Michael Jackson’s Catalog Keeps Breaking Its Own Record in Week Three of the Michael Biopic Run

Three weeks into the Michael biopic’s run, Michael Jackson is still posting new highs. His catalog has now set a fresh weekly streaming record for the third week in a row, and the ripple effect is reaching well beyond the songs that actually appear on screen.

For the May 1-7 tracking week, Jackson’s solo catalog pulled in 181.6 million official on-demand streams in the U.S., according to Luminate. That marks a 32% jump from last week’s then-record 137.6 million, which had already surged 146% from a previous peak of 55.9 million. At this point, the pattern is hard to miss: the biopic is still turning familiar Jackson songs into major streaming events.

“Billie Jean” stayed on top of the pack with 14.8 million official on-demand streams, up 31.7% from the week before. That surge also showed up on the Billboard Hot 100, where the seven-week former No. 1 climbed 38-17. “Beat It” and “Human Nature” followed as the biggest performers in Jackson’s catalog, with 11.4 million and 10.8 million streams, respectively.

The current pace suggests the streak may not be done yet. Based on early reports to Luminate, Jackson’s solo catalog had already cleared 86 million official on-demand streams from May 8-10 alone. If that daily rhythm holds in the high 20 millions, another personal best looks very possible, with a 200 million-plus week not entirely out of reach.

Janet Jackson Is Seeing a Lift Too

Janet Jackson was left out of Michael entirely, a strange omission for a family story that otherwise leans so heavily on the Jackson name. She isn’t portrayed in the film, and she isn’t mentioned either. La Toya Jackson said Janet “kindly declined” to be depicted in Michael, according to Variety.

Still, the absence hasn’t stopped Janet’s own catalog from moving. Her numbers aren’t anywhere near her brother’s current surge, but they are up. For the week ending May 7, Janet logged more than 9.4 million official on-demand streams in the U.S., her strongest week of 2026 so far and a 31% increase from the 6.9 million she had two weeks earlier, according to Luminate.

A good portion of that growth comes from “Scream,” the only song co-credited to both Jackson siblings. The duet pulled nearly 1.2 million streams in the latest tracking week on its own. Even without it, though, Janet’s catalog was still up 20% from two weeks earlier, adding nearly 1.4 million streams. A Janet biopic of her own? At this rate, it doesn’t sound far-fetched.

The Chemical Brothers’ “Go” Gets a Netflix Boost

Apex, Netflix’s new survival thriller starring Charlize Theron and Taron Egerton, has become a hit in its own right. It has also given a serious second life to The Chemical Brothers’ 2015 track “Go.”

The Q-Tip-assisted song appears in the film’s official trailer, which arrived March 25, before showing up again in the movie itself when it landed on Netflix April 24. From there, the reaction snowballed. Viewers latched onto Taron Egerton’s eerie villain dance scene, and a meme challenge built around the song followed. On TikTok, the official “Go” sound has passed 68,000 clips, with most users spoofing the “I thought you liked danger” line from the film. The track also appears in nearly 60,000 Instagram Reels, with runners and gym regulars among the people using it most.

According to Luminate, “Go” had over 91,000 official on-demand U.S. streams the week before Apex arrived on Netflix. In the film’s debut week, that total climbed more than 431% to over 487,000. The next week it jumped another 167% to 1.3 million, meaning the song has risen more than 1,319% over the past two weeks. It’s also become The Chemical Brothers’ highest-charting hit on Dance/Electronic Songs, where it now sits at No. 9.

Katy Perry’s “The One That Got Away” Finds New Life Online

Katy Perry keeps landing in the headlines, and this time the attention is on a song that’s 15 years old. “The One That Got Away” was already one of the defining singles from Teenage Dream, peaking at No. 3 as the album’s sixth single. Now it’s having another stretch of visibility thanks to a slow-burn resurgence across streaming and social media.

Over the past year, the ballad has steadily picked up steam. This winter, it became a go-to song for fans saying goodbye to fictional romances, especially around the final season of Stranger Things last November and December. By spring, the uses had broadened. Some TikTok users paired it with stories of escaping domestic violence or with over-the-top defenses of loved ones. Others used it to mourn fictional romances from Euphoria, the supposed real-life friendship between Rihanna and Perry, or Manon’s hiatus from KATSEYE. A separate strain of posts leaned into nostalgia, with users reflecting on how deeply the song still lands 15 years later.

The streaming numbers match the online churn. Between March 6-12, “The One That Got Away” logged over 2.8 million official on-demand U.S. streams. By April 3-9, that had climbed nearly 40% to more than 3.9 million. Then, by May 1-7, it jumped another 56% to over 6.2 million, a 118% increase over the past two months.

Perry has clearly been paying attention. On April 21, she shared a “director’s cut” of the video, narrated by Stevie Nicks, then used an acoustic version of the song for clips from her Met Gala glam session. She also trolled Josh Groban’s engagement announcement by soundtracking a screenshot of the news with “Got Away.” On May 13, she released a new compilation album, The One That Got the Plays, with “Got Away” placed first on the tracklist. The song is now Perry’s highest-charting entry on the Billboard Global 200 since the chart launched in September 2020, reaching No. 37.

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