has always been my thing. It's just that K-pop was so near me. I was living in Korea, and I'm clearly Korean. But I want to be able to show that K-pop is more than just Korean pop. It can go everywhere. With KPop Demon Hunters, I wasn't thinking, Oh, it has to be K-pop sound. I was using a hybrid of everything. So I’m very interested in bringing some K-pop elements into the pop world and constantly growing as a songwriter.

I think that being me as an artist, for me, is finding honest concepts. I love that “Golden” helped unite people and heal a wound that people sometimes didn't know they had needed to heal. I want to continue being that kind of vessel for the songs to be famous, not really me. That's where my headspace is at. EJAE is a platform for these songs that've just been gathering dust, that have potential, that I love. I want to release them and continue to keep writing great songs.

MC: Why is the freedom to work in different genres important to you as an artist?

EJAE: Because I feel like that's how everyone is. We're not this or that. I'm Korean American; I'm not just Korean or just American. I'm a hybrid of both. I don't like it when people are like, “Oh my God, she's so Korean here. Oh, she chooses when she's Korean, when she's American.” No, that's just who I am. I'm not just always feminine; I also have a masculine side to me. I don't always just sing low notes; I can also sing high notes. It just comes in different ways. I could be silly and goofy, but also hella sensitive. You're not just one thing.

The beauty of KPop Demon Hunters is loving all sides of yourself. That's what makes you grow as a person, not when you're boxed in. I mean, fish literally cannot grow bigger if they're in a fish tank. I think it’s very important for people to understand that binary thinking can sometimes be very limiting. Having the freedom to do a lot of things in different ways really helps you to grow, and also not just for yourself. It will also inspire others to open up and to explore and do things. And that's KPop Demon Hunters in a nutshell, right?

This interview has been edited and condensed for clarity.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

While some K-pop idols establish themselves in a lane and stay in it, SEVENTEEN has built a reputation transcending boundaries. Since their debut in May 2015, the 13-member boy band has leveraged their unique group structure to draw inspiration from countless genres and musical influences, from bass-heavy beats and uplifting anthems to R&B-tinged bops and emotional power ballads.

Ballads make up the most beloved deep cuts in SEVENTEEN’s discography. They’re the tracks that the group's passionate fanbase, known as CARATs, turn to for comfort, with relatable lyrics about navigating the journey from youth to adulthood and sweet melodies, thanks in large part to members DK and Seungkwan. The two main vocalists are considered among Korea’s best singers, and together—DK, with his clear and bright voice, and Seungkwan, known for his huskier tone—their complementary tones make the songs all the more moving. So when the duo announced that they would become the latest members to release an EP as a sub-unit, named DxS, the fandom exploded.

For the joint effort, the duo chose to make a concept album. “Since the album was set for a winter release, we spent a lot of time thinking about what kind of music would suit the season, and the idea of theming the album around love was brought up along the way,” Seungkwan explains, speaking to Marie Claire over email via translator. “As we talked more about it, we found ourselves reflecting on how many different meanings and forms love can take, and that naturally became the structure of the album—exploring different stories of love through each song.”

Released on January 12, Serenade’s six tracks chart the course of a romance, from infatuation to temptation to discontent to grief, while showing the many forms a ballad can take. After years of contributing soundtrack songs, or O.S.T.s, to K-dramas, the two vocalists have leaned into a cinematic style that intends to evoke complex feelings. As often goes with K-pop, Serenade’s storytelling isn’t just sonic; their lead single, “Blue,” is accompanied by a music video starring Squid Game’s Yoo-mi Lee and Pachinko’s Steve Sanghyun Noh as lovers faced with a lingering trauma. Listening to Serenade all the way through is a similar experience to bingeing a K-drama; a range of emotion, both specific and universal, sweeps over you.

“I think Serenade may feel quite different depending on who is listening,” Seungkwan notes. “Each track carries its own emotion—like the lead single “Blue” can be experienced in very different ways depending on the listener or even their mood that day. So rather than wanting to deliver certain feelings through our music, I hope CARATs can leave some space for themselves as they listen and focus on the flow of emotions the music brings. If those emotions can become a quiet comfort for them, that would mean a lot to me.”

Below, DK and Seungkwan open up to Marie Claire about their music taste, including the Korean ballads that inspired them growing up and the songs that power their lives now.

DK: My dream of becoming a singer slowly grew while I was listening a lot to YB’s album Why Be? back when I was a student.

SEUNGKWAN: Birdy’s Birdy. When I was a trainee and going through a difficult time, I remember finding a lot of comfort through this album.

DK: SEVENTEEN’s debut album.

SEUNGKWAN: I can’t clearly remember the first album I purchased myself, but the first album I ever owned was Wonder Girls’s 2 Different Tears.

DK: Our first mini-album, Serenade.

SEUNGKWAN: BSS’s Second Wind, with “Fighting (Feat. Lee Young Ji),” along with the other tracks [is] incredibly well-balanced as a whole. Also, CxM’s HYPE VIBES—I was honestly surprised by how many different sides of their charm were captured in that album.

DK: I especially loved Tim’s “As Much As I Love You,” so I naturally listened to a lot of ballads during that time.

SEUNGKWAN: There are so many great songs out there, but I personally loved Big Mama’s “Year.” It was on my sister’s MP3 player, and I ended up singing that one song every single day.

DK: I tend to enjoy winter love songs that feel warm and soothing.

SEUNGKWAN: Urban Zakapa’s “You’re The Reason.” The lyrics and melody are so beautiful that scenes of love naturally start playing in my head like a drama.

DK: I would say “Go!” from the drama Twenty-Five Twenty-One. The fans seemed to love it, and it’s also one of the songs I personally feel attached to.

SEUNGKWAN: There’s a song of mine called “The Reason” from the drama Lovestruck in the City, and it happens to be a nice song to listen to in this kind of weather.

DK: I felt the opening of our concert NEW_ was particularly refreshing. It showcased a new dimension of our group that the audience hadn’t seen before, which I think made the whole experience even more unique and memorable.

SEUNGKWAN: It’s “Fix You” by Coldplay. Whenever I watch their live performances and hear the audience singing along, it’s incredibly moving. Seeing Chris Martin running around the stage with so much energy is always such a great sight.

DK: I really like the part in “Prelude of love” where SEUNGKWAN and I co-wrote, “The petals that bloom along the light steps on my way to see you are telling me it’s love.” It really highlights that feeling of excitement and fits naturally within the overall mood of the song.

SEUNGKWAN: I personally love witty lyrics. For example, the line “I should have studied hard like this” from “Pretty U” really stayed with me.

DK: YB—I truly respect them!

SEUNGKWAN: Harry Styles—he’s one of the artists that I admire.

DK: I listen to “First Love” by Hikaru Utada! Especially in winter, when it’s snowing, it somehow brings your emotions to the surface.

SEUNGKWAN: Choi Yu-ree’s “Your name.” I feel like the strength in her voice is incredibly powerful.

DK: I often listen to “Lilac” by Mrs. GREEN APPLE, as I love its guitar sound, giving off an exciting energy.

SEUNGKWAN: Lately, I’ve been listening to Younha’s “Point Nemo” and really letting myself enjoy the vibe of the song.

DK: “Fighting (Feat. Lee Young Ji)” by BSS! I think the reason speaks for itself, right? It really gives you strength!

SEUNGKWAN: I usually put on a playlist of upbeat K-pop songs and either run or work out while listening to it.

DK: I don’t think I’d usually be the one playing music at a party. I tend to feel a little awkward in party settings.

SEUNGKWAN: I’m honestly so introverted and shy that I don’t think I could play music in front of other people.

MC: What song describes the stage in life you’re at right now?

DK: Rain’s “30 SEXY.” As I’ve turned 30 (in Korean age) I want to explore showing a more mature side of myself.

SEUNGKWAN: Harry Styles’s “Sign of the Times.” It's a song that tells you you’re doing your best and encourages you to make it through tough moments, and these days, I want to become someone who can offer comfort to others.

This interview has been edited and condensed for clarity.

KPop Demon Hunters has officially made Golden Globes history.

"Golden" took home the award for Best Original Song - Motion Picture at the 2026 Golden Globes, with EJAE—the hit's co-songwriter and the singing voice for the character Rumi—becoming the first Korean-American to win in the category.

After making her way to the stage, alongside her co-songwriter Mark Sonnenblick and producers 24 and IDO, EJAE reflected on her journey from being a K-pop trainee to writing the biggest song of 2025.

"When I was a little girl, I worked tirelessly for 10 years to fill one dream to become a K-pop idol, and I was rejected and disappointed that my voice wasn't good enough," she said. "So I leaned on songs and music to get through it. So now, I'm here as a singer and a songwriter."

"It’s a dream come true to be a part of a song that is helping other girls, other boys, and everyone of all ages to get through their hardship and to accept themselves. So, thank you, Golden Globes, for accepting my voice and our voice."

EJAE and Sonnenblick went on to thank their friends and loved ones, as well as the teams at Netflix and Sony Pictures Animation, and KPop Demon Hunters co-directors Maggie Kang and Chris Appelhans.

EJAE then dedicated the award to people who have also found a new dream in life. "I just want to say this award goes to people who've had their doors closed at them and that I can confidently say rejection is redirection, and so never give up. And you know it's never too late to shine like you were born to be," she concluded.

Earlier in the night, the HUNTR/X singing trio, EJAE, Rei Ami, and Audrey Nuna walked the red carpet in coordinating black gowns. The voices behind the fictional KPop Demon Hunters group have become an in-demand live act, from making their debut on The Tonight Show Starring Jimmy Fallon last October to appearing alongside Snoop Dogg in Netflix's Christmas Gameday halftime show.

Best Original Song - Motion Picture isn't the only award KPop Demon Hunters took home at the Globes. The film won the Best Motion Picture - Animated award. The Netflix sensation—which became the streamer's most-watched movie ever—was nominated alongside Arco, Demon Slayer: Kimetsu No Yaiba Infinity Castle, Elio, Little Amélie or the Character of Rain, and Zootopia 2.

This likely won't be the last we hear of KPop Demon Hunters this awards season. The animated blockbuster is expected to continue to win big throughout the season, as "Golden" received four Grammy nominations, making EJAE the first Korean-American female songwriter to be nominated for Song of the Year, and it's sure to take that fervor to the Oscars.

Speaking to Variety about the Grammy nomination, EJAE expressed the importance of representation. “You’re going to see three Korean faces. To think about the kids who are going to see that, and hopefully for that to shape their understanding of what they can do in this world, is the stuff that is giving me chills up my spine.”

Before we bid adieu to 2025, we’d like to take a moment to slow down and appreciate everything that made this whirlwind of a year so special. Yes, you guessed it: We’re wrapping up Q4 with Marie Claire’s annual MC 50 list, a curated edit of all the must-have products, memorable experiences, and pop-culture milestones that defined these past 12 months.

Ahead, you’ll discover the chic essentials that anchored our wardrobes, the viral cosmetics that earned a prime spot in our vanities, and the go-to wellness rituals that have kept us sane. And for all you entertainment enthusiasts and book buffs, we’ve also handpicked our favorite films, television series, albums, and novels for your scrolling pleasure.

Luxury Investments

Spend a pretty penny on these lavish items, and watch as they appreciate in value over time.

Workwear Staples

From sharp blazers to crisp button-downs, these office-friendly essentials work overtime.

Everyday Essentials

No capsule wardrobe is complete without these classic pieces. Rooted in a timeless appeal, they’re guaranteed to last.

Finishing Touches

Accessories are the key ingredient in every outfit recipe. Enhance your look with shimmering jewels, sophisticated footwear, and a sleek baseball cap.

Skincare Saviors

Whether we’re dealing with dehydrated skin or fine lines, these are the hero products that never fail to save the day.

Holy Grail Makeup

Here at Marie Claire, we don’t gatekeep. These cosmetics are the secret to our coveted makeup routines.

Feel-Good Finds

Some of us seek serenity by taking a trip to the spa. Others find it in the simple act of brewing a cup of coffee.

Page-Turners

Make room in your personal library for these riveting books, which span across a variety of genres.

Must-See Movies and TV

Prepare to have your eyes glued to the screen while watching Marie Claire’s favorite films and television shows.

Musical Masterpieces

In 2025, both emerging vocalists and established artists made their mark with chart-topping tunes that will ring in our ears forever.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

A viral single is a dime a dozen in the streaming era. But hemlocke springs can say something far rarer: three years after her self-produced, self-described “awkward Black girl” anthem “girlfriend” blew up on TikTok, she’s toured with the likes of Doja Cat, Conan Gray, and, most recently, Chappell Roan.

Becoming an overnight sensation wasn’t necessarily on the indie pop singer-songwriter’s radar at first. Born to Nigerian immigrants and hailing from North Carolina, she was busy studying for her master’s in medical informatics, making beats in her bedroom as a hobby. And hemlocke springs is still in disbelief at her success, even after she’s graduated from her bedroom to releasing an acclaimed 2023 EP, to opening for chart-toppers. But with her debut album on the way, she’s working on trading virality for crafting her own pop staying power.

The singer, whose real name is Isimeme "Naomi" Udu, tells Marie Claire over email that there are two choices an artist can make after experiencing a breakout moment: “Stay stuck or move.”

“You will be so surprised how easy it is to do the former,” Udu adds. “But taking action while anxious, stressed, [or] disappointed, has slowly increased my barrier for being uncomfortable, which, unfortunately, is a huge part of being an artist.”

You can hear that in each of her eclectic, kitschy earworms about 20-something neuroses—and it’s exactly what led her to be able to create her long-awaited debut, the apple tree under the sea, out February 22. A collaboration with maximalist, electronic producer Burns (Lady Gaga’s Chromatica, Charli xcx), it’s a genre-defying sonic wonderland about self-discovery. The 27-year-old L.A. transplant explains that making it took a great deal of patience while navigating an industry she’s still getting used to. “It sometimes felt [like] people were trying to make a linear path for something that was non-linear. Hell, I got here because of TikTok!” she says. “Sometimes there are people on this path who don’t know a darn thing—it’s just that their voices happened to be louder than others. So I’m learning to also have a loud voice, even when I’m uncertain.”

Here, hemlocke springs shares what ‘80s icons and electronic mainstays have informed her taste and what she’s listening to now.

Avicii. I had heard songs on the radio or in church, but it was the first time discovering for myself the feeling of music and how great it can be. I remember sitting at the computer desks set up in my mom‘s classroom (she taught at my middle school), and I clicked on the video for Avicii’s “Levels,” and I was like, What is this wonderful sound? So, I went down a deep dive with Avicii, and that’s how I was able to find other electronic artists, like deadmau5, Kaskade, David Guetta. Avicii’s death really hit me hard.

This is embarrassing to admit; I haven’t bought an album yet. Honestly, the first album I’m going to buy will probably be my own because I feel like that will be special.

The first album I saved on Spotify was Big Fish Theory by Vince Staples. I distinctly remember listening to “Crabs in a Bucket” and knowing it was going to become my newest hyper-fixation. I play that album, beginning to end, quite frequently.

RINA by Rina Sawayama. (But it’s an EP!) Quite literally changed the way that I approached production. I think at the time, I was listening to a lot of minimalist music, so to hear such a maximalist production style that didn’t sound congested—I struggle with that skill—was chef’s kiss. Every instrument and melody perfectly congealed together! And it’s so awesome to see a POC girl absolutely killing it as a pop artist.

I should’ve been there when Tears for Fears was making “Head Over Heels.” Actually, I should’ve been there when they were making “Broken.” “Broken” is my jam.

Also, I have no clue where I was when ABBA made “Dancing Queen.” I should’ve been in that room when they came up with that iconic melody.

Have I ever watched Cruel Intentions before? No. But do I know “Bittersweet Symphony” from seeing the clip of Reese Witherspoon driving in Sebastian’s Jaguar? Yes.

YouTube. Not through YouTube Music or anything—I just start clicking on random videos, and my algorithm catches onto things I love. That’s how I discovered DAY6. Their video for “Time of Our Life” was trending, and I happened to click on it and then, boom, [for] six months straight I listened exclusively to them.

“Blue (Da Ba Dee).” Blue are the words I say and what I think, and they are the feelings that live inside me.

Doja Cat. I would run to see her perform the second I got off stage. If I can look half as cool as she does, I’ll be content!

Queen, Kate Bush, Michael Jackson, Prince, Madonna, Sade. I probably wouldn’t even make it to the concert, I would just faint from excitement on the way!

“Somewhere Only We Know” is such a tearjerker. Or “Skinny Love,” specifically the Birdy cover. Birdy is bound to have me shed a couple tears.

Hall & Oates and Wham!. Usually, I have to play something upbeat.

There was one time I played—or in this case, overplayed—Feist’s “One Evening.” It was sad-tinged, so it left me in a mood all day. I was waiting to meet another person, and I kept imagining myself in London alone, a little fog, cloudy skies, and a soft drizzle, with a cup of black tea, some evaporated milk, and a cube of sugar. Mind you, it was a sunny day in L.A.—so, never again.

From my single, “head, shoulders, knees and ankles”: “I paid a pretty penny to procure the pirates of Perai.” I really pulled that out of my ass. I usually don’t come up with lyrics like that nor have any sort of reaction to what I write, so when I did, I was in the corner of my room with my pen, like, “Oh!”

“Tren Al Sur” by Los Prisioneros. I suppose I’m just a train on a train track, forever trying to get in touch with myself and my roots.

This interview was edited and condensed for clarity.

In Marie Claire's Ones to Watch list, you’ll meet 26 names on the rise in entertainment. The changemakers, tastemakers, and scene-stealers whose careers we’re excited to watch unfold.

There couldn't be a better time to spotlight the next generation of talent. In the two years since MC launched our Ones to Watch list, entertainment has continued to change rapidly—from actors' strikes to discourse surrounding box office numbers and straight-to-streaming releases to the way the algorithm may be affecting art and how we consume it. From actors and filmmakers lighting up the big screen to comedians, musicians, and producers redefining stages and soundtracks, these are the artists set to shape the future of what comes next.

Eva Victor, 31

Title: Actor, writer, and director

Few movies this year tore us open, and mended us back together again, like Sorry, Baby did. Helmed by writer/director/actor Eva Victor in their feature debut, the A24 film (co-produced by Oscar-winner Barry Jenkins) was tender and original in its exploration of a sensitive subject matter—and solidified the filmmaker as a bona fide star with a singular voice. Fans who’ve followed Victor since their days making viral sketch comedy videos know how far they’ve come and that they’ve always had a hilarious, astute perspective (ie, the “straight pride” video, IYKYK); surely Sorry Baby is the first of many compelling stories they have to tell.

The moment we became obsessed: Their sketch video as a mysterious French woman who “definitely didn’t murder [her] husband.”

MC: What movie/show do you quote too often?

EV: “The Silly Rabbit speech (should be taught in schools) that V. Stiviano gives to Barbara Walters about Donald Sterling. It is the most interesting combination of words in a row that exists, in my opinion.”

MC: What fictional character do you irrationally identify with?

EV: “Madame Bovary. No questions on that at this time. Also Violet from The Incredibles. Also Sandra Hüller’s character in Toni Erdmann. Also Sandra Bullock in While You Were Sleeping. Also Cartman. Also Christopher Moltisanti.”

MC: What’s a dream you haven’t told anyone yet?

EV: “This isn't your question, but one time I had a nightmare that my mom's head got chopped off. That fucked me up for like three years.”

MC: Who’s your biggest creative inspiration—and how do they influence your work?

EV: “My best friend. Feeling seen by someone else as the person you wish you were and are becoming is the greatest gift of a long friendship. I feel fully myself with her. That kind of love is very inspiring.”

Alyah Chanelle Scott, 28

Title: Actor, director, and producer

It seems there’s no corner of the entertainment world that Alyah Chanelle Scott can’t thrive in. After three seasons on HBO Max’s cult-favorite The Sex Lives of College Girls, she’s now starring in Cooper Raiff’s Hal & Harper. Directing? She’s already helmed two music videos for former co-star and bestie Reneé Rapp. However, the musical-theater grad’s most impressive impact is on- and Off-Broadway, where she won a Tony for producing the 2023 revival of Parade before returning to the stage in the play All Nighter. With her banner Runyonland Productions, Scott’s had a hand in several of the past few years’ buzziest productions (including John Proctor is the Villain, Parade, and The Wiz), and the 28-year-old’s just getting started on her EGOT.

The moment we became obsessed: Her costars-to-lovers arc with Judy Greer’s character in the short-lived Hulu comedy Reboot.

MC: What’s a dream you haven’t told anyone yet?

ACS: “I have many dreams that I’ve never spoken about, and I’m going to say them all now if that’s okay: Directing a feature film. Meeting Paddington Bear. Finding the best chocolate chip cookie in N.Y.C.—so far it’s The Pastry Box in the East Village, but I’m open to suggestions. Living in a walkable neighborhood close to family and not too far from the city. To finally understand how dry cleaning works, and also the stock market. Going to culinary school. Opening a bakery. Joining a book club (which I know I could easily do, but there are too many to choose from, and I get too nervous to commit without knowing all of the books in advance). For my little brother to call me more. For healthcare to be free. And lastly, for empathy to be hot again.”

Chase Infiniti, 25

Title: Actor

Chase Infiniti was destined to be a film maven since birth—her parents named her as an homage to both Nicole Kidman’s role in Batman Forever and Buzz Lightyear’s iconic catchphrase. The musical-theater grad began her meteoric rise in Hollywood with a pair of roles where she had to hold her own against Hollywood heavyweights: first as Jake Gyllenhaal and Ruth Negga’s daughter on Apple TV+’s Presumed Innocent and then as Leonardo DiCaprio and Teyana Taylor’s in Paul Thomas Anderson’s One Battle After Another. For the latter—already receiving Oscar buzz—Infiniti beat out countless young actors and trained in mixed martial arts to deliver her impressive performance as a revolutionary heir on the run from a white-supremacist group. So the question isn’t if she’ll be a success but just how far her star will rise. (Next up: She’s playing Elisabeth Moss’s grown daughter in Hulu’s Handmaid’s Tale sequel, The Testaments.)

The moment we became obsessed: Her layered reaction when Regina Hall's character in One Battle After Another recites “The Revolution Will Not Be Televised” to her.

Elvira Anderfjärd, 26, and Luka Kloser, 27

Title: Producers and songwriters

Considering the statistics regarding female producers in the music industry remain dismal, it’s particularly exciting when a new woman bursts onto the scene, let alone a pair. In mid-2024 and into 2025, pop fiends and underground music fans alike were dying to know what studio wizards were behind Addison Rae’s steady stream of intoxicating singles and, inevitably, what became her stellar full-length album Addison. The answer turned out to be Elvira Anderfjärd, known professionally as Elvira, and Luka Kloser, a Swedish and Angelino BFF duo, backed by Max Martin’s MXM Studios. The two worked closely with the pop star on the entirety of her record, and have also lent their skills to Conan Grey’s latest, and superstars individually (Anderfjärd’s worked with Tove Lo for years, while Kloser is credited on Ariana Grande and Tate McRae hits). Favoring glistening ‘00s-inspired pop flairs, lushness, and feminine quirks, they’re pushing pop in a quixotic direction.

The moment we became obsessed: The first time we put our headphones on to listen to Addison, and the opening track “New York” reached the 1:52 mark; we knew we were in for pop perfection.

MC: When did you know this was the career you wanted—like really know?

EA: “Honestly, the brilliant era of 2015 to 2018 music was a magical and tough time for a high schooler secretly dying to be a part of the shimmery world of writing and producing. I always knew I was gonna do music somehow, but wouldn’t dare admit that obsessing over jazz solos was not my path. I think that was my moment. It felt like a force field I just had to walk closer, too.”

MC: What fictional character do you irrationally identify with?

EA “I admit I’m probably a 60 percent Miranda, 30 percent Carrie…10 percent Charlotte.”

MC: What movie or show do you quote too often?

LK: “School of Rock.”

Mary Beth Barone, 34

Title: Comedian, actor, and writer

When Benito Skinner assembled the team behind his A24-produced Prime Video series Overcompensating, he brought along his besties and, in doing so, crowned the new funny girl to watch. Mary Beth Barone played guarded mean girl Grace on the show—also writing on the co-ed comedy—which became one of the year’s biggest TV debuts. Outside of TV, Barone and Skinner have been hosting the beloved “Ride” podcast for years, and she’s a well-known standup, making us laugh about today’s political hellscape and modern dating. She’s also launched the initiative Politics for Hot People to get more young people involved in organizing. May she continue to flex her talents long past a tight five.

The moment we became obsessed: Her 2024 stand-up set on The Tonight Show Starring Jimmy Fallon.

MC: When did you know this was the career you wanted—like really know?

MBB: “After I did my first open mic at the now-shuttered UCB East. RIP. We each had two minutes to tell jokes, and that was all it took. I just knew.”

MC: Who’s your ultimate pop culture icon?

MBB: “Mary Kate and Ashley Olsen.”

MC: What does “making it” look like to you?

MBB: “Being able to delete social media.”

MC: Who’s your biggest creative inspiration—and how do they influence your work?

MBB: “My biggest creative inspiration is my best friend and collaborator Benito Skinner. I get really scared sometimes thinking, "What if we never met?" Like, can you imagine? He challenges me, cheers for me, and in those tiny, fleeting moments where I see myself through his eyes, those are the moments where I love myself the most.”

Supriya Ganesh, 27

Title: Actor

As The Pitt grew from a hyper-realistic medical drama to a genuine cultural phenomenon in early 2025, Supriya Ganesh still had a day job as an MCAT tutor. The Tamil-American Columbia grad got a 99th percentile score on the med-school exam but ultimately delayed med school to pursue acting. As third-year resident and patient advocate Samira Mohan, Ganesh was a compassionate anchor, grounding the fast-paced series and showing how empathy can be a doctor’s secret weapon (even if her character was dubbed “Slo-Mo”). While fans wait patiently for season 2, Ganesh has built a passionate cohort of fans with her openness about her queer identity (Ganesh uses she/they pronouns) and her candid thoughts about her growing fame.

The moment we became obsessed: Every scene with sickle-cell patient Joyce on The Pitt. Dr. Mohan is No. 1 in patient satisfaction for a reason!

MC: What movie or show do you quote too often?

SG: “Om Shanti Om, one of the first Bollywood films I really fell in love with. I have acted out the infamous “bhago, bhago!” scene way too many times.”

MC: What fictional character do you irrationally identify with?

SG: “Sid the Sloth from Ice Age. I grew up in India after having spent the first three years of my life in America, and I felt like such a fish out of water. I didn’t even speak the language (Hindi) at the time, so I only had one friend in kindergarten. Missed so many social cues, was really hard to find my people. I remember watching the first installment when his friends and family left him behind and thinking, ‘Yup, that’s me!’”

MC: Who’s your biggest creative inspiration—and how do they influence your work?

SG: “Yorgos Lanthimos. I’ve watched every single one of his films, and think the way he directs actors to be truthful in the most absurd circumstances is so interesting to me. I remember watching The Lobster and knowing that was the kind of art I wanted to make—you know, the kind that might cause you to break up with your significant other and reevaluate your entire life!”

Olivia Dean, 26

Title: Singer-songwriter

Now’s the perfect time to tune into Olivia Dean—one of this year's Grammy nominees for Best New Artist. The 26-year-old pop-soul singer grew up in north-east London and trained at the Brit School, attending with contemporaries like RAYE and under the legacy of alums like Adele. In 2019, her self-released single “Ok Love You Bye” became a viral hit, earning her a deal with EMI Records; her debut album, 2023’s Messy, was shortlisted for the Mercury Prize. Inspired by Mickalene Thomas’s exhibition All About Love, Dean’s sophomore album The Art of Loving kicked off Lover-Girl Fall, with her honeyed vocals relaying lyrics exploring self-love and modern romance on hits like “Man I Need.” After her short stint opening for Sabrina Carpenter, Dean will kick off her world tour with eight sold-out UK shows (including four nights at the O2) in April 2026.

The moment we became obsessed: Her COLORS performance of “A Couple Minutes” transports us to a candle-lit ‘60s jazz club.

Yerin Ha, 27

Title: Actor and producer

It’s almost time for Yerin Ha to make her global debut as Bridgerton season 4’s leading lady. The Korean-Australian actor was best known for starring in the live-action adaptation of Halo when she landed the role of Sophie Baek, Benedict Bridgerton’s love interest in the Netflix series’s Cinderella-inspired installment. With the Netflix hit’s track record for finding budding superstars—from Phoebe Dynevor and Nicola Coughlan to Simone Ashley and Jonathan Bailey—Ha’s performance is highly anticipated by both passionate Benophie fans and viewers already entranced by Ha’s chemistry with Luke Thompson. Even before season 4’s January premiere, the 27-year-old has spent the past year taking graceful steps into the spotlight, starring in the well-received murder-mystery The Survivors, attending her first Paris Fashion Week with Chanel, and taking to the stage in her West End debut in Kip Williams's The Maids.

The moment we became obsessed: When our FYP filled up with steamy videos of her with her co-star Luke Thompson.

MC: What does “making it” look like to you?

YH: "I don’t think I’ll ever feel like I’ve 'made it’ because you’re always evolving as a human being, and as such, so do your goal posts. But I do feel like once I reach a certain amount of exposure or ‘status,’ I would love to give back and help the next generation of Asian actors that might not have the financial stability or emotional support to study acting. This career is not only expensive, but it can also be lonely sometimes, and you do get a bit lost in the chaos of the industry, so having somewhere or someone to turn to when you need help is important. Maybe that’s what ‘making it’ looks like for me: giving back to my community."

Whitney Peak, 22

Title: Actor

When Sunrise on the Reaping arrives in theaters ahead of Thanksgiving 2026, all eyes will be on Whitney Peak. Born in Uganda and raised in Canada from the age of nine, Peak broke into mainstream fame in 2021, channeling her natural magnetism as It-girl activist Zoya on the short-lived Gossip Girl reboot. Chanel quickly snapped her up to be an ambassador and eventual muse; in 2023, she succeeded Keira Knightley as Miss Coco Mademoiselle and, in doing so, became the first Black face of a Chanel fragrance. This year, she made her horror- and action-star debuts in the films Eye for an Eye and Trap House, honing skills that she’ll bring to her role as Haymitch Abernathy’s lost love, Lenore Dove Baird, in next year’s Hunger Games prequel.

The moment we became obsessed: When she carried on the legacy of Dan and Jenny Humphrey in the Gossip Girl reboot.

MC: Who’s your ultimate pop culture icon?

WP: “Rihanna.”

MC: What has fame taught you about yourself?

WP: “I have terrible stage fright.”

MC: What’s a dream you haven’t told anyone yet?

WP: “To be a writer. I’m very envious of those who can transfer thoughts from the mind onto paper.”

Romy Mars, 18

Title: Actor and singer-songwriter

“I could reach for the stars, but once I get it, I want more,” Romy Mars sings on her single “A-Lister.” You get the sense she’s not exaggerating—especially if you've followed the rising singer and daughter of Sofia Coppola and Phoenix’s Thomas Mars since she went viral with her short film I Tried to Charter a Helicopter to Visit My Camp Friend. Mars is well-attuned to how to wield her “nepo baby” status for good—from her many buzzy TikToks, that sometimes jeer at fame and sometimes steer into it (making internet boyfriends like Jacob Elordi dance). And she’s following in her father’s footsteps, tapping up-and-comers like Claud and Josh Mehling to work with her on indie pop earworms with biting lyricism. And we should all bask in her ascension: We may have the most talented member of the Coppola dynasty on our hands.

The moment we became obsessed: The lo-fi cover art of her EP, featuring her striking a pose in a scuba mask.

Ravyn Lenae, 26

Title: Singer-songwriter

There’s a special joy in seeing an artist who’s been putting in work for years finally rise to the top. It took nearly a decade for Chicago-born R&B star Ravyn Lenae to ascend to chart domination with her infectious pop-soul single “Love Me Not.” The singer-songwriter has spent the past year having her mainstream breakout following the August 2024 release of her second album Bird’s Eye. Her ‘60s-tinged single about the push-and-pull of romantic uncertainty soon became a TikTok staple, eventually debuting on the Billboard Hot 100 the following April. Pair the chart arrival with a jam-packed festival run and opening slots for both Reneé Rapp and Sabrina Carpenter, and it seems her hit-making run is here to stay.

Veronika Slowikowska, 30

Title: Actor, comedian, and content creator

If your FYP features stand-up and sketch comedy videos, it’s possible that you’ve spent the better part of the past year wondering whether Veronika and Kyle are dating or roommates. Comedian/content creator Veronika Slowikowska, aka @veronika_iscool, had already built a following with her offbeat characters and quirky sketches, so when she started pulling her friend-turned-boyfriend Kyle Chase (a.k.a. @kylefornow) into her bits and the two created their own lore full of in-jokes, it was as if she crafted her own online sitcom. But that’s all because the Canadian comedian isn’t afraid of being a little unhinged. It’s no wonder that after years of cutting her teeth in small TV roles, performing stand-up and musical-comedy gigs, and hosting the “nevermind.” podcast, she landed a cast spot on Saturday Night Live’s 51st season. Her zany humor should imbue the late-night series with some freshness.

The moment we became obsessed: The TikTok of her dancing to Fifth Harmony’s “Worth It” in a Tasmanian Devil hat.

MC: What does “making it” look like to you?

VS: “I’m a very impulsive person when it comes to the way I work. There was never a true 'moment' where I knew I wanted to do this. I think making things and performing have always been so natural, a mindless action in a way, doing without thinking (too much). I create something and then think back later, 'Oh, that’s what that was.' So, in a way, my career chose me? Or I had no say? But I’m happy! Oh, and watching the Britney Spears 'Sometimes' music video.”

Maika Monroe, 32

Title: Actor and producer

Maika Monroe has been a certified scream queen since her daring and vulnerable starring role in 2014’s It Follows—an instant cult classic that helped to kick off the “elevated horror” subgenre. And she’s held the title in the years since, leading acclaimed titles like Watcher and Longlegs, the highest-grossing indie film of 2024. An industry veteran at this point, the California-born-and-raised actor (the former professional kiteboarder couldn’t get any more SoCal) is poised to bring her cool and collected presence to buzzy indie movies and blockbusters alike, including 100 Nights of Hero, opposite Emma Corrin and Charli xcx, adaptations of Colleen Hoover’s Reminders of Him and Victorian Psycho, as well as the long-awaited It Follows sequel, They Follow. Final girl is right.

The moment we became obsessed: The tight shots framed around her face in It Follows.

MC: What movie or show do you quote too often?

MM: “Bridesmaids. There are just so many quotable lines.”

Lovie Simone, 26

Title: Actor

Mara Brock Akil’s groundbreaking coming-of-age drama Forever wouldn’t have worked without Lovie Simone. In it, the Gotham-nominated actor bared her soul and brought nuanced cultural specificity to portray Keisha, a golden girl in 2018 L.A., balancing the pressures of coming of age with the vulnerability of a first real love (played by Michael Cooper Jr.). Before Forever, the 26-year-old Bronx native began her career surrounded by Black Hollywood royalty, working with the likes of Regina King, Lynn Whitfield, and Keith David on the Oprah Winfrey-produced drama Greenleaf. With fans counting the days until Forever’s second season arrives on Netflix, Simone’s on her way to joining the ranks of the legends that came before her.

The moment we became obsessed: When Keisha roasts Justin during their adorable New Year’s Eve meet-cute (or reunion-cute) in Forever.

MC: What movie or show do you quote too often?

LS: “Coraline is my weakness!”

MC: What has fame taught you about yourself?

LS: “Fame has taught me that I am more than myself. All of these faces I put on to tell stories is a part of connecting communities, and it’s beautiful.”

MC: Who’s your biggest creative inspiration—and how do they influence your work?

LS: “There are MANY. But if I were to give one, I would say Octavia Butler. Reading her books inspires me to ground myself in a story, in a character. She also has redefined my love for world-building many times. It's depth like hers I hope to recreate in my own way in my own craft.”

Ella Purnell, 29

Title: Actor and producer

Ever since her breakout role in 2018’s Sweetbitter, Ella Purnell has become one of TV’s most exciting young actors. The former child star from London has led three of Hollywood’s most original survival stories as of late. After playing dearly departed team captain Jackie on the cannibal-hit Yellowjackets and voicing Jinx on Netflix’s animated marvel Arcane, she now goes toe-to-toe with Walton Goggins and Kyle MacLachlan as vault-survivor Lucy McLean on the video-game adaptation Fallout. Purnell also became a major player behind the camera with the Starz serial-killer dramedy Sweetpea, taking a hands-on role in everything from the writers’s room to giving input on costumes and set design. With both Sweetpea and Fallout returning for second seasons (and a third greenlit for the latter), Purnell’s next goals include forming a production company and directing her second short film.

The moment we became obsessed: Every one of Lucy's "Okey dokeys" in Fallout.

Ji-young Yoo, 26

Title: Actor

Ji-young Yoo was a cinema and media studies major at the University of Southern California when she landed her breakout role alongside Nicole Kidman in Lulu Wang’s Hong Kong-set drama Expats. Since then, the indie darling and Gotham Awards nominee has flexed her adaptability, from a punk rocker fighting Nazis in Freaky Tales, to a high schooler navigating her parents’s separation in Smoking Tigers, to a psychic teen fighting through a death loop in Until Dawn. This year, the Denver-born daughter of Korean immigrants is part of a global phenomenon, voicing beloved rapper-maknae Zoey in Netflix’s KPop Demon Hunters. The rising star will continue to make history with a leading role in Paramount and HYBE America’s untitled K-pop movie, the first major American studio film shot entirely in South Korea.

The moment we became obsessed: Zoey’s excitable, “가자 가자 가자!” (“Let’s go, let’s go, let’s go!”) in KPop Demon Hunters.

MC: Who would you love to play opposite, alive, or dead? Why?

JY: “Robert Redford. His generation of actors was masters of craft, and he helped innovate the medium through the founding of Sundance and his support of independent film. His body of work in film and activism is astounding. It would have been such an honor to work with him—although I might have driven him crazy with questions about his philosophy on life and art between takes. I would have had a lot of fun, though.”

Mckenna Grace, 19

Title: Actor and producer

Mckenna Grace has grown up in front of the world, with the former child actor starring in acclaimed shows and films from Captain Marvel to I, Tonya to The Handmaid’s Tale to Ghostbusters: Frozen Empire. Now 19 and facing the transition to adult roles, Grace is set to be one of 2026’s most-talked-about actors. She spent the past summer filming The Hunger Games prequel Sunrise on the Reaping; fans heavily lobbied for and celebrated her casting as Maysilee Donner. Ahead of the highly anticipated role, she just made her debut as a romantic lead in the theatrical adaptation of Colleen Hoover’s Regretting You.

The moment we became obsessed: If you Google the definition of “resilience,” the first result should be the montage of young Carol Danvers getting back up in Captain Marvel.

MC: What fictional character do you irrationally identify with?

MG: “WALL-E. Hands down. What an insanely silly, weird little guy.”

MC: Do you feel pressure to represent something bigger than yourself?

MG: “When I was 6, I was on a Disney show and I was doing a hospital visit where I ended up meeting one of my best friends, Faith Rose, who was there fighting cancer. In getting to know her, I remember it was the first time I saw that I could make a positive impact on someone simply because I had the privilege of being on a TV show. Although I think I gained more from knowing her than she ever could from me, that was when I realized that what I do is so much bigger than myself and it's always stuck with me. I've always wanted to try and stay a good influence because I know my life is watched and scrutinized and, although I guess you could say it's technically not my responsibility, I want to be someone cool and good that younger people can have a positive impression of. I do and will make a lot of mistakes, I just try to learn from them. So, yeah, I do feel that pressure, but maybe it’s something I more so put on myself. But I’m really grateful for the opportunity to have even a small amount of influence in that regard."

MC: Who’s your biggest creative inspiration—and how do they influence your work?

MG: “Florence Pugh is my favorite actress right now. She is one of the greats. So natural and effortless, her style, too, and I love how true she seems to stay to herself outside of her jobs. She’s just such a jaw-droppingly good actress I just strive to have an ounce of her talent.”

Robby Hoffman, 35

Title: Comedian and writer

It’s hard to stand out on a show as packed with laugh-out-loud performances as Hacks, but Robby Hoffman was up to the challenge. In season 4, the masc, ex-Hasidic lesbian comedian earned an Emmy nomination for their performance as Jimmy and Kayla’s eccentric assistant Randi; that same TV season, they showed off their dramatic chops as a home-goods clerk dominating Michelle Williams in Dying for Sex. That’s a big year, even before adding on her whirlwind wedding to reality television star Gabby Windey. She’ll follow up the impressive run with a pair of HBO shows: Steve Carell and Bill Lawrence’s upcoming HBO comedy and her own self-inspired series Unentitled.

The moment we became obsessed: On Hacks talking about Speed.

Suzanna Son, 29

Title: Actor and singer-songwriter

Classic Hollywood success stories that begin with fateful discovery on the streets are few and far between nowadays—but Suzanna Son can chalk her breakout up to a chance encounter with Oscar-winner Sean Baker outside of The ArcLight Theater in L.A. He scouted the actor/musician to play the starry-eyed donut shop employee Strawberry in his 2021 film Red Rocket, for which she earned Gotham and Independent Spirit Award nominations. Since then, her killer, cherubic voice, and original songs were among the highlights of The Idol, and she’s held leading roles in Fear Street: Prom Queen and Ryan Murphy’s Monster: The Ed Gein Story. Her debut album, full of alluring singer-songwriter-style tunes, is on the way soon; she’s already released the beguiling singles “Coraline,” “Pockets Full of Posey,” and “Ana.” Add her music—and her moment in the spotlight—to the queue.

The moment we became obsessed: Covering “Bye Bye Bye” in Red Rocket. Who knew a stripped-down, piano version of an *NSYNC hit could make you cry?

MC: Who’s your ultimate pop culture icon?

SS: “Fiona Apple. She reminds me it’s okay to be complicated.”

MC: What movie or show do you quote too often?

SS: “Twilight, but I’m stopping today.”

MC: What does “making it” look like to you?

SS: “Having a long and varied career and a dog and a cat and a lemon tree.”

MC: What has fame taught you about yourself?

SS: “Fame has taught me that it doesn’t fix anything.”

Havana Rose Liu, 28

Title: Actor

Brooklyn native Havana Rose Liu’s origin story is as cool as she is. Street-cast while studying art, activism, and wellness at NYU, the performance artist became an instant fashion It-girl and embarked on an acting career, eventually finding her breakout role in the 2023 sapphic comedy Bottoms. Now she’s a bona fide film-festival darling, with roles in this year’s Sundance hit Lurker and Cooper Raiff’s series Hall & Harper, as well as the upcoming Leo Woodall/Dustin Hoffman thriller Tuner and John Carney’s next musical comedy, Power Ballad. Even as her career skyrockets, Liu takes time to pursue projects that feed her soul; last spring, she returned to her live-performance roots, describing her run in the coming-of-age Off-Broadway play All-Nighter as “coming home.” The industry’s most introspective star will next appear in a pair of potential blockbusters: Jesse Eisenberg’s A24 musical comedy and Nicholas Winding Refn’s NEON release Her Private Hell.

The moment we became obsessed: The crazed denial in Bottoms when she finds out her character’s boyfriend has been cheating on her.

Odessa Young, 27

Title: Actor

It’s felt as if Odessa Young has been readied for a mainstream leading performance for years—and thankfully, it’s arrived this year with Deliver Me From Nowhere, the Bruce Springsteen biopic co-starring Jeremy Allen White. The Aussie actor has been bringing her deft balance of grit and poise to acclaimed indie films since she was 18, from Assassination Nation, Sam Levinson’s unhinged, pre-Euphoria high school thriller, to auteur Josephine Decker’s inspired Shirley Jackson drama, Shirley. She was also among the top choices in the “Madonna boot camp,” aka the Queen of Pop’s grueling audition process for her in-development biopic. Even without that role, she’s still about to be everywhere: next up, the leading role opposite Elizabeth Olsen in The Iron Claw filmmaker Sean Durkin’s forthcoming FX series Seven Sisters.

The moment we became obsessed: Rolling around in moss and dirt as a young mother rejecting complacent domesticity in Shirley.

MC: When did you know this was the career you wanted—like really know?

OY: “I don’t think I’ve ever really known. I find out more ways to align myself with this career (or maybe align the career with myself) every time I work, but I appreciate a kind of precariousness in how I regard my future in film. If I don’t think about doing it forever I can exhaust myself, which is where the pleasure lies for me.”

MC: What fictional character do you irrationally identify with?

OY: “Oscar the Grouch.”

MC: Who would you love to play opposite, alive or dead? Why?

OY: “Too many to count. I wish I could have shared a stage with Eleonora Duse, just to watch her work. It was said that audiences saw her shape-shift in front of their very eyes.”

Sophia Lillis, 23

Title: Actor

Sophia Lillis made a lasting impression among the child actors who led the It movies. As Beverly, she went toe-to-toe with Pennywise while facing trouble at home and the horror of the death of girlhood—arguably one of the heaviest arcs in the blockbusters. Her screen presence continued to haunt us as the young version of Amy Adams’s character in the Emmy-nominated Sharp Objects and the criminally short-lived but one of Netflix’s all-time best teen series, I Am Not Okay With This, playing a Carrie-esque teen wrestling with her sexuality. In huge TV projects this fall—she plays it straight opposite the off-the-wall Tim Robinson in his HBO comedy The Chair Company, and will join Sarah Snook and Dakota Fanning in the mystery All Her Fault—the 23-year-old’s ascension is just beginning.

The moment we became obsessed: She channels Carrie—bloodied, no-holds-barred teen angst and all—in the I Am Not Okay With This finale.

MC: When did you know this was the career you wanted—like really know?

SL: “There was no one big moment, just little ones. I loved watching Giulietta Masina as a kid, and I enjoyed my acting summer programs at Strasburg. I also enjoyed taking time off school to do NYU shorts. I made close friends on IT when I was 14. Every new job comes with its fair share of challenges, but then there’s little moments that remind me why I keep going.”

Ella Beatty, 25

Title: Actor

She may be the daughter of two film icons, Annette Bening and Warren Beatty, but Ella Beatty is forging her own path—trading Hollywood for the Great White Way. After graduating from Juilliard in 2022, she made her Broadway debut in 2024’s Appropriate. Beatty was handpicked for her role by the play’s lead Sarah Paulson, who sat in on the auditions to find a replacement for Elle Fanning. She’s also gone toe-to-toe with Hugh Jackman in the emotionally charged, Off-Broadway hit Sexual Misconduct of the Middle Classes, and among the standouts in the star-studded ensemble (Billy Crudup, Lily Rabe) of the revival of Ghosts at Lincoln Center. She isn’t entirely avoiding getting in front of the camera; she’ll lead Ryan Murphy’s next season of Monster, about Lizzie Borden, reuniting with the showrunner after a small role in Feud: Capote vs. The Swans. You get the sense she takes her family’s legacy very seriously.

The moment we became obsessed: When she stormed into the office of Rose Byrne’s therapist character in If I Had Legs, I’d Kick You.

MC: What fictional character do you irrationally identify with?

EB: “I identify heavily with Chessy, played by Lisa Ann Walter, from the 1998 Parent Trap. One of my favorite movies of all time. Now that’s a woman with a good head on her shoulders!”

MC: Who would you love to play opposite, alive or dead? Why?

EB: “I would love to play opposite Frances McDormand or Laurie Metcalf. Two absolute geniuses.”

Joy Sunday, 29

Title: Actor

It’s impossible to look away from Joy Sunday on Wednesday. The 29-year-old is enthralling as queen-bee and literal siren Bianca Barclay, who subverts mean-girl tropes in the Netflix fantasy series. Before Wednesday, Sunday was a Staten Island-born LaGuardia and USC film grad best known for small roles in Justin Simien’s Bad Hair and Dear White People. Three years after her first major TV role became Netflix’s most-watched English-language show ever, the actor spent the past summer building hype for Wednesday season 2, as her bold take on gothic-themed dressing cemented her as a rising fashion star. As fans wait for Wednesday season 3, Sunday has lined up projects that show a new side to her artistry, from directing a video for the national nonprofit YoungArts, to co-starring alongside Jason Bateman, David Harbour, and Linda Cardellini in the HBO dark comedy DTF St. Louis.

The moment we became obsessed: Her badass fencing battle—and win—against the titular goth girl in Wednesday season 1.

MC: When did you really know this was your career?

JS: “I chose the song ‘Mister Cellophane’ for my high school junior year Musical Theatre final. Partly because I have always been obsessed with all things Chicago, and partly because it spoke to how invisible I felt in the theatre program. I had felt so discouraged from pursuing acting, developing a residual stage fright that made moments like this performance dreadful. But that day, I belted out that last note of ‘Mister Cellophane’—maybe out of desperation to be heard, maybe because I thought it’d be one of the last times I’d get to perform like this–and something shifted in me. I knew then that my heart wanted nothing more than to do this every day of my life. The seed flowered that day and would bloom years later.”

MC: What fictional character do you irrationally identify with?

JS: “Chloe from Totally Spies. I’m just a girl who can kick ass!”

MC: Who is your biggest creative inspiration?

JS: “She has to be tired of hearing it from me at this point…Michaela Coel. I so deeply appreciate everything she has handcrafted(!) and then performed with such mastery. Harvard just published a study: There’s a direct correlation between watching her shows and then getting straight to work.”

Raffi Donatich, 28

Title: Writer and producer

Not every screenwriter can call Lena Dunham a mentor, but Raffi Donatich is a writer on the rise whom the Girls alum sees herself in and already counts as a collaborator. The Brooklyn-based scribe got her start in theater, assisting Jeremy O. Harris on his plays Slave Play and Daddy, and has since brought her witty pen to the screen. She wrote the campus dramedy Poetic License, which marked Maude Apatow’s directorial debut, and you can expect to see—and binge-watch—her work everywhere soon. She, Harris, and Dunham are developing the “intimacy coordinator” comedy Sex Act for Netflix, and she’s set to write/produce on beloved coming-of-age filmmaker Megan Park’s teen series, Sterling Point, for Prime Video. We’re sensing a new voice of her generation, or at least “a voice” we can’t wait to hear from for years to come.

The moment we became obsessed: When Cherry Lane Theater staged a reading of her play Fabulous Pasta Salad.

MC: When did you know this was the career you wanted—like really know?

RD: “I knew I wanted to be a writer when I became obsessed with making up characters and filming myself on my Flip video camera. They seriously need to bring those things back...That or, when I saw Lena Dunham’s Tiny Furniture at 13 and it changed my life.”

MC: What fictional character do you irrationally identify with?

RD: “Troy Bolton.”

MC: What’s a dream you haven’t told anyone yet?

RD: “To audition for American Idol.”

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

Upon first listen, Olivia Dean’s music sounds akin to an old record you might find in your grandmother’s record collection. But the British artist’s neo-soul music is very much contemporary, introducing the TikTok generation to classic, romantic sounds.

It makes sense: If there’s one thing Dean is searching for, it’s timelessness. “I'm drawn to making things that can last,” the 26-year-old singer tells Marie Claire over Zoom. “I think your job as a songwriter is to try to document a time and your story and make people feel things, but also leave something behind.”

The singer-songwriter, who broke out with her Mercury Prize-nominated debut, 2023’s Messy, attributes her interest in music that stands the test of time to when she first got into the craft, spending her days holed up in her bedroom covering Carole King or learning Amy Winehouse on the piano. “It's music that sits in no time other than its own, and that's what I'm trying to do,” she says. “I'm not really interested in trends or virality. I think I'm trying to make a legacy for myself.”

That certainly comes through on her sophomore album, The Art of Loving, which dropped on September 26. Compiled of 12 retro-inspired songs that look at love from all angles, be it a source of comfort or heartbreak, it’s like a Gen Z take on the Great American Songbook.

“There was definitely a time where people were like, ‘Well, that's a bit,’ or, ‘That’s pastiche,’ or, ‘That feels dated. It's not fresh. It's not cool,’” the London-born musician recalls of her early days trying to break into the industry. “As soon as I stopped worrying about other people and just focused on making things that I would love to listen to, that's when I became free from those restraints.”

Dean’s intuition was right: After increasingly garnering a following following the release of Messy, The Art of Loving cracked the Top 10 of the Billboard 200. One of its singles, “Man I Need,” has also become a runaway success, marking her first entry into the Hot 100.

As the “Nice to Each Other” artist will soon bring her sultry sounds to stadiums across the U.S., opening for Sabrina Carpenter’s Man’s Best Friend tour, she shares what’s on her playlist, the female soul icons who raised her, and her own favorite love songs.

Carole King’s Tapestry. It's an excellent example of real, beautiful, simple, but also powerful songwriting that stands the test of time.

The first physical piece of music I bought was from The X Factor in the U.K. Leona Lewis had won The X Factor, and she did “A Moment Like This,” and that was the first CD I had. I came home and I played it again and again and again and again. That was the only one I had.

Back in the day, The X Factor was it. That's where we were getting our stars from.

[D'Angelo’s] Voodoo is one of the best albums ever made. No skips and sonically gorgeous. The way it's recorded, it feels so crispy and expensive.

Soul music has always been in my life. My mom introduced me to Lauryn Hill. My middle name is Lauren after Lauryn Hill. Angie Stone, Jill Scott, Erykah Badu—neo-soul is a world [that] exists for me in such a comfortable place. I really associated with being at home and being comfortable.

Jazz [was] more so later in life. Peers I met at school and people in my band were really into jazz, and I think that I was more exposed to that later. But soul has always been a part of my life.

I love going to shop for vinyl. If I have time off at home, my favorite thing to do is go down to my record shop and look at album covers and buy some, and then listen to them for the first time when I get home while I cook.

The same way that one might scroll on TikTok, I am on Spotify and Apple looking for stuff. There's nothing better than finding an old song or finding a song that you've never heard, and you're like, I love this. I'm a real crate digger, both online and physically. There's so much to be found there, and I think it's really important to develop your own taste in music and not just listen to what's being fed to you by streaming platforms. So I'm just very active in what I'm listening to.

The Motown era. I would've done great. I could have had really cool hair, bell-bottoms, and been on a real psychedelic vibe, but then also singing soul music. Maybe I would've been in a girl group.

“Both Sides Now” by Joni Mitchell. I mean, she could’ve just retired after that one.

“(You Make Me Feel Like) A Natural Woman” [by Aretha Franklin]. I think that is a beautiful song, and that's such a beautiful way to put how love can make you feel. And, I mean, it's not really a positive one, but also “Love Is a Losing Game” by Amy Winehouse. It is, girl! I feel that sometimes it is, and I think that song is so heartbreaking and deeply romantic.

When I supported [Sabrina Carpenter] in Hyde Park, she gave me a hat, and it says, “I'm working late because I'm a singer.” I love that hat. I can wear it because it's true.

The most important one for me was when I was in school, I got shown a video of Paul Simon and Ladysmith Black Mambazo playing “Diamonds on the Soles of Her Shoes” in South Africa. It completely blew my mind. I was like, This is electric. Everybody's having such a good time. This music is so joyful and complicated, but simple. That performance really changed things for me.

It changes all the time, and there are so many different types of music I'd like to make with different people. I'd really love to spend some time in the Caribbean and make some music out there. I think the artist Chronixx is really cool right now. I’d love to do something with him in Jamaica.

If it’s a fantasy music festival, you could really get some greats in there. ABBA, Al Green, Beyoncé, Prince, Stevie Wonder, and Destiny’s Child. Doesn’t that sound like the best day ever?

Billie Holiday.

I just got my license in this last year. I have a playlist for my car. It's called Driving Beans. [The cover photo is] Hello Kitty in her driving glasses. I love to drive to Usher. I feel like my car has a real auntie vibe in there. I'm really listening to the auntie tunes. And Charli xcx.

Disco or anything Beyoncé. I thought RENAISSANCE was incredible. RENAISSANCE was like a lightning bolt to my life. It made me get up and get to work.

“Move on Up” by Curtis Mayfield is good at a party. That can't really come on and go badly.

I have a lot on this new album that I'm really proud of. I really like, “Who would do that to a friend/Let alone the one you love,” [from “Let Alone The One You Love”]. I think that's a really powerful way of drawing people to think about how they treat other people. “You wouldn't do that to your best friend, so why would you do that to me? I'm supposed to be your best friend if you love me.” That one was quite healing to write, but a bit of a stab in the heart.

You have to go there. Otherwise, what's the point? There's no point—especially saying you're going to write an album about love and then just scratching the surface. I was like, I need to put my pride to the side and say, “Yeah, somebody has broken my heart,” or, “Yeah, it hasn't gone well for me,” or, “This person didn't want to fall in love with me.” You have to be brave.

“Real Love Baby” by Father John Misty.

This interview was edited and condensed for clarity.

Very few people know the real Michaela Antonia Jaé Rodriguez. It’s possible they know Michaela Jaé Rodriguez, the performer who made history as the first trans actress to win a Golden Globe and to be nominated for a lead acting Emmy (both times for her breakout role as Blanca in FX’s hit series Pose); or even Michaela Jaé, the sultry R&B musician who dropped her debut album, 33, last year and is currently gearing up to release her next. But the full, four-name Michaela Antonia Jaé Rodriguez? The woman she describes as the “regular, degular girl from Newark, New Jersey?” Well, as she says on a rainy mid-August afternoon, “You don’t get to see the Michaela Antonia Jaé Rodriguez unless you’re really having an interview like this.”

The actress, singer, and newly-minted Off-Broadway producer tells me this as we’re tucked into a corner booth at the Beekman Hotel’s Temple Court Bar Room. We’re here, ostensibly, to discuss the third season of her Apple TV+ comedy Loot—which premiered October 15—where Rodriguez plays Sofia Salinas, the no-nonsense executive director of a nonprofit charity organization started by recently divorced billionaire Molly Novak (Maya Rudolph). But before we can really dive in, we get sidetracked on a conversation about her hair. You see, the new season opens with a noticeable aesthetic change for Sofia—as Molly gleefully puts it, “You got bangs!” It’s a marked pivot for Rodriguez’s character, whose presentation has always taken a backseat to the work she prizes above all else. So, I wonder, what is this meant to signal for her character’s new arc?

“In the second season, Sofia was in this kind of romantic phase, so she didn’t have a bang. It was very wavy. Still with a middle part, but romantic,” the actress explains to me. Last season, Sofia was forced to let down her guard after meeting Isaac (O-T Fagenble), an impossibly charming architect and part-time jazz saxophonist whose free-spirited ways taught Sofia a new way to find balance between her work and her personal life. “But in the third season,” the actress continues, “they wanted to show a different part of Sofia. She’s discovering more of herself, and with self-discovery, I think, there’s a chop of the bang, a new wardrobe, new shoes.”

There was a realistic reason behind the choice—a blurring of lines between the self and the character, one could say. As Rodriguez recalls, she had already been on a personal “journey” with her hairstylist, Barry Lee Moe, while preparations were underway for the third season. It was the middle of the 2023 actor’s strike, no one was working, and while itching for a switch-up, she told Moe, “I want a fuck-me bang, bitch. I want something that looks like it’s going to just eat it. I want something that’s just a smidge above the eyes where I’m just feeling it.” She posted about the hair on Instagram, and when the Loot team saw it, they felt it could work for Sofia, too.

I understand her thinking. Season 3 is, indeed, a period of self-discovery for Sofia. Much of her new storyline revolves around the arrival of a new character: Destiny (X Mayo), Sofia’s carefree sister and polar opposite. Loot’s writers get a lot of comedic mileage out of their odd-couple dynamic—Sofia describes herself as the Bill Clinton to Destiny’s George—but more importantly, it deepens our understanding of Sofia. As was the case with Isaac in season 2, reuniting with Destiny forces Sofia to consider exactly why she insists on putting so much pressure on herself to succeed. As the sisters work through their differences, they both learn more about themselves from each other and grow as a result. Why not throw a bang in the mix?

Still, Rodriguez needed separation. “Mind you, Michaela is totally different from Sofia,” she stresses. “Michaela Jaé gives, like, blunt straight bang. Sofia will give you a wave and a curtain bang.” To her, these minor aesthetic differences exist in parallel to the real-world differences between the character she plays on screen and the person she is in her day-to-day life. “Sofia is sophisticated and all business, whereas me…” She trails off for a second, considering her words. “Well, I guess I am business and I am sophisticated. But I’m a little more edgy.” I tell her that it’s possible to be both. “Exactly!” she exclaims. “We can be a little banjee when we want to!”

Talking with her, it’s not hard to pinpoint these differences. In person, Rodriguez is quite relaxed, even after a long photoshoot. She likes to joke and has a tendency to riff on silly hypotheticals, like when I bring up Donald Trump and she goes into an extended bit about not knowing who he is before “realizing” that who I’m actually talking about is Harry Potter’s Lord Voldemort. (A fitting parallel.)

And yet, the similarities between Sofia and Michaela can’t help but pierce through. This is my third time profiling Rodriguez, and on each occasion, she has referred to herself as a “workaholic.” A textbook Capricorn, she was raised by two parents who instilled in her a sense of duty. It’s what got her through four straight years as the de facto lead of Pose—where she endeared audiences with her sensitive portrayal of a selfless HIV-positive ballroom house mother—and what pushed her immediately into another four years working on Loot.

She very rarely takes breaks. Even when she’s not on a film or TV set, you can probably find her in the studio, working on music, since, as she stresses, “I’ve always wanted to be a pop star.”

Then again, maybe working on music is her way of taking a break. She lights up whenever our conversation pivots to that side of her career, explaining that, “In the music world, I’m free.” She sees music-making as an inherently different creative endeavor than acting; music, for her, feels much more intuitive. “I always say that my body moves before my mind sometimes,” she tells me. “So my body will go to the studio, and my mind will then say, ‘Bitch, you at the studio! Did you know that?’ And I’m like, ‘Oh, shit. What am I doing here?’” She lets out a laugh. “I kind of like that. I like that my body can feel the music before my mind catches up to it.”

Much like acting, it took some time to find the separation between who she was as a person and who she was an artist. She says her first music video, for her 2021 debut single “Something to Say,” was when it finally clicked. “After I looked at that video, I was like, ‘Damn. This is Michaela Jaé.’ This is not MJ Rodriguez. This is not Michaela Antonia Jaé Rodriguez. This is the embodiment [of my pop star persona]. This is who you see on stage, dressed up, bionic, new and improved.”

Four years after that, she feels like she’s finally realized her prowess as the pop star she always envisioned herself as. “I don’t see myself any other way now,” she says with full confidence. “At first, I was like, Am I? Now, I’m like, I am one. I might be an underrated one. But I am one.”

It’s always nice to hear an artist talk about the sheer joy that comes from doing the work—and Rodriguez is nothing if not a gracious practitioner. But she’s also not blind to where we are politically, and she doesn’t mince words when it comes to the climate she’s working through.

The last time we spoke, before Loot had even premiered its first season, the actress told me that she was really excited to be playing a character who wasn’t defined by her transness. Pose, the show that made her famous, was notable because of its focus on trans identity. On Loot, however, Sofia’s gender identity was never meant to be a part of her narrative. Rodriguez relished that.

But it’s been three years since then, and while 2022 felt like a breakthrough for the future of trans representation on screen, 2025 feels increasingly bleak—not just for representation, but for trans rights, writ large. It’s left Rodriguez feeling slightly torn. “I feel like our stories, as trans women, are getting muddied with a lot of misinformation, which makes it easier for human beings who are not understanding or are bigoted to create a narrative about us and make it something true when it’s not,” she says, explaining how this has wide-reaching negative implications for trans people trying to find work, housing, or even just general safety from harm. So while she still feels “thankful” that she’s been afforded the opportunity to portray a character whose womanhood is just accepted as is, she does feel that, without trans-specific stories, there is an added responsibility for her, as Michaela Jaé Rodriguez, to raise awareness in other ways.

When I mention how this all feels inextricable from the anti-DEI wave currently plaguing all sectors of society, she snaps her fingers in agreement before responding, “I’m glad we all know. I’m glad I’m hearing it from an interviewer.” She immediately brings up the unceremonious cancellation of The Colbert Show. “That was someone who influences people around the world to have a mind and to think for themselves,” she says. “A lot of people in the world know why that show got shut down, and when you see that, you know what kind of influences, politically, are happening.”

It’s also not lost on her that Loot, a comedy that satirizes the idea of the “good billionaire,” is in direct conversation with some of these cultural shifts as well. She cites that as another key difference between herself and her character. Whereas Sofia tries to see the good in Molly’s efforts to do right by the world while also holding on to her wealth, Rodriguez struggles to see the same. “Sometimes, I want to be like, ‘Sofia, there’s no hope, girl,’” she says with a laugh. “‘You’re holding out the good fight, but there’s no hope. This isn’t going to push the needle forward.’”

Still, Rodriguez sees trans people as being uniquely poised to meet this moment with a certain resilience; after all, the world (and this industry) has never been exactly welcoming to women like her. “I’ve been here for a long time and I’ve worked hard. My sisters have worked hard,” she says resolutely. “And we are in a harsh time right now. It’s scary. But the only way to get people up and to get them going and to continue on is if there are people like me out there saying, ‘Okay, yes, it is scary. And so what? What are you going to do? You’re just going to stop?’”

Rodriguez is certainly doing her part. After our conversation, the actress will be heading to catch a tech rehearsal for Saturday Church, an Off-Broadway musical adaptation of the beloved 2017 indie drama about a young queer boy’s life-affirming experience with the ballroom community.

Though the actress—who played ballroom house mother Ebony in the original film—was initially asked to reprise her role for the stage production, Rodriguez opted to come on board to the new project as a consultant and producer instead, citing two reasons. The first was practical: Though Rodriguez is a proud Afro-Latina woman, she notes that a character literally named “Ebony” should be played by a darker-skinned actress. “The [only] reason why I played Ebony the first time is because there were no chocolate trans girls showing up at that time,” she says.

But the second is more inspirational: She saw this as the perfect opportunity to pass the torch so someone else could have their own star-making moment. Weeks after we meet, when I check back in on the actress to see how she’s been feeling now that the show has officially opened, she tells me of the actress who was cast, “I do feel a tremendous sense of pride because I had already known that B Noel [Thomas] was an outstanding and tremendous talent.” She’s also proud to be working behind-the-scenes for once, calling the experience “eye-opening.” She exclaims, “I feel that the heart each and every last person put into the show has been even more amplified by the audience response. There’s been standing ovations mostly every night!”

In the meantime, she is looking ahead. Rodriguez, who is turning 35 at the top of the new year, feels she has accomplished everything she would have wanted to by this age. She feels fulfilled as the actress Michaela Jaé Rodriguez, as the singer Michaela Jaé, and at home, as the “regular, degular” Michaela Antonia Jaé Rodriguez. “Now, it’s just time to fine-tune them.”

She has plans for how to do so, too. At the top of her list? A romantic comedy. “We need to see all facets of a trans woman’s love and how someone else loves on her,” she says. There’s a personal element to this dream: Rodriguez has been in a loving relationship with her boyfriend, Stephen Gimigliano, for almost six years now, and believes that it’s important for society—and other trans women—to see that it is possible for trans women to find true companionship. “We are done with the stereotypical story of being heartbroken by men that don’t know how to love [us] openly,” she declares. “I’m over that because I’m being loved openly. It’s tangible.”

But she knows there are outside pressures. Leaning over the table to speak directly into my phone, she delivers a message to the “brothers” who might be worried about the implications of playing a trans woman’s romantic interest: “Get off your high horse, get over yourself, and let’s get to fucking work!” She says she’d love to work opposite Michael B. Jordan in a film directed by Ryan Coogler. All it would take is for them to “be courageous and brave enough” to do so.

She assumes a similar posture when it comes to the future of her music career. She has a “whole bunch of songs” recorded for her sophomore album, and would love for one of them to chart in the Billboard Top 40. From what I’ve heard, this dream isn’t so far-fetched. The new music takes the singer’s unique take on R&B in a dancier, more club-ready direction. Her aim was to make songs that “will get your body moving” without sacrificing her ever-present objective to “invoke confidence, tenacity, and audacity.” But as she puts on the final touches, Rodriguez also wants to collaborate with artists who are really willing to share the spotlight with a trans songstress—not just “performative acts where they have the [trans] girls come on stage and just be side-pieces.” Once again leaning into my phone to deliver a message, she says, “All y’all little R&B girlies: stop playing with me, okay? Let’s get in the studio and eat these girls up.”

For Rodriguez, everything circles back around to one key desire: “I want to have fun with my work more,” she says. “I want to have fun in my life and in the relationships I have with people.” It’s an aspiration that feels in line with one of the final things she tells me before heading out to the Saturday Church tech rehearsal—“a message for the youth” that she’d like to impart. “Make sure you know that the sky is limit-less,” she tells me as she begins to pack away her things. “It’s not the limit, because that means you have to stop at the sky. But if the sky is limitless, you can go beyond it into the stars, baby.” She flashes a smile. “So just shoot and don’t stop.”

Photographer: Shane McCauley | Stylist: Mimi Kim | Hair Stylist: Kyrsten Oriol | Makeup Artist: Team Tilbury, using Charlotte Tilbury | Manicurist: Gina Oh | Location: The Beekman, a Thompson Hotel

When you're looking to get lost in a book, sometimes you need your reading material to match your mood. With Marie Claire's series "Buy the Book," we do the heavy lifting for you. We're offering curated, highly specific recommendations for whatever you're looking for—whether you're in your feels or hooked on a subgenre trending on #BookTok.

Global popstar thing aside, Taylor Swift is an elite wordsmith. Throughout the years—or eras, as one might say—the self-proclaimed "English Teacher" to the Masses has moved us from the dancefloor to tears and back again, all with the line of a song. Swift’s dexterity for language, wielding metaphors with the ease of a seasoned poet, has been on full display since her debut in 2006. Her writing has only gotten better since.

Long before being a bookworm became cool again, Swift carried the torch for bibliophiles everywhere, packaging literary references alongside addictive beats and earthshattering instrumentals. From nods to The Great Gatsby in “This Is Why We Can’t Have Nice Things” and Rebecca in “Tolerate It,” the Grammy winner has clearly done her assigned reading, and then some. That’s why, to celebrate the release of her 12th studio album The Life of a Showgirl, we’ve compiled the books to read if you consider yourself a Swiftie—no matter which is your favorite of her eras. Whether you’re looking for a feel-good rom com, a messy love triangle, or a family epic, there’s something for every mood.

Below, check out the best books to read for every Taylor Swift era.

Books to Read if You Love Taylor Swift's Self-Titled Debut

Do you remember where you were when you first heard Taylor? No matter if you were at your fifth-grade graduation or a bachelorette party, chances are, you haven’t been the same since. These novels capture the hopeful whimsy and hometown heartbreak of Swift’s self-titled first album.

Books to Read if You Love Taylor Swift's 'Fearless'

Capturing the delicious fantasy of daydreaming about a crush—whether they’re royalty or run the local animal shelter—Fearless bursts with frothy effervescence (and, okay, some teenage angst). These novels flawlessly depict the album’s youthful essence.

Books to Read if You Love Taylor Swift's 'Speak Now'

Listen, it can take a lot to process a broken heart. Perhaps nearly just as difficult: growing up. Like Speak Now, Taylor’s third album, these novels feature unrequited love, long-lasting friendships, and a love triangle or two.

Books to Read if You Love Taylor Swift's 'Red'

Who hasn’t had feelings for someone totally wrong for them? Red, an album riddled with heart-wrenching ballads and dance-worthy breakup anthems, demonstrates that, even if the relationships don’t last, the stories you acquire absolutely will. This batch of books explores toxic entanglements, misunderstandings, and a retrospective on love gone bust.

Books to Read if You Love Taylor Swift's '1989'

Stockpiled with bangers, 1989 announced Swift as the pop force we all know and love. These books celebrate coming into your own and finally getting over your ex.

Books to Read if You Love Taylor Swift's 'Reputation'

What happens when you get locked in a very public feud with a frenemy? Well, if you’re Swift, you make an album about it. If you’re anybody else, you listen to it—a lot. These books are all about being in your villain era and more.

Books to Read if You Love Taylor Swift's 'Lover'

It’s amazing how one day you can be reeling from heartbreak and disappointment, and the next, you wake feeling an IOTA better. Imbued with a sense of acceptance, irony, and love (of course), Lover marked a new chapter for Swift. These books showcase heartache and healing, just like the album.

Books to Read if You Love Taylor Swift's 'folklore' and 'evermore'

Released during the early days of COVID, these companion albums gush with longing, nostalgia, and wonder. These books feature traditional family epics, turned on their heads by implementing creative new structures and toying with the classic form of the domestic novel.

Books to Read if You Love Taylor Swift's 'Midnights'

Songs on Midnights, a concept album informed by weird thoughts that keep you up at night (and more), oscillate between topics like fame, friendship, and retribution. Accordingly, these novels are all about resisting the norm and, maybe, getting even.

'The Tortured Poets Department'

Books to Read if You Love Taylor Swift's 'The Tortured Poets Department'

Whew, hello big feelings. If there’s one thing Swift can do, it’s craft a metaphor like nobody’s business. In her 2024 album, she shows off her chops while slinging razor-sharp one-liners. These novels feature shaky relationships, ringing prose, and a sprinkle of good-humored derision.

Books to Read if You Love Taylor Swift's 'The Life of a Showgirl'

She may be happy, but she’s not forgetting past slights. Swift's newest album is an amalgamation of lyrics paying homage to her newly minted fiancé, and a scathing reminder that she’s not one to be messed with. These novels feature high drama, some showbiz glitter, and perhaps a fairytale ending.

In 2017, musician Amy Allen was sitting alongside her then-bandmates in the kind of record label meeting many artists dream of. But as one of their tracks played in a room full of execs, she couldn’t ignore the “sinking feeling” in her stomach that she “wasn’t good enough.”

Eight years later, the Grammy-winning songwriter considers that moment to be the one she realized she wanted to pursue songwriting for other artists rather than performing herself—and just how determined she was to do so. Speaking to Marie Claire of the turning point, she says: “I listened and was like, How dare I try to get signed to a label before I fully believe in it? And I didn’t yet. I was like, I know I can write better songs than that.”

The next day, the Berklee College of Music alum amicably parted ways with her band and gave herself a year to focus on her craft. “I don't know where that came from within me, to feel confident in making those decisions, but I did,” Allen, 33, says. Not long after, she began collaborating with songwriter Scott Harris (who has worked with Shawn Mendes and Camila Cabello), penned her first hit—the 2018 Selena Gomez track “Back to You”—and moved from New York City to Los Angeles.

Allen’s inkling that she had a few more earworms in her was right. You’ve undeniably heard, listened on repeat, or maybe even had one of her infectious, heart-on-your-sleeve credits on your Spotify Wrapped. The hitmaker is perhaps best known as Sabrina Carpenter’s partner-in-crime, lending witticisms across 2024’s Short n’ Sweet, her recent August release Man’s Best Friend, as well as select songs on 2022’s Emails I Can’t Send. She’s also worked with just about everyone dominating the charts, from pop phenoms (Charli xcx, Harry Styles, Olivia Rodrigo) to country stars (Kacey Musgraves, Luke Combs, Megan Moroney) to K-pop faves (JENNIE, Rosé) and more. Her contributions have garnered eight Grammy nominations, including two for Songwriter of the Year, Non-Classical—one of which she won earlier this year, making her the first woman to do so.

It’s her tendency to break the pop pantheon rulebook, think beyond the confines of what a traditional Top 40 entry sounds like, and, most importantly, prioritize vulnerability above all else that’s contributed to her rapid accession across the music industry and charts.

“For a really long time, I felt like songwriting had to be me alone in the corner of my bedroom, writing in my notebook—and if it didn't make somebody feel like they wanted to cry, I wasn't doing my job,” Allen says. “I had this come-to-Jesus moment when ‘Adore You’ by Harry Styles, which I wrote with Harry, [came out]...That broke down this wall in my brain where I was like, Oh, music doesn't always have to be this really serious, heart-wrenching thing. There are so many avenues songs can live in for people.”

Here, Allen opens up about what it’s like getting in the studio with everybody’s favorite artists, why pop is more thrilling than ever, and more.

Marie Claire: In recent years, you’ve transitioned from writing one-off songs for an artist to being involved in the entire record. What has that been like?

Amy Allen: I did cross-country running in high school, and sometimes my work would feel like that: You go in, the session starts at 1, and it’s going to be over at 7. The second the gun goes off, it's a dead sprint to try to write the best possible song. Getting to spend more time with artists across the board has been so fulfilling. With Sabrina on Short n’ Sweet and Man's Best Friend, it has honestly made me fall back in love with music because I get to spend more time with her as a friend. And I get to become better at what I do every day because I'm honing my craft alongside somebody, learning from them simultaneously, and digging into my own experiences.

MC: Can you recall a specific instance where you felt like you were falling back in love with music again?

AA: Doing “APT.” with Rosé, I walked in that day, and Rosé was talking about this Korean drinking game, and I was learning it. Never in my life would I have been like, “This is something that we could turn into a song,” and then our other co-writer on that song, Theron [Thomas], walked in and was like, “What are you guys doing? That has to be a song.” That was such a learning moment for me, because at first I was like, “What’s he talking about? How are we going to make this into a song?” and then once we started going up, we were all like, “Of course this is a song.”

It felt so exciting for me to be a part of something so new and came about in such a foreign way. I feel like I would've never gotten to that place of daring to go down that road if I hadn't already spent so many days with Rosé.

MC: What is your secret sauce to get somebody to open up to you?

AA: I'm the least qualified therapist of all time. I think it's because I'm one of three sisters. I'm the youngest, and so I would take a lot in. I was born a listener.

The reason why I continue to fall in love with songwriting is because every artist requires me to tap into a different part of my brain, [like], I haven't gone through that specifically, but I remember going through something similar when I was 18, and I can pull from that. Sometimes I feel like we're talking about things, and I'm like, That reminds me of this breakup. And then I'm like, Oh, maybe I haven't processed this, because I'm still very upset even just thinking about that, or vice versa, like, Wow, I thought I still was hanging on, but I don't care about that person at all anymore.

But truly, there is no special sauce; it just comes out of curiosity and love for music.

MC: Have you ever met an artist and had a certain expectation of how working together might go, but then wound up completely surprised?

AA: All the time. It’s really hard when you’re a fan of somebody, like I remember the first time I went in with Harry [Styles] being nervous. I [thought] this person has such a huge world following, they'll be really guarded in what they want to talk about. And nine times out of 10, I'm always pleasantly surprised with who the artist is at their core, how open they are, and how genuine they are about their craft, their songwriting, and their art. It continuously restores my faith in humanity because even these people with the craziest lives and the biggest followings and the pressure that fame can put on you, it always gets stripped down to they are exactly like all of us, and we can connect on these really fundamental human levels.

Of course, everybody’s had probably one ‘death of a hero’ story where they go in with somebody that they’re like, This is going to be the best thing ever, and then there’s no chemistry. I'd be lying if I said I hadn't had those moments, but for the most part, I'm always so excited at who these artists are at their core and how special they are.

MC: You and Sabrina Carpenter integrate a lot of humor into her songs. Why have you been drawn to bringing more of a sense of humor into mainstream pop?

AA: I didn't know that that was a part of my writing that I could really express until meeting Sabrina. It almost feels like she's broken this fourth wall.

Something so refreshing for me with Sabrina is [that] she was the first artist I got to work with who was like, Nah, come on in. I'm going to take you on this whole tour of my ups and downs. She's so expressive, honest, and vulnerable—and at the same time, she's also so witty, and I feel like that's why so many people can resonate with her.

I've learned so much about writing just by being her friend, and then, of course, being in the room with her, and getting to explore these new curiosities about songwriting and how far you can really push the boundaries in pop music. When I look back on it now, there have been people that I've listened to that have incorporated bits of that in their artistry forever that I grew up on—Dolly [Parton] is really quirky and funny, and John Prine. I’m so grateful that we have somebody in our generation doing that so profoundly.

MC: Do you ever find it challenging to be that honest and vulnerable all the time?

AA: I've been writing my whole life, but really going into rooms with people every day [for seven years now and], feeling like they're taking your shirt off and being like, “Here I am! What do you think?” feels kind of like a muscle now. There are definitely people I've worked with where it feels like I'm a little bit insecure to do that—maybe it takes two hours or four hours before I'm fully diving in. But there's this saying within the songwriting community: Dare to suck. If everybody's afraid to be vulnerable and to say something stupid, or it isn't the most flattering thing, then no good song gets written.

There are so many days when I look back and I'm like, That song will never see the light of day, but the conversation I had with the artist that day was 10 times worth what the song would've been like. Those moments of vulnerability and bearing your own humanity, the embarrassing bits of you, always end up being worth it in my experience.

MC: The statistics regarding female songwriters are growing, but still pretty dismal. How have you had to navigate advocating for yourself in the industry?

AA: That didn't really hit me until I moved to L.A., I started getting into a lot of sessions, and I was like, I haven't seen another woman for six months. For sure, I’ve had to advocate for myself, and my manager, Gabz [Landman], is phenomenal. I think having another woman as my partner in crime through all of this has been invaluable for me to look up to her and have her advocate for me, and give me the confidence to advocate for myself.

Even in the past seven years I've been doing it, now I'm working with a bunch of female producers and a bunch of female engineers. We just don't get to work—we have to seek each other out to be in the same room together. But still, it's an exciting place of good change right now.

MC: You’ve said before that you’re scared of writing a song that sounds like a standard No. 1. Do you allow that fear to fuel you and allow yourself to go in unexpected ways while writing?

AA: I try my best to never create from a place of, “We're going to write a hit today.” But now, something that’s so exciting about pop music is the way it’s harder to call it. For instance, with the past two Sabrina albums, there are key changes, and it's more musical than anything in the past 10 years has been on radio. I feel like I was indoctrinated into this thinking of, If it's too many chords, the average listener is going to tune out, or, If you're talking about something too personal and specific, the listener is not going to resonate with that. It's been really fun to debunk those things every single time because I feel like the most exciting thing for me in music in the past few years is finding out that the listener is way more than capable of following you down those paths—and not only capable of falling you down that path, but rooting for you to do that.

This interview has been edited and condensed for clarity.

In the world of K-pop, choreography is everything. It’s what’s fueled the phenomenon of fan-created “dance covers,” and artist-produced “performance versions” of songs. It’s made “point choreography” a staple of the genre, where a song’s chorus features an eye-catching, easily replicable signature move. And most vitally, it’s what can catapult a track from a single that might get lost in the shuffle into a starmaking moment.

Take the now megaviral “Gnarly.” When girl group KATSEYE first released the song in late April, it was a jarring foray into hyperpop, a world away from the bubblegum sound of their 2024 hit “Touch,” with lyrics that bordered on nonsensical over a dissonant, chaotic backing track. Listeners weren’t just confused; they were turned off, scratching their heads at the group’s decision to lead their BEAUTIFUL CHAOS EP with such a polarizing single. But just 24 hours later, their first live performance transformed it from controversial to iconic, racking up millions of views and making it the group’s first entry on the Billboard Hot 100. That’s thanks to Grant Gilmore and Sohey Sugihara, KATSEYE’s performance directors.

Sugihara and Gilmore first began working together when they were brought on as choreographers for Dream Academy, the 2023 reality competition series chronicling HYBE and Geffen Records’s mission to create a “global girl group” blending Western pop influences and K-pop methodologies. Under their direction, KATSEYE has gone from six members who arrived at Dream Academy’s boot camp with varying dance abilities and shaped them into the kind of dancers who can confidently make a national ad like Gap’s “Better in Denim” campaign go global on the strength of their movements alone.

Before Dream Academy, Gilmore, 27, toured as a backup dancer for Taylor Swift, Charli xcx, and performed in Rihanna’s 2023 Super Bowl halftime show, while Sugihara, 38, has performed with artists like Janet Jackson, Britney Spears, Madonna, and Jennifer Lopez.

With KATSEYE set to begin their BEAUTIFUL CHAOS tour in November, the dance duo spoke with Marie Claire to share their first reactions to “Gnarly,” having a front row seat to the evolution of KATSEYE, and what the fans would be surprised to learn about the group.

Marie Claire: You were both part of the wild ride that led to the formation of KATSEYE. What was it like watching the group come together from 20 trainees to six finalists?

Sohey Sugihara: Being there from the beginning, I got to see the full progression—who was standing out, who was lacking in certain skills, who grew so much. I would think, “Okay, this person’s good, this person’s great, this person could be a star,” but once the voting started, everything changed. We couldn’t predict anything, but by the end, it all made sense.

Grant Gilmore: It was really crazy getting to see them evolve. We were teaching them how to hold a microphone, how to express emotion when they’re singing, and of course, how to execute choreography. But at the end of the day, it was up to them to find and create that artistic presence for themselves. It was really exciting as a coach and a mentor to see them find that.

MC: How have the girls evolved since they were trainees?

SS: They’re all so, so different now. Yoonchae [Jeung] has transformed so much. She was kind of timid when she first got started, but now she’s fully locked in. She’s a beast when she’s on stage. Sophia [Laforteza] was not a dancer when she started, but she was always a performer. She worked hard to get to where she is now, so that’s something I’m really proud of. They all had their breakthrough moments during the process, so that was really cool to see. I feel like a proud dad. [Laughs]

GG: Some of the girls who weren’t dancers, I’ll be watching them in rehearsals now, and they look like professionals. Lara [Raj], for example, I just had a moment with her in rehearsal where it was like, “Oh, my god.” Or with Manon [Bannerman], before they debuted, I was doing private lessons with her twice a week in the studio, six hours every day. Now she keeps up with the other girls, and she knows who she is on stage. It's really cool to see them own their confidence. That’s been the biggest breakthrough.

MC: The BEAUTIFUL CHAOS is so different sonically and stylistically from their 2024 EP, SIS (Soft Is Strong). As performance directors, what was it like transitioning into this new era?

SS: With the SIS era, we were searching, trying to find our lane. But with BEAUTIFUL CHAOS, we didn’t hold back at all. We wanted to go really hard, and we knew exactly what we wanted to do. So in that way, it was easier to create choreography because we knew exactly what this called for, and we just went for it.

GG: One of the beautiful things about KATSEYE is how diverse all the girls can be. Showcasing that was always going to be part of their journey from the beginning, but with [SIS], it was like they were saying, “Welcome to our world,” and establishing their fan base. From there, they felt safe enough to go out and show their wild side. Both eras are real, [and have] genuine sides to them, but it was about waiting until it felt like the right time to show it. It’s a really exciting time for them, because they were ready to let loose. They're definitely in their rock star era and loving it.

MC: Part of the selling point of KATSEYE is how different each of the members is. Does that ever make it challenging to create cohesive eras and visuals for them?

GG: Some of them really thrived in the “Debut,” era, and that concept came naturally for them. With Sophia, for example, “Gnarly” was a harder concept for her. She loved the cutesy charisma that came with “Touch,” so we had to really challenge her to break free and let her guard down. It was about telling her, “You can be a little punk, you can feel yourself and be a little sensual.” Whereas for Daniela [Avanzini] and Lara, “Gnarly” came so easily for them, but with “Touch,” I’d have to say, “It’s okay to smile, you don’t have to be so serious when you perform.” Switching between those concepts has given them such a great skill set.

MC: What was your reaction when you first heard “Gnarly?”

SS: “Oh, my God, this song is so hot.” When we heard it for the first time, [Grant and I] were like, “I hope we get to do this song.” But to be honest, I didn't think they were gonna pick it as the lead single because it was so jarring and so out there, it was a risky move. But it worked out, and we had so much fun with it.

GG: I got chills the first time I heard it, because I just understood the world of it instantly. I didn't even think for a second that it was going to cause controversy, because I could see the vision in my head when I heard it. Normally, in our choreography process, we make hundreds of different versions for each of these songs, but the first version came so naturally and effortlessly and felt so strong that the only thing we had to modify was the chorus.

MC: How does the K-pop methodology influence your approach to choreography? Is it a goal to create something memorable and potentially “viral” every time?

SS: Something I've learned from Son [Sung-deuk], HYBE’s executive creator, is to make things simple, make them unique, but not too complicated. The goal is to hit that sweet spot of, Okay, this is super original, but it’s also simple enough that people want to copy it. We’ve been succeeding at that because our things go viral. Like with “Touch,” everyone can do that hand motion, but it was also something people hadn’t seen before.

GG: It’s almost like a formula we’re striving for. Making something that is easy for people to do is the first part, and the second part is coming up with something that is fresh. We usually make the choruses that moment [in the choreography], where things are simple, catchy, and resonant, and then in the verses, the intro, or the outro, we can create those wow, show-stopping moments that might not be easily replicated, but really enhance the performance.

MC: KATSEYE’s Lollapalooza performance was another huge starmaking moment for them. What was it like seeing them on the festival stage?

SS: It gave me chills to see the drone footage. That and the reaction videos on YouTube, seeing people react to the “Gabriela” dance break, specifically, was something special. Performing on stage is one thing, but seeing something that you created from scratch come to life and seeing people enjoy it is next level. It’s the best feeling in the world.

GG: Those girls were going in for war. It was their first big festival stage, and they did not take that lightly. They were having fun with it, too. Like with Manon and Lara, they choreographed that little moment [during “M.I.A.”] themselves, and then they were like, “Wait, can we do this?” I said, “Go for it, this is the era to do it.” It's been really cool seeing them make their own artistic choices. And I'm always supportive, because I don't ever want them to feel like they have to be robots on stage.

MC: What’s something that their fandom, the “Eyekons,” might be surprised to learn about the group?

SS: They train outside of regular rehearsals, too. Like, we’ll have private lessons with each member to do something completely different than what we’re working on as a group. They ask us for it. That’s the kind of determination and drive they have. They’ll be exhausted from rehearsal, and still feel inspired to train and get even better.

GG: Choreographing “Gabriela” was really tough, because Sohey and I wanted to add that essence of Latin culture, but we wanted to make sure we approached that sensitively and appropriately. So Daniela actually helped a lot with incorporating those elements. I think one of the craziest things we almost did was this thing where we brought in Tapatio hot sauce during the post-chorus when the guitar was strumming. We were gonna have each of the girls taste the hot sauce in the middle of the performance. [Laughs] It was kind of tacky, so we took it out, but we like to do a lot of crazy experiments like that.

MC: What are you most looking forward to seeing from the girls as they head out on tour and prepare for their first Coachella set next spring?

GG: In the beginning, we were giving them a lot of guidance, coaching them on how to feel yourself or step into your power, but now it's there. They're starting to know who they are, and I think that's part of the reason why they've been gaining so much more traction recently. The world is seeing that confidence come through their performances. I think they have so much more growth ahead for them, but they're in a really sweet spot right now.

This interview has been edited and condensed for clarity.

Like many teen dramas before it, The Summer I Turned Pretty knows the power of underscoring every beat of adolescent angst with the perfect gut punch of a needle drop. And much like Manhattan is the unofficial fifth lead of Sex and the City, Taylor Swift’s discography may as well be a main character in the Prime Video juggernaut.

During one iconic moment from the show’s third and final season—which came to an end on September 17—Belly (Lola Tung) and Conrad (Christopher Briney) nearly kiss as she helps clean him up after a surfing accident. Amid thumping heartbeats, heavy sighs, and no shortage of sexual tension, Swift’s “False God” begins playing—the very same song that soundtracked their first almost-kiss in season one. During the golden age of TikTok fan edits, the reprisal read as an in-universe wink to The Summer I Turned Pretty’s fans, who have received its soundtrack with nearly the same fervor as its central love triangle.

You can thank music supervisor Melyssa Hardwick for many of the show’s iconic tracks, which have run the gamut from chart-topping pop hits to throwbacks, including the likes of Fleetwood Mac and Radiohead. Hardwick has been working with series creator and author Jenny Han since the beginning, serving as Amazon Studios’s former head of music before taking over as music supervisor for season 3.

“I feel like there’s such a love of music with the YA demo, and even older,” she says. “[The Summer I Turned Pretty’s] soundtrack is songs for summer for every teenage girl.”

Here, Marie Claire speaks with Hardwick to discuss her and Han’s must-have songs, working with Swift, the upcoming The Summer I Turned Pretty film, and more.

Marie Claire: How has your collaboration process with Jenny changed from having a more overall executive role to working as the show’s music supervisor?

Melyssa Hardwick: Jenny asked to have a music conversation before [the show] even went into production. She had a vision, she had a plan, she had a dream. So she really wanted to talk about how she wanted to approach it, which was great, because at the time, I was budgeting for music licensing.

For seasons 1 and 2, my job was to, one, manage the budget, and two, protect Jenny and what she wanted to do musically. We hadn’t really proven ourselves as a studio yet when it comes to YA, specifically YA music, so everyone was a little bit nervous.

A lot of the time, [the studio executives] would ask for songs to come out, and I’m like, “Song’s not coming out. Jenny wants this song.” One of them was “Teenage Dirtbag” [in season 1]. They’re like, “I don’t know. It feels a little dated.” And then [that song] became a viral thing, and we had proof of concept after season 1.

We had 150 music spots this [season], so it is definitely still a lot of work. But to be able to really focus on Jenny’s vision was amazing.

MC: You mentioned the budget earlier, which has factored into fan conversations about episodes featuring these big names like Taylor Swift and The Beatles. What can you say about season 3's budget?

MH: It’s definitely the redacted number dollar question. I can say it was a conversation from the beginning, and we had a very healthy budget. But even if you give someone a healthy budget and they’re not good creatively, it’s not gonna have the impact that Jenny was able to have. She has her finger on the pulse of pop culture. This is the kind of person you wanna give money to and let them run.

I can’t obviously give numbers, but we do pay for every song. We clear every song. We don’t have any sponsors. I’ve seen a lot of [social media posts] where they’re like, “[They’re] sponsored by Air Tag.” I’m like, “I wish we had Air Tag money! I just had a budget.”

But the whole team was aligned, and there was no pushback. I mean, I’ve been doing this for 20 years. There’s always pushback on the music budget, because it’s the last thing to go in. It’s like the sprinkles on the cake. So it’s like, “Do we really need sprinkles on the cake? Our two-tiered mirror glaze?”

I know there are a lot of conversations [happening] with record labels or studios. They’re like, “How do we have a Summer I Turned Pretty?”

I really do hope it gives other people the opportunity to have the music budgets they should have on their show, specifically YA. It’s worth the money at the end of the day, so hopefully we proved that.

MC: Did you and Jenny have any other must-have needle drops for season 3?

MH: This season, Jenny really, really wanted Harry Styles. She texted me, “I wanna do ‘Sign of the Times.’ I wanna play it when Conrad is leaving to go to Paris.” And then she sent me [the song lyric], “Welcome to the final show.” Even now, I tear up every time I talk about freaking “Sign of the Times.” That was my top priority song for the season.

And then she decided she wanted “Dress” [for Belly and Conrad’s sex scene]. We had edited the scene to the original version, but we were waiting to hear, “Are we gonna do the Taylor’s Version?” No one had heard it except for a few of us. Even when we were mixing the episode, that scene was muted, which was totally awkward in case anyone was wondering! We were there with the Amazon executives and [it’s] just silence and making out.

The other one was “Oh, Darling” by The Beatles, which is in episode nine. Obviously, The Beatles, being the biggest band in the world forever, are very mindful and selective about what they put their songs in. So when that one cleared, I was very excited.

And then “Out of the Woods.” In the script, it was written, “Song that will change your life.” And I’m like, “What song is this going to be?” And Jenny texted me, “I think I wanna try ‘Out of the Woods.’” After we edited it, we were like, “There’s no other song.”

We do put in decoy songs for all the Taylor songs until [the episodes] actually air, to avoid leaks. I did have to find decoy songs for all 11 of the Taylor uses this season, but there was no backup song.

MC: There’s an interesting balance between including contemporary pop music and then music that nods to millennial and Gen X viewers’s teenage years—Radiohead, U2, stuff like that.

MH: U2 was Jenny’s first CD that she bought herself, which is so cute, so I’m glad we got that one. Radiohead is my favorite band. It’s one of Chris Briney’s favorite bands.

That [balance] went back to our original conversation [about the show]. We start season 1 with [Electric Light Orchestra], so we’re not starting with a new artist. We’re starting with a legacy ‘70s artist. And that’s all Jenny. She wanted songs of summer throughout the decades. The beach house has seen so many summers go by, and so many songs were in there.

“Teenage Dirtbag” was a huge one. “Kissing You” by Des’ree, which is in the fireplace scene in season 2. Jenny was obsessed with the [1996] Romeo + Juliet soundtrack. I was like, "Can we? Is that sacreligious?" It’s off such a big soundtrack.

It’s songs for us when we were teenagers, but also Lola when she was a teenager, which wasn’t that long ago. Another thing [Jenny] talked about was discovery. Having this generation discover music that we listened to, like Fleetwood Mac, and, this season, The Beatles and U2.

MC: I can’t ask you about The Summer I Turned Pretty’s soundtrack without getting into the Taylor Swift of it all. Jenny has been open about how much of a role Taylor’s music played in her writing process. What role do you see her discography playing in the show?

MH: Jenny and I are both super protective over the process with her, and the relationship. If Taylor ever wants to talk about the process, we’ll totally let her do it. I’m completely in awe that we get to use as much music as we do and she trusts us. I was like, “You guys can say no to us if you want to.”

I think [her role in the show] is huge.

[Taylor’s team have] been incredible partners with us, because they hadn’t seen the show when they gave us the first songs in the first season. Jenny says this, and I will completely back it up: Taylor really bets on women, and she also bet on Jenny and me. One thing I see with Jenny and with Taylor is that they really care about their fans. They care about the experience. They care about what they’re going through.

That was why Jenny wanted Taylor in the first place. She had written the books to Fearless, but also, so many of her fans had been like, “Can we get a Taylor Swift song?” They wanted it for To All the Boys, too. Luckily, we were able to get it for Summer.

I feel like Taylor is the soundtrack of girlhood at the end of the day, and Jenny writes about girlhood.

MC: Jenny has mentioned that SZA’s “Open Arms,” which plays in the season 3 premiere while Belly and Jeremiah (Gavin Casalegno) are in bed together, is a bit of an Easter egg in terms of foreshadowing the events of the season—you know, when the song shifts at the end with lyrics that reference going to Paris and feeling conflicted about a partner. Are there any other similar soundtrack Easter eggs you’d like to call out?

MH: I think “You’re Losing Me” [in the premiere] was a big one that people were upset with at first, like, “Why is this song being used?” But then, as the season started going, it was kind of an Easter egg, kind of foreshadowing. Her heart stopped there. That is how she felt in the moment with Jeremiah. Something severed in that moment, and her heart stopped beating. Then you have [the Belly and Conrad scene with] “False God” come back in with the heartbeats. So I think the heartbeats were really important this season.

MC: The episode from Conrad’s perspective has its own musical flavor: Otis Redding, Van Morrison, the Rolling Stones. What was your process of curating that distinct soundtrack for his POV?

MH: That was 100% Jenny. That was her directorial debut. She handpicked every single one of those songs, and she did want it to be completely different. Usually, you’re in Belly’s head. Conrad’s an old soul. He’s a little bit of a grumpy old man.

The peach scene in that episode was a huge moment from the book that fans were really anticipating. We tried a lot of stuff for that, but “Wild Horses” just ended up fitting.

MC: The Paris episodes have plenty of French songs as Belly is reinventing and rediscovering herself abroad. What was your process of choosing those songs for her Parisian era?

MH: There’s such a high bar we have to meet for the French music. I’d done a lot of research, specifically club music, [for the scene] when she has her bag stolen. I’m like, “Do not put something cheesy in there. Please, let’s not embarrass ourselves where people are like, ‘Obviously, these people don’t know French music.’”

It was a collaboration, for sure. Jenny and Sarah [Kucserka, the show’s co-showrunner] were in Paris filming, so they were listening to a lot of music, like “Corbeau” [by Cœur de pirate], which plays when Belly is getting dressed and Conrad is looking at her Parisian apartment. That was a song they had been listening to in Paris.

We have an incredible picture editor named Jamie, who had pulled a lot of French score, like the Amélie score. Even “Murder on the Dance Floor” was a song they’d been listening to in Paris, ‘cause it was right after Saltburn had come out. That’s something Belly and her friends would’ve been listening to at that time, because it was so big. We want it to be honest and realistic to what life is, and what people are listening to at that age.

MC: “Scott Street” by Phoebe Bridgers closes out the series. Tell me about the decision to end with that song, which has this really evocative nostalgia and bittersweetness to it.

MH: We cleared that song really early, because I have a list of songs that [Jenny and Sarah] immediately know they want, and “Scott Street” was absolutely one of those.

It’s kind of like you’re revisiting places after you’ve grown. So, to your point, it’s nostalgic, but there’s also a bittersweetness there, because some things are always gonna be altered and changed.

There’s also [the lyric], “Don’t be a stranger.” We knew that the movie was about to be announced, so we knew we were coming back. It was crazy because when I went to clear it, they were like, “Is this the end of the series or is this the end of the episode?” And I’m like, “I can neither confirm nor deny.” It was so secret. I [was] like, “Character has argument with another character. Character drives in car with other character.” I couldn’t say anything.

MC: Obviously, it is early days, but is there anything you can say about the Summer I Turned Pretty movie? Do you have a music strategy or a musical palette in mind?

MH: I know that Jenny and Sarah are working on a draft. That’s all I know. She mentioned one or two songs she may want to use, but I literally have no idea. I have no idea about the schedule. I just know that it’s happening, and I’m sure it’ll be amazing.

This interview has been condensed and edited for clarity.

Summer may be approaching its end, but music fans are getting ready to celebrate. The MTV Video Music Awards is almost here to honor the past year in music with jaw-dropping performances, iconic pop culture moments, and the return of red carpet glamour stateside after film festivals dominated the summer in fashion.

This year's ceremony is once again all about the pop divas, with several of the biggest women in music expected to grace the stage and pick up a Moon Person or two. With just days to go, we've rounded up all the details of when the 2025 VMAs are, how to watch the award show, and what A-listers are expected to attend. Read on for everything you need to know about the 2025 VMAs.

When are the 2025 MTV VMAs?

The 2025 VMAs will air live on CBS and MTV, and stream live on Paramount+, on Sunday, September 7 at 8 p.m. ET/5 p.m. PT. For the second year, the event will be held at the UBS Arena on New York’s Long Island.

This will be the first year that the awards ceremony will air live on CBS and simulcast on MTV.

How to watch the 2025 MTV VMAs:

If you still have cable, you can tune into your local CBS or MTV channel or use your cable login to watch from your computer or phone via CBS or MTV's website or app.

The VMAs will also be available on the Paramount+ app in the U.S. only. However, the awards will only stream live for Paramount+ Premium subscribers, via the live feed of their local CBS channel. The app's Premium tier starts at $13/month and offers a seven-day free trial. The full ceremony will be available to stream on-demand the following day for all subscribers, including those at the Paramount+ Essential tier (at $8/month).

If you neither have cable nor a Paramount+ Premium subscription, there are still ways to watch the 2025 VMAs. Live streaming TV services like Hulu + Live TV, DIRECTV STREAM, Fubo, and YouTube Live provide access to CBS (and offer free trials).

How to watch the 2025 MTV VMAs Pre-Show:

MTV (but not CBS) will also air the 2025 VMAs Pre-Show on September 7, starting at 7 p.m. ET/4 p.m. PT, an hour ahead of the main ceremony. The red carpet show will be hosted by Nessa and Kevan Kenney, and global girl group KATSEYE will perform their latest singles "Gnarly" and "Gabriela."

Who is hosting the 2025 MTV VMAs?

LL Cool J will emcee this year's VMAs, pulling double-duty as the host and a nominee for "Best Hip-Hop Video" alongside Eminem for "Murdergram Dieux." The "Headsprung" rapper and five-time Grammy host has a long history with the VMAs; he was the first rapper to receive the Video Vanguard Award in 1997, and he co-hosted the awards in 2022 alongside Nicki Minaj and Jack Harlow.

Who is performing at the 2025 MTV VMAs?

Several of 2025's biggest artists are set to hit the VMAs stage: Alex Warren, Conan Gray, Doja Cat, Jelly Roll, Lady Gaga, J Balvin featuring DJ Snake, Post Malone, Sabrina Carpenter, sombr, and Tate McRae. Bailey Zimmerman ft. the Kid LAROI, Lola Young, and Megan Moroney are also set to perform, as part of the VMAs' Extended Play Stage.

There will also be several special performances. Busta Rhymes will take the stage and receive the Rock the Bells Visionary Award recognizing his cultural impact, while Ricky Martin will receive the Latin Icon Award honoring his four-decade career that "launched Latin music and culture into the mainstream," per MTV. Finally, a tribute to the late Ozzy Osbourne will feature Aerosmith’s Steven Tyler & Joe Perry, YUNGBLUD, and Nuno Bettencourt performing the Prince of Darkness's biggest hits.

Who is presenting at the 2025 VMAs?

MTV has announced that the presenters for this year's VMAs will range from pop royalty to Netflix stars both live-action and animated. The full list of presenters includes sisters Jessica Simpson and Ashlee Simpson Ross, Ciara, Drew Barrymore, Ice Spice, Latto, Livvy Dunne, The Hunting Wives stars Brittany Snow and Malin Akerman, Megan Stalter, Nikki Glaser, and Paris Hilton. Also, KPop Demon Hunters’ EJAE, Audrey Nuna, and REI AMI—the real-life singers behind HUNTR/X—will make their television debut (and maybe, hopefully sing a few bars of "Golden").

Alessandra Ambrosio, Big Sean, Busta Rhymes, Carson Daly, Cyndi Lauper, Damiano David (Måneskin), DANNA, DJ Khaled, Fat Joe, Flavor Flav, French Montana, Halle Bailey, Lil Nas X, Miranda Lambert, Naomi Scott, Paris Hilton, Suki Waterhouse, Thalía, and Tinashe.

Who is nominated at the 2025 VMAs?

Of the nominees, Lady Gaga is the most-recognized artist this year with 12 nods, followed by her "Die With a Smile" collaborator Bruno Mars with 11 nods. Mother Monster could also break or tie several records, including becoming the first artist to win "Song of the Year" twice, or becoming the second-ever artist to win "Artist Of The Year" on multiple occasions, after Taylor Swift. If Gaga sweeps, she would also tie with Swift and Beyoncé as the most awarded artist in the history of the VMAs, with 30 wins total.

Other frontrunners include Kendrick Lamar, who is up for 10 Moon Person awards; Sabrina Carpenter and ROSÉ with nine and eight nominations, respectively; Ariana Grande and The Weeknd with seven nominations each; Billie Eilish and Tate McRae with six each; Charli XCX with five; and Bad Bunny, Doechii, and Miley Cyrus with four each. First-time nominees this year include Alex Warren, Gigi Perez, KATSEYE, Lainey Wilson, Leon Thomas, Lola Young, The Marías, and a posthumous nod for Mac Miller, as well as first solo nominations for Jimin of BTS and ROSÉ, JENNIE, and JISOO of BLACKPINK.

Some news for Swifties: even though the singer is nominated for Artist of the Year, E! News has reported that Taylor Swift is planning to skip Sunday's ceremony. The first red-carpet look of her Life of a Showgirl era will have to wait.

Who will receive the Video Vanguard Award at the 2025 MTV VMAs?

Mariah Carey will receive the 2025 Video Vanguard Award at this year's VMAs. Mother Lamb's highly-anticipated, career-spanning performance will be her first time gracing the VMAs stage in 20 years, since her rendition of The Emancipation of Mimi singles "We Belong Together" and "Shake It Off" (with guests Jadakiss and Jermaine Dupri) in 2005.

Despite her legacy of iconic music videos for songs like "Honey," "Always Be My Baby," and "Obsessed," the Video Vanguard Award will be Carey's first-ever VMA award over her 35-year career.

The Queen of Christmas will also become the eighth female recipient of the Video Vanguard Award in a row, following Rihanna, Pink, Jennifer Lopez, Missy Elliot, Nicki Minaj, Shakira, and Katy Perry.

How can you vote for the 2025 VMAs?

Voting for the gender-neutral award show remains open at vote.mtv.com until Friday, September 5 at 6 p.m. ET, with fans able to vote up to 10 times a day in each category. In addition to the main slate, fans can also cast their vote for two social categories—Best Group and Song of the Summer—via MTV's Instagram stories. Voting for the social categories will remain open through Sunday, September 7.

As K-pop continues to grow as a global phenomenon and reign over charts around the world, Apple TV+ is riding the hallyu wave with the release of KPOPPED. The new reality series, out August 29, highlights rising K-pop groups as they craft special performances alongside Western pop stars, reworking their hit songs with K-pop’s experimental flair.

Among the groups is Billlie, a seven-member girl group that is split into two teams to perform alongside vocal legend Patti LaBelle and rapper Megan Thee Stallion, who pulls double-duty as an executive producer on the series. In fact, the Grammy-winning rapper hit it off with Billlie so much so that five months after filming wrapped late last year, she took to TikTok to tell her 16 million followers to give them a listen.

They're sure to get even more exposure on KPOPPED, where they kick the series off with a standout first episode. Since their debut in November 2021, the seven-member girl group composed of Moon Sua, Suhyeon, Haram, Tsuki, Sheon, Siyoon, and Haruna has drawn in fans with their viral powerhouse performances and chameleonic range. The group has been widely lauded for taking on and perfectly embodying new genres of music with every comeback—from EDM to rock to bubblegum pop to jazz—according to their concept, bridging dreams and reality.

“To us, a performance isn’t just about the act itself; it’s about sharing a story and emotions,” Haram tells Marie Claire, in an emailed interview with the group. “I felt that [KPOPPED’s] theme of ‘connection beyond borders and generations’ perfectly matched Billlie’s identity. While preparing the stage, we tried to convey how much we love music and how sincerely we want to connect with people.”

Below, the members of Billlie chat with Marie Claire about rehearsing with Western artists, their dream collaborations, and the Billlie songs that new fans need to check out.

Marie Claire: What was your first response when you heard about the opportunity to be part of KPOPPED?

Moon Sua: I felt both excited and honored. It wasn’t just about having the chance to perform on a new stage—it was the significance of participating as a representative artist on a global platform like Apple TV+. Naturally, thoughts like, ‘What kind of performance can we show?’ and ‘How can we tell Billlie’s story?’ kept running through our minds, and the excitement grew day by day. Above all, having a stage with respected artists, exchanging our music with them, brought us so much joy. Just the idea of showing Billlie’s energy to a wide audience made us happy, and I felt that this project would become another important chapter in our journey.

MC: You’re the only group in KPOPPED who got the chance to work with star/executive producer Megan Thee Stallion. What was that process like?

Sheon: Every moment was so enjoyable. Megan wasn’t just energetic on stage—her honesty and vitality throughout the preparation process inspired us tremendously. Especially as we rehearsed together to perfect the performance, her confidence and free-spirited approach reminded us that enjoying the stage is the greatest strength.

We put a lot of effort into bringing out Megan’s energy while staying true to Billlie’s unique style. I feel this stage wasn’t just a collaboration, but a display of teamwork that drew out the best in both sides.

Siyoon: As a rapper, Megan has always been a huge inspiration to me. Her flow, the power in her lyrics, and the way she owns the stage felt even more special in person. During recording and rehearsal, Megan paid close attention to our ideas and tone, which gave us the confidence to really bring the performance to life. It also strengthened my desire to collaborate with her officially in the future.

MC: Siyoon and Moon Sua, was it nerve-wracking at all to perform your new rap verses for “Savage” for Megan?

Siyoon: Rather than feeling nervous, I felt motivated by the overwhelming confidence and energy I’d seen in Megan’s performances. So I practiced tirelessly, paying attention to every detail, from live performance to English pronunciation, and carefully adjusted the tone and breathing for the rap.

Moon Sua: I felt the same way. Of course, there was a pleasant sense of nervousness, but my desire to make the stage with Megan a success was even stronger. From the very beginning of practice, we focused on aligning every little detail together. I was more focused on enjoying the moment, and performing in sync with the members created a memory I’ll always treasure.

MC: One of the sweetest moments on the show is Tsuki tearing up hearing Patti LaBelle’s voice. What was it like rehearsing and performing with a vocal legend?

Tsuki: I’ve danced countless times to Patti LaBelle’s music since I was very young, so hearing we would perform together was unbelievable. Preparing alongside her and hearing her voice in person was overwhelming in the most wonderful way, and I couldn’t help but cry. Her voice carries not only technical perfection but genuine emotion, and each phrase on stage fills the space with resonance.

Suhyeon: It was truly an honor. Patti LaBelle is widely recognized as a legendary artist, but being close to her voice and performance showed me why. It’s not just skill—it’s how her voice can dominate a stage while warmly embracing the audience. Performing alongside her was a moment we felt really proud of as a team, and that feeling will stay with us for a long time. It was an experience that made me think deeply about the music and performances I want to create as an artist.

MC: Haram mentions in the show that “Lady Marmalade” is a song she's wanted to cover since she was a trainee. What are some other songs that have been on your wishlist to cover?

Haram: We even have videos from when we were trainees practicing “Lady Marmalade,” learning the choreography, and singing along. It was always a song we dreamed of performing on stage. Getting the chance to perform it with the legendary Patti LaBelle made the experience even more meaningful for me and the members.

Sheon: Our wishlist also included songs like [Megan’s] “Mamushi,” but the one that drew me the most was “Savage.”

Suhyeon: I’ve long admired Tori Kelly, so as a trainee I spent a lot of time singing her songs. “Confetti” and [her cover of Stevie Wonder’s] “Don’t You Worry ’Bout A Thing” were songs that accompanied me through my growth and training. Performing songs I once sang only in practice in front of fans, as an artist, would feel truly special.

MC: If you were to have another K-pop/Western pop crossover moment, who would you want to collaborate with?

Haram: I really admire Jorja Smith, and if I had the chance, I would love to work with her. Her music has depth while feeling very contemporary.

Sheon: I’d love to collaborate with my musical role model: Daniel Caesar. His soulful melodies and heartfelt lyrics have always inspired me. Listening to songs like “LOVE AGAIN” [featuring Brandy] or “Best Part” [featuring H.E.R.] makes me imagine what it could be like with Billlie.

MC: What songs would you recommend to someone who just discovered Billlie and wants to dig in deeper?

Haram: “RING ma Bell (what a wonderful world).” Its hard rock-driven energy and powerful band sound showcase the force of our performance and our passion for the stage. It’s also one of the stages that helped shape Billlie’s powerful image, so I definitely recommend it.

Haruna: “trampoline” from our fifth mini album. With a nu-jazz foundation and warm melody, it highlights our vocals delicately and lets listeners naturally feel Billlie’s colors. Inspired by childhood memories of bouncing on a trampoline, it conveys freedom and hope. The song has been well-received on jazz charts both domestically and internationally, so I hope new fans give it a listen.

Suhyeon: “remembrance candy,” the title track from the same album. With lyrics written by IU, it’s a truly precious song that reflects on reclaiming lost memories and moving forward. It is important to understanding Billlie’s story and contains emotions everyone can relate to, so I think it resonates well with fans discovering us for the first time.

Tsuki: “GingaMingaYo (the strange world).” This song is especially meaningful to me, as it’s when I started receiving recognition for my expressive facial performance. Beyond the choreography, it expresses the confusion and questions everyone experiences growing up through bold sounds and unique moves. It showcases Billlie’s experimental and daring style, making it a perfect introduction to our diverse musical charms and stage presence.

MC: As you approach the group’s fourth anniversary on November 10, what goals do you have for the future as Billlie?

Moon Sua: Looking back, every moment wasn’t easy, but I know better than anyone that we’ve come this far because of the love and support from our fans. Looking ahead, we want to return that energy on even bigger stages. We hope to meet fans directly through various domestic and international performances and tours, while continuing to share music that carries our own stories and colors, expanding the world of Billlie. Our team has always aimed to push past our own limits through new challenges, and we want to carry that spirit forward—growing into artists who, five or ten years from now, will still be remembered for deep storytelling and powerful performances.

Suhyun: One of my biggest goals for the future is to expand Billlie’s musical boundaries through collaborations with artists from around the world. We’ve always enjoyed taking on new challenges and experimenting, and working with artists from different cultures and musical backgrounds is itself a huge source of inspiration. If we can use these encounters to express Billlie’s story and colors in new ways, we can share our music in fresh ways with even more people. Continuing Billlie’s story alongside diverse global artists is one of our major goals for the future.

This interview has been edited and condensed for clarity.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

Reneé Rapp will be the first to admit that working on her sophomore album Bite Me “was a bitch.”

“The first eight or nine months of writing this album was just me crashing out every day,” Rapp tells Marie Claire ahead of the record’s August 1 release. The 25-year-old singer/actress recalls feeling “slumpy” after a tumultuous period that spans the release of her 2023 debut Snow Angel, her departure from Sex Lives of College Girls, and her press run for Mean Girls. She explains, “When you want it so bad, sometimes those anxieties turn into a desperate need for control, and you are just being your worst critic and not allowing yourself any joy. It’s not the environment you want.”

On the other side, Rapp found an unrepentant bliss that she infused into Bite Me, a messy and masterful confessional filled with rock-tinged anthems, bombastic hooks, and soaring pop ballads. With standout tracks like “Shy” and “You’d Like That Wouldn’t You,” it’s an unrestrained record from someone who’s made it through burnout to discover her coolest self on the other side.

“I remember having so many days of feeling just so proud and impressed by myself—and I’m not typically impressed with myself,” she says. “I wanted to make songs that I thought were amazing, and I did. So whenever I get caught up in the promotion of it all, and the anxious soul sucking parts of it, I have to go back and remember that I made a body of work that I really fuck with.”

Here, Rapp shares the eclectic music that powers her life, from her ‘70s rock inspirations to the shared party playlist she and her girlfriend, singer-songwriter Towa Bird, listen to.

I stayed up until midnight on the East Coast to download and listen to [Chance the Rapper’s] Coloring Book. I was so fucking excited to listen to that album in full, and it did not disappoint.

I really wish I could’ve experienced Hall and Oates’s prime. Also, the early 2000s. The No Doubt era was really inspiring to me, [and] hip hop in the 2000s was so fucking fantastic.

There’s not an era of music I don’t like, except for maybe the majority of music that came out in 2020. There was some really fucking amazing music, still. But you know how that era was like, What seven-second clip is going to make a cute TikTok dance? That’s not really my kind of music personality, even though I can respect it, and there’s definitely a place for it. But I really love every era of music. It’s all so inspiring to me, and I have kind of an eclectic music taste, so I think it all serves a purpose.

I didn’t even watch it, but I just keep seeing clips of it: The 1975’s Glastonbury set. I was just like, damn. When you see “Somebody Else” in the car, I was like, I’m gonna kill myself, this is awesome.

And [when] I saw Beyoncé live for the first time. I saw Cowboy Carter. The fucking “Texas Hold ‘Em” riff actually puts the “Drunk in Love” riff to shame, which I thought could never happen.

It’s always Frank Ocean. That poor man, he’ll never hear the end of it [from] me. Every interview, I’m like, ‘Frank.’ He’s probably like, I need a search warrant on this woman.

Another one would probably be with Kendrick [Lamar]. One of my fucking dreams has always been to work with a rapper that I love so much and do a pretty singing hook on something, kind of like what [he and SZA] did with “luther.” My favorite kind of music is something that has a really gorgeous hook and amazingly written verses.

It’d be all my favorite artists: The Carpenters, Jazmine Sullivan—but an acoustic set—Frank, Beyoncé, Heart, Journey with Steve Perry, Hall and Oates. What I wouldn’t give to see “Sara Smile.” I know they don’t fuck with each other. Such a loss!

I know that everybody fucking loves Dijon all of a sudden. Everybody’s like, ‘Oh my god, Dijon, Mk.gee.’ I’m like, You guys are so late. But what am I, if not a head? I’ve listened to “The Dress” every day for a really long time.

My girlfriend and I have a playlist. This is our before we go out or in the gym kind of thing: It’s a lot of Stormzy, Kendrick, [FKA] twigs, RAYE, oh my god, there’s so much Charli [xcx], Pop Smoke, Megan [thee Stallion], J HUS, Syd, Burna Boy, Bad Bunny.

People wouldn’t want me there. I would play the best of Etta James. It would be bad. I don’t do well with passive listening to music, so I’m not really most trusted with the aux. Also, I get too drunk too fast, and you can’t trust me to be on my phone. Everybody always takes it away from me.

Aggressive people.

This interview has been edited and condensed for clarity.

Spike Lee’s latest film Highest 2 Lowest stars Denzel Washington as David King, a renowned music mogul whose biggest days may be behind him. Still, his legendary ear inspires up-and-coming artists to track him down and attempt to capture his attention with acoustic serenades in the lobby of his label’s offices.

One of the film’s breakout stars, singer-songwriter Aiyana-Lee, got her start in the industry in the exact same way. “That was me in every label,” the 24-year-old musician says. “I was sitting outside, pretending I had a meeting, waiting for the CEO, literally with a guitar and a karaoke mic. It made the film feel hyper-realistic.”

Now, the British-American artist (whose full name is Aiyana-Lee Anderson) has traded her makeshift impromptu stage for the theatrical spotlight. In Highest 2 Lowest, she plays Sula Janie Zimmie, another aspiring superstar who appears in King’s life as he contemplates the next stage of his career. Sula’s sanctioned audition in the film’s momentous ending scene leaves King—and the audience—moved by the singer’s undeniable talent.

Aiyana-Lee’s collaboration with Spike Lee began when she caught his attention on Instagram. Ahead of the A24/Apple film’s August 15 theatrical release, the singer tells Marie Claire that she was in “complete disbelief” when the auteur filmmaker slid into her DMs. “I had to check it a few times to make sure I wasn't tripping. My jaw dropped to the floor. I got up out of my bed. It was like 6:00 in the morning, and I woke my mom up and said, 'Girl, I think Spike Lee just DMed me.'”

Her title track on the film’s soundtrack is a joyous, gospel-tinged ode to resilience, making for the perfect coda to the genre-bending neo-noir about art versus commerce in a creative industry. While writing the song, the singer connected with the film’s “hyper-realistic” portrayal of the cutthroat music industry as it tries to adapt to the changing times. From moving to the U.S. at the age of 15 with just a karaoke mic and a dream, to building an online platform with over a million followers, Aiyana-Lee hopes her breakout moment can lend to the song’s message: “You can go from being at your lowest to reaching your highest potential.”

With Highest 2 Lowest in select theaters and the soundtrack out now, Aiyana-Lee chats with Marie Claire about sharing her first-ever movie scene with Washington, working closely with Lee, and how her family is integral to her music.

MC: Had you already read the film’s script when you were working on the title track? Did you know that it would be this triumphant final scene as you wrote the lyrics?

AL: For sure. It's funny because we probably wrote 10 songs before we got to this one. We have a folder full of Spike Lee joints on the hard drive, but it was such a great collaboration. Spike was super involved. He would call me every single day, and we would go back and forth on how we can get the best vibe for that moment, because it is such a big moment in the movie. He really knew what he wanted people to feel when they saw it and heard it, so we definitely went through a process of making sure that the energy fit for that moment. Everything that the characters go through and the vibe of the entire movie inspired having that 'crescendo,' as Spike would call it, moment at the end of the film with this song.

MC: What was it like when you got onto set to film the scene with Denzel Washington?

AL: I mean, it's Denzel! You know what I'm saying? I was super nervous beforehand, because you never know what you're going to get, and you're always afraid to meet your idols. But in this case, Denzel surpassed my expectations—firstly as a human being, let alone an actor. He was so welcoming, such a joy to be on set with, so electrifying to watch him in his element. I've never seen anything like it. [He] and Spike really made me feel so comfortable and so seen. They really encouraged me and believed in me, and took a chance.

MC: You share a lot of similarities with your character Sula, both musically and in your career trajectory. What was it like balancing playing someone so similar to you in real life?

AL: Spike has such a great mind and really knows what's going to fit for who and how it's going to work. In this scene, I felt like I had to be as authentic as I possibly could and stay as true to myself as I could, because I'd been through a similar situation, if not the exact same situation that this scene portrays in my own life—to the point where I was like, 'I'm having a bit of déjà vu.' It felt so close to home, and it was a joy to be able to bring myself to this character.

MC: You have a lot of songs like “My idols lied to me” and “Table for Three” that sound like they’re meant to be on a film soundtrack. What draws you to that style of music?

AL: I've always been drawn to things that feel cinematic and theatrical because I'm a very big persona in my own life, and I like to reflect it in my music. I definitely feel a comfort in that raw storytelling element. Storytelling in every form has always been the goal, whether it's acting or writing books or writing music.

MC: Your mother, Daciana-Nicole Anderson, is your creative partner and co-writer on the title track. What's it like working with her and having your family be involved in your singing career?

AL: It's amazing. She taught me everything I know when it comes to writing. We collab so much and so often, and I feel like we're literally the same person in two different fonts, so it's so easy to work together. Even on this song, I really was like, 'I can't play the piano, bro. Can you help me come up with some chords just for writing purposes?' She's been able to co-write so many songs with me on my own projects as well, and protect me from a lot of the crazy stuff that goes down in the industry. [She’s been] a guiding light for me, and she inspires me to push myself, not settle for things that are mediocre, and surpass what's accepted to pursue something that creates legacy. Without her, I don't know who I would've turned out to be.

MC: Who were your musical inspirations growing up?

AL: Because I grew up around my mom—who has always been a songwriter and an incredible one—I got to experience all kinds of music, from The Temptations with my uncle being David Ruffin to Christina Aguilera, who was off the charts, going crazy. I love Whitney [Houston], Mariah [Carey], Céline [Dion]. I've always enjoyed all the classic female vocalists. I love Michael Jackson. To me, he's the best artist in the world, the greatest that will ever be and has ever been. I think growing up around different types of music has helped me craft and pave my own way.

MC: You often discuss your mental health and your come-up as a musician on social media. What makes you want to be so open about your personal life rather than creating a separation?

AL: To me, it's one and the same. I wanted to be almost the quote, 'Be the change you wish to see in the world.' I saw so many different artists blow up, but I never really understood the story or got to see the step-by-step. You can compare yourself to so many different people online, but then you degrade yourself to a degree, thinking that they don't go through the same struggles you do. I never wanted to be that. I wanted people to see the grit of it all and be part of that daily journey and struggle, because if someone can see my journey and be inspired and think, ‘You know what, maybe I can do it as well,’ then that's a job done.

MC: What do you hope that both the general audience and aspiring musicians feel after they watch your final scene?

AL: I hope the takeaway is that you can go from being at your lowest to reaching your highest potential. If you stick through the times when you're broke, the times when you have nothing, and still see that bigger picture and vision despite whoever doubts you and tries to make you feel smaller than what you are. That's really what the song is saying as well: If a person can go through all that and still make it on top, then maybe I can do it as well.

This interview has been edited and condensed for clarity.

If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.

British electronic phenom PinkPantheress knows how to keep a party going. The hitmaker has a penchant for DJing when she’s out with friends, whether she’s at home in London or elsewhere. “There was one night in Bristol where I ended up playing some 2-step classics off my phone in this tiny kitchen at like 3 a.m.,” she tells Marie Claire. “Everyone was too tired to dance but still stayed to listen to the tracks—almost like, Don’t let the night end.”

That feeling is all over the 24-year-old’s frenetic new mixtape, Fancy That. The surprise release, which dropped in late May, is arguably PinkPantheress’s most certifiably British project to date. It's inspired by iconic DJs like Fatboy Slim and ‘90s U.K. garage, while also featuring the Y2K flares that captivated her Gen Z fans and made her an electro-pop musician to watch. She’s quickly become the frontrunner for the song of the summer crown since the album’s third single, “Illegal,” inspired a cheeky TikTok trend.