Billie Eilish's Only No. 1 Hit Demoted Again Within Her Discography
For much of her career, Billie Eilish has been known as the 'bad guy,' thanks to her breakout hit of the same name, which is the tune that propelled her to global superstardom. More than half a decade later, 'Bad Guy' is no longer the sturdiest in her catalog when it comes to chart longevity. As of this frame, another tune has passed it on the most important songs ranking in America.
'Wildflower,' Eilish's latest single from her most recent album Hit Me Hard and Soft, climbs on this week's Hot 100, pushing from No. 58 to No. 44. This marks its fiftieth frame on the ranking of the most consumed songs in America.
Now that 'Wildflower' has lived on the Hot 100 for 50 weeks, it breaks its tie with 'Bad Guy' and officially becomes Eilish's second-longest-charting track ever. 'Bad Guy' remained on the tally for 49 periods between April and August of 2019. While it has now been demoted to third place on the list of her longest-running wins on the Hot 100, it is still her sole No. 1.
Meanwhile, 'Birds of a Feather' continues to extend its lead as Eilish's track with the most time spent on the Hot 100. The biggest single from Hit Me Hard and Soft inches closer to the top 10, lifting four spaces to No. 13 after previously topping out at No. 2. It does so as it reaches 54 weeks on the roster, and it seems likely to continue adding to that total in the coming frames.
'Wildflower' is performing so well in the U.S. thanks to a healthy mix of streaming activity and radio attention. The track appears on multiple streaming-only tallies, and it currently sits at No. 6 on both the Rock Streaming Songs and Alternative Streaming Songs rankings. The tune is also rising at top 40 radio, and this time around it manages to climb to a new all-time high of No. 15 on the Pop Airplay chart.
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The case of Leslie Abramson vs. Marcia Clark: Ari Graynor and Sarah Paulson on ‘defending' their characters
Marcia Clark and Leslie Abramson may have been on opposite sides of the legal aisle, but the women who played them on TV — Sarah Paulson and Ari Graynor — are actually close friends. It stands to reason — beyond those impossibly curly wigs, they're both magna cum laude graduates of Ryan Murphy Acting University, trained in bringing humanity and depth to their real-life counterparts, and upending long-held public perception. "I learned a lot about how what we see we cannot take at face value, even when we think we know a story, we really know so little of it," says Graynor, who's contending for a leading actress nomination for Monsters: The Lyle and Erik Menendez Story. "I think this was such a massive reminder about the speed with which there is immense judgment and feelings of assurance of knowing exactly what someone is, what something is, and it never being the full story.' 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Gold Derby: Sarah, given the way that crossed over with the O.J. case, I kept wondering if you were going to have a cameo as Marcia. Sarah Paulson: Listen, if Ryan had called and asked me to do it, nothing would have made me happier. Because when I was watching it, I, too, was like, "Wow, this is so wild, the time period that this took place in." These two women obviously at different ends of the judicial spectrum — what a wild time for both of these women to be thrust into the spotlight, women who are very successful in their in their own right, but to become these women who are so public facing, having not really been that for the bulk of their careers. I would love if he had asked me to be part of it, even for a second. When you play real people, it engenders a real sense of responsibility and you fall in love with the person you're playing, and that never really happened to me until I played Marcia. Ari Graynor: You hadn't felt that way before Marcia? Paulson: No. I just would literally go to the mat with anyone who wanted to argue with me pre the show coming out. After the show came out, people reshuffled their thoughts and feelings about Marcia, thank goodness. But prior to it coming out, people really wanted to talk to me about what Marcia had done incorrectly and where the fault lay with her. I would get so angry about it! It really, really bothered me, because I obviously felt I had much more information than your average person, because we'd been working on the show, and most people were just making their assessments based on whatever was put in front of them on the nightly news. So it made me angry. I had never really felt that way about wanting to defend a person I was playing. It was that really creepy actor thing that happens sometimes I couldn't tell where I ended and she began in a way, because it was so immersive for me. Was it like that for you? Graynor: It was absolutely like that for me. I also felt very early on that being an actor and being a defense attorney is not so dissimilar in that your job is to singularly stand behind your character or your client, understand them and how you've arrived at this moment and who they have become, how they have become who they have become, with as much detail as humanly possible and without judgment. I fell completely in love with her right from the start. I felt like I was her defense attorney as well. It was everything of why she was the way she was, why she had that spirit, how much she cared about not only these boys, but the defense of the judicial system, and the belief that everybody deserves a defense, and that people are not the worst thing that they do. It was about understanding her history and how she grew up. Her earliest memories were of the Holocaust and of seeing photographs of her family and then trying to track if anyone was in there. 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But I think at the end of the day, there was a certain amount of faith that when you're also doing the psychological deep dive work, with what was available to me historically and in her book, but then also my own interpretation of what that means, I think, hoping and having faith that that would provide the foundational element of artistic expression that is not just a mechanical impersonation. SEE Ari Graynor to submit as Lead Actress for 'Monsters: The Lyle & Erik Menendez Story' (exclusive) Paulson: There was no shortage of footage, but there was so little of her in her daily life. It was all public Marcia. How do you determine how to calibrate so that you honor all these little moments? Like when I come into the courtroom with my new haircut and Sterling scrawls, "You look fantastic." There was no way to really know what was communicated. There was no way to know what happens in the elevator with them on the way to the courtroom. There's no way to really know what it's like up in the law offices before they're in in the courtroom. But my favorite things to watch was the footage that was in the hallway when she would be just walking to and from the courthouse, or while she was in the building on her way to the courtroom. She also wrote a book, so I had the book as her version of the events. And then some of it is that beautiful alchemy where I feel like, for whatever reason, I was the right person to play her. Some indefinable, unknowable thing — it's not tangible. There was just some magical thing that just felt it was part of me molecularly. I just felt as if I knew her, and I had no reason to think that. Because I certainly didn't know her and didn't get to meet her until way, way after. Graynor: But there's something so incredible about it — it's like magic when it happens. You're not doing something wild in some Marcia-y way. And yet you look at your face and you are just her. It is like looking at a photograph of her. Paulson: And it's not because of some prosthetic, and it's not because of some makeup, though the wigs, obviously, for both of us, were integral to convincing the audience of who we were. I just think there is something that happens that's magic. God knows she was really lucky that it was you. Ari, I know you didn't get to talk to Leslie, but if there was one question you could ask her, what would that question be? What would you want to have wanted to know from her? Graynor: Probably the question really would have been about what it was like for her after the second trial and that chapter was done and out of her hands, and how that changed her, because my perception of her was that that was the great heartbreak of her life, second to her father abandoning her as a child. I think it was just a massive heartbreak for her that she was unable to get them out. 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And anybody in the same position, male, female, would have wanted to do their job to the best of their ability. Just the idea that they were having to wade through all this, not only with their lives in the background, and not really having a safe port, it's really isolating and very lonely. And so all these years later, I continue to marvel at how she did it, and just wish that she never had to go through it at all, quite frankly. SEE'I felt so proud of myself': 'Monsters' star Cooper Koch on awards buzz, filming 'The Hurt Man' episode, and advocating for the Menendez brothers What does it mean to each of you to have been part of something that truly changed national conversation? Paulson: I can say truthfully that first of all, I didn't approach the work with any expectation or aspiration for any of that to happen. And maybe why it had the effect that it did is that there was no reaching on my part to have anybody recalibrate their thoughts or assessments of her. 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It was a gift that I will carry with me for my entire life and career. Ari, did Sarah give you any advice before taking on this role? Graynor: She said your job is to protect Leslie. You are there for Leslie, and that is the only thing you have to worry about. You go in, you have her back. I knew I won the lottery getting this gig. You know what a gift this is, and you know what a massive opportunity it is, and you just don't want to blow it for them, for Ryan, for yourself. Paulson: When you're jumping into something with the awareness of what has preceded you, it's really overwhelming and can be totally detrimental to scary keeping your eyes on your paper and doing the thing you've gotta do and telling the story and not thinking about the result or the consequence or the aftermath or how anyone's going to perceive it. It's really none of our business. The job is in front of you to be done. 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