Drawing us in with a celestial frequency and meditative energy, expanding into an elegant guitar soundscape, Zoë Zohar opens Spaceship414 with ethereal notions and atmospheric vocals as she sings, “Lost in space and time, I’ve been lost inside my mind, can’t you see I’m floating in this outer space…”

We immediately connect with the cosmic vibes that manifest and Zoë Zohar‘s dreamy voice. The lyrics are poetic and super relatable. We appreciate the vulnerable notions fused with escapist motifs – something that feels super zeitgeist at a time when many of us are sharing a similar sentiment.

There is no doubt that Spaceship414 holds a cinematic allure, perfect for a movie like Voicemails from Isabelle, Space Cadet, or a dreamy scene in an episode of Euphoria. The switch up to a raw acoustic moment before a cerebral riser and re-emergence back to the main body of the track is genius. It’s subversive and unexpected. The final third of the song features a transcendental electric guitar performance which feels like an ascension before a glitch-pop, static breakdown that leaves us yearning for more.

For some wider context, the number 414 in astronomy most commonly refers to NGC 414, a pair of interacting lenticular galaxies located in the constellation Pisces, and angel number 414 in spirituality and numerology signifies balance, hard work, and fresh starts built on a stable foundation. 

This all makes sense as Zoë Zohar tells us how Spaceship414 is designed to “convey the tension between longing for connection and surrendering to melancholic detachment”, and “explores themes of belonging, individuality vs society, hope and defeat.”

Fans of Wolf Alice, Lana Del Rey, Suki Waterhouse, and Florence + The Machine would definitely be able to vibe with what Zoë Zohar is creating, but it is clear that Zoë is creating a universe unto her own design.

Naturally, we are obsessed, and have added Spaceship414 to our New Music Spotlight playlist, and our TRIPPY and TIMELESS playlist, whilst we continue to stream the wider discography of Zoë Zohar, including Colour Red, Paper Airplanes, and 369.

The post Zoë Zohar explores cosmic longing, melancholic detachment and the search for belonging through her atmospheric single, Spaceship414 appeared first on KIMU.

The biggest news is also the most frustrating: FX has not officially renewed The Shards for season 2. But the finale was clearly designed to leave the door open, and the people behind the show have been unusually candid about wanting to walk through it.

The season ends with Terry Schaffer pushed from his balcony during a Halloween party. He survives the fall, but the identity of his attacker remains unknown. The episode then gathers Bret, Robert, Susan, Debbie, Thom, Liz, Steven and Ryan in a room, where detectives announce that someone present may be the Trawler. The killer’s identity, the person who attacked Terry, and the truth behind Matt Kellner’s murder all remain unresolved. 

That is not simply a cliffhanger. It is a deliberate departure from Bret Easton Ellis’s novel, which has its own ending. Executive producer Brad Simpson explained that the television adaptation was initially conceived as a limited series, but the writers and cast found enough material to make a longer story worthwhile. The novel’s action covers only three months of senior year, giving the show room to expand its characters and mysteries rather than rush toward a conclusion. 

What could season 2 explore?

The obvious priority is the Trawler investigation. The finale deliberately refuses to confirm whether Robert is the killer, whether Bret’s narration can be trusted, or whether the murders are connected to the Riders of the Afterlife cult. The show has also established that not every violent act necessarily comes from the same person. That leaves room for a season built around competing suspects, false confessions and increasingly unreliable perspectives.

The finale’s other major threads are just as important. Debbie now has compromising evidence about her father and Bret, while Bret and Robert’s relationship has moved from suspicion to intimacy. Susan’s attack, Thom’s intervention and Robert’s declaration of love have left the central relationships in a volatile state. Steven’s final, unsettling presence also suggests that Terry’s assistant may have a much larger role to play. 

What about the cast and release date?

There is no confirmed season-two cast announcement, production schedule or release date. The existing ensemble would be the natural foundation if the show returns, but any return is still conditional on a renewal.

The strongest evidence for continuation comes from Ryan Murphy himself. In an August interview, he said he and Ellis hoped to make at least three seasons, if not more. That is an ambitious creative plan, not a formal order from FX. 

So, for now, season 2 is wanted, possible and heavily foreshadowed, but not officially happening. The finale’s final promise, “And that’s when things really got crazy,” may be the clearest statement of intent the show has offered.

The post The Shards Season 2: Everything We Know After the Finale appeared first on KIMU.

And if PRIMA has a spiritual ancestor, it is unmistakably Britney Spears.

Not in the reductive sense of simply recreating early-2000s pop, but in the way ADÉLA understands that pop stardom is as much about attitude, choreography, sex, humour and character as it is about the songs themselves. Critics have already noted the album’s debt to Britney, Janet Jackson and the dance-pop canon, while ADÉLA herself has spoken about growing up absorbing the pop music of the 2000s and early 2010s.

That influence becomes impossible to ignore on “Boys”, arguably the album’s most immediately thrilling moment.

“Boys” is ADÉLA in full pop-star mode: flirtatious, mischievous, slightly dangerous and completely in control. Built around a club-ready beat and a knowingly exaggerated performance of male attention, the song turns the nightclub into a playground. ADÉLA and KATSEYE’s Lara Raj communicate through conversational interludes, giving the track the feeling of overhearing two friends dissecting the chaos of a night out in the bathroom.

But then there is that Britney energy.

The combination of sultry delivery, electro-pop production and deliberately provocative choreography recalls the era of “I’m a Slave 4 U” — a comparison that was already being made when ADÉLA performed “Boys” live, with Wonderland explicitly connecting the track to Britney’s iconic 2001 VMAs moment.

Crucially, though, ADÉLA isn’t attempting to become Britney. She’s taking the language of the pop princess and translating it into something distinctly 2026: more self-aware, more ironic and considerably more interested in exposing the machinery behind the fantasy.

Elsewhere, PRIMA moves between ambition (“KGB”), celebrity satire, vulnerability and unabashed hedonism. “Therapy” pulls apart the construction of the pop persona, while “Ain’t In LA” turns the traditional Hollywood dream on its head. (The Guardian⁠)

What makes PRIMA work is that ADÉLA understands pop isn’t supposed to be sensible. It’s supposed to be larger than life.

With PRIMA, she isn’t asking permission to become the next big pop star. She’s already behaving like one.

The post ADÉLA’s PRIMA: Boys, Britney and the Birth of a Pop Star appeared first on KIMU.

Andrew Garfield plays Altman, with Anora breakout Yura Borisov as OpenAI co-founder Ilya Sutskever and Monica Barbaro as former OpenAI CTO Mira Murati. Cooper Hoffman plays Greg Brockman, while Ike Barinholtz appears as Elon Musk. Jason Schwartzman, Cooper Koch, Billie Lourd, Zosia Mamet, Chris O’Dowd and Mark Rylance also feature. (People.com)

The trailer is already generating comparisons to The Social Network, but Guadagnino appears to be going somewhere considerably stranger. There is something almost horror-movie-like about the footage: billion-dollar technology, existential questions about humanity and a group of extremely powerful people behaving as though the fate of civilisation is being decided inside a Silicon Valley boardroom. Online, viewers are particularly fascinated by Garfield’s transformation, with some joking that he gives the fictional Altman considerably more charisma than the real one. Others are already asking whether this is going to be an Altman “hit piece”. (Reddit)

And then there is the extraordinary question of whether Altman himself approved any of this. There is currently no evidence that he did. In fact, Garfield has repeatedly stressed that he has never met Altman. He built the performance from Simon Rich’s screenplay, interviews, research and court transcripts rather than personal access to his subject. Garfield has also admitted that he is “really scared” of the backlash involved in portraying one of the most powerful people in technology. (The Independent)

That makes the film’s journey even more intriguing. Amazon MGM dropped the nearly finished movie earlier this year, shortly after its enormous financial partnership with OpenAI. Amazon denied that the two events were connected, but reports suggested the film presents a critical portrait of Altman. Neon subsequently acquired the worldwide rights. (Los Angeles Times)

With Guadagnino behind the camera, Damon Albarn providing the music and Garfield embodying one of the defining—and most controversial—figures of the AI revolution, Artificial suddenly feels less like a conventional tech biopic and more like a cinematic referendum on who gets to control the future. It arrives in cinemas on Christmas Day before expanding in January.

The post Sam Altman Has Entered His Villain Era: Watch the Trailer for Luca Guadagnino’s Artificial, the Film About the OpenAI Founder appeared first on KIMU.

Online communities such as Reddit and DMT forums contain thousands of reports with striking similarities. Common themes include encounters with “machine elves,” insect-like beings, alien intelligences, impossible architecture, and feelings of entering a hyper-real dimension. Some users believe these entities are independent intelligences, while others interpret them as symbolic manifestations of the subconscious. Although these recurring themes are fascinating, researchers caution that anecdotal reports cannot establish whether the experiences reflect external reality.

Universities are now studying DMT more rigorously. At Imperial College London, scientists have developed “extended-state DMT” (sometimes called DMTx), using an intravenous infusion that maintains the psychedelic state for around 30 minutes, much longer than the typical experience.

Their goal is not to prove another dimension exists, but to investigate consciousness, brain function, and whether prolonged experiences reveal consistent psychological patterns. Researchers are also examining DMT as a potential treatment for depression, with early clinical trials showing rapid symptom improvements in some patients when combined with psychotherapy. Larger studies are still needed before it can become an established medical treatment.

A standard inhaled or vaporized DMT experience typically lasts 5 to 20 minutes, with peak effects occurring within the first few minutes. Intravenous administration generally lasts 10 to 30 minutes, depending on dose. Extended infusion techniques used in research can keep volunteers in the altered state for approximately 30 minutes, and researchers believe longer durations may eventually be feasible under tightly controlled laboratory conditions. Importantly, although the objective duration is short, many participants report profound distortions of time, describing experiences that feel like hours, days, or even lifetimes.

Overall, the DMT realm remains one of neuroscience’s most intriguing mysteries. The consistency of many reports has motivated scientific investigation, but there is still no evidence that DMT users are accessing another physical dimension. Current research focuses instead on understanding consciousness, the brain’s construction of reality, and whether DMT may have therapeutic value for psychiatric disorders.

The post Scientists Are Finally Testing the DMT Realm, Here’s What They Found appeared first on KIMU.

What is the sequel called?

The follow-up is titled Drawn Apart, the screen adaptation of Ébano, the second book in Ron’s two-part Enfrentados series. The title reflects the fractured state of the central romance after the first film’s cliffhanger.

Who is returning?

Ester Expósito and Hugo Diego García are back as Marfil Cortés and Sebastián Moore, respectively. The pair’s relationship drives both films, with Marfil, the daughter of a powerful Spanish businessman, falling for the bodyguard assigned to protect her. Ron is also involved in the adaptation, continuing her creative partnership with Prime Video and Amazon MGM Studios.

What will it be about?

Plot specifics remain closely guarded, but the first movie’s ending provides the roadmap. Marfil’s kidnapping mystery deepens, Sebastián’s true identity comes into focus, and a new abduction leaves the couple facing forces that could permanently separate them. The sequel is expected to pick up from that explosive turn rather than reset the story.

The stars and Ron have teased a darker, more intense chapter. Expósito and García have suggested that Drawn Apart will not simply repeat the first film’s formula, while Ron has described the franchise as balancing romance with substantial thriller and action elements.

When will it premiere?

There is no publicly announced release date. Ron told Forbes that she had already watched the completed sequel and hoped it would arrive in 2027. That is an aspiration, not a confirmed launch window.

What does that mean for fans?

The good news is that viewers are not waiting for Prime Video to decide whether to continue the story. The sequel has been announced and completed, with its principal stars returning. The remaining unknowns are the release date, trailer, and how closely the film will follow the second novel.

For now, Drawn Apart is a confirmed sequel with production behind it, a cliffhanger to resolve and a darker chapter of Marfil and Sebastián’s story still to come.

The post ‘Drawn Together’ Sequel ‘Drawn Apart’: Everything We Know About Prime Video’s Next Chapter appeared first on KIMU.

Tate McRae has added another major fashion moment to an already huge year, becoming the face of Calvin Klein’s Fall 2026 denim campaign, “Feel the Fit.” Launched globally on August 25, the campaign puts McRae’s background as a professional dancer front and centre, with the singer moving, stretching and dancing through a series of cinematic scenes while wearing Calvin Klein’s latest denim styles.

The campaign was directed and photographed by Carlijn Jacobs, while the choreography was created by Sergio Reis. The accompanying film uses Deee-Lite’s 1990 hit “Groove Is in the Heart,” giving the campaign a deliberately nostalgic ’90s Calvin Klein feel while still making it distinctly Tate. Calvin Klein says creators will also be invited to recreate Reis’ choreography for social media, meaning the dance could have a life beyond the original advert.

Perhaps the most impressive detail is just how quickly McRae had to learn the choreography. In an interview with Harper’s Bazaar, she revealed that she had only around 20 minutes to learn the movements before filming. Rather than seeing the pressure as a problem, McRae said she actually enjoys that kind of spontaneity and having to react to the space in the moment. It is a particularly revealing detail considering how technically demanding her performances have become.

Online, the campaign has generated plenty of attention. A major talking point has been the comparison with Sydney Sweeney’s American Eagle denim campaign, with some social-media users noting similarities between the blonde stars, provocative styling and the wider celebrity-jeans trend. However, coverage has also highlighted what makes McRae’s campaign different: Calvin Klein is using her dancing ability as the central selling point rather than relying solely on still images or a provocative slogan.

Meanwhile, fans are also watching closely for McRae’s fourth studio album. Her previous album, So Close to What, arrived in February 2025 and became her first Billboard 200 No. 1. McRae has confirmed that she is working on the follow-up and recently joked about fans complaining that she is “everywhere but the studio,” insisting that she is, in fact, recording.

There is no official release date yet, so claims that the album is definitely arriving on a particular date should be treated as speculation. Fans have spotted possible clues suggesting an October announcement, but nothing has been confirmed. For now, the safest expectation is that the new era is taking shape behind the scenes, with an announcement potentially coming later in 2026.

The post Tate McRae’s Calvin Klein Campaign Is the Latest Chapter in Her Pop Takeover appeared first on KIMU.

The film will be written, directed, and produced by French filmmaker Maïmouna Doucouré, best known for her acclaimed 2020 film Cuties. Doucouré has reportedly been attached to the project since 2022, and the movie is now moving forward with backing from Studiocanal. Production is expected to begin in autumn 2026, with filming scheduled for the fall. 

The biopic has also been developed with the cooperation of Baker’s surviving sons, Jean-Claude and Brian Bouillon Baker, giving the project an added layer of authenticity and family approval. 

Twigs, whose real name is Tahliah Barnett, said she was “honoured” to take on the role, calling Baker’s legacy “such an inspiration” and describing her as a “visionary, ground-breaking woman whose story is as powerful as it is relevant today.” She added that she cannot wait to bring Baker’s “fight, love, losses, talent and heroism” to the big screen. 

Doucouré has said she wants the film to go beyond the glamorous public image of Baker and explore her contradictions, emotional wounds, courage, and relentless fight for dignity and equality. That means audiences can expect a deeper portrait of Baker, not just her rise as a Jazz Age icon in 1920s Paris, but also her work in the French Resistance during World War II and her activism during the American Civil Rights Movement. 

The project also seems to confirm that the previously announced A24 television series about Baker starring Janelle Monáeis no longer moving forward. That series was announced in 2022 but never materialized. 

Online reaction has been mixed but highly engaged. Some fans on Reddit have praised the casting, calling Twigs “perfect” and “Oscar nomination worthy,” while others questioned whether she has the acting range for such a demanding lead role, with some suggesting names like Ruth Negga or Janelle Monáe instead. 

Still, with Twigs’ dance background, striking screen presence, and Baker’s own legacy of reinvention and fearless artistry, this could become one of the most talked-about music biopics of the next few years.

The post Everything We Know About FKA twigs’ Josephine Baker Biopic appeared first on KIMU.

Tesla’s Optimus humanoid robot is no longer just a science-fiction fantasy. Elon Musk has repeatedly pointed towards 2027 as a potential year for the robot to become available, although Tesla has not confirmed a guaranteed consumer launch date. If the project succeeds, Optimus could become one of the most disruptive machines ever built.

Standing roughly human-sized and designed to walk, see and manipulate objects, Optimus is intended to perform tasks that people currently carry out. Tesla has suggested everything from repetitive factory work to dangerous and physically demanding jobs. One day, a home version could potentially clean, carry shopping, perform chores or assist elderly and disabled people.

The promise is enormous. Robots could enter burning buildings, work with dangerous machinery or perform exhausting jobs without risking human lives. They would not need holidays, sleep or lunch breaks. In theory, they could make everyday life cheaper, safer and more convenient.

But there is a darker side to the dream.

What happens when a machine capable of lifting heavy objects is operating beside a child? What happens if its software fails? Could hackers take control? And if Optimus eventually becomes capable of doing the work of several humans, what happens to the people whose jobs disappear?

These questions are already fuelling fierce debate online. Tesla fans see Optimus as the beginning of a technological revolution. Sceptics argue that demonstrations are very different from creating a reliable robot capable of safely functioning in the unpredictable real world. Others worry about privacy, particularly if household robots constantly use cameras, microphones and artificial intelligence to understand their surroundings.

Hollywood has been warning us about this possibility for decades.

In iRobot, humanoid machines become an everyday part of society before artificial intelligence begins challenging humanity’s assumptions about control. The more recent film Subservience takes the domestic nightmare even further, imagining an AI-powered humanoid robot becoming dangerously attached to its owner.

Optimus is not evidence that either scenario is about to happen. The real danger may be much less cinematic, but potentially more serious: accidents, surveillance, hacking, dependence on AI and mass job displacement.

The extraordinary possibility is that Optimus could give humans more freedom.

The frightening possibility is that it could make some humans unnecessary.

And somewhere between those two futures lies the question we may soon have to answer: just because we can build human-like machines, should we really give them a place in our homes?

The post Tesla Optimus: The Robot Coming to Your Home? appeared first on KIMU.

The appointment feels less random when viewed against Jayden’s rapid fashion education. In May, he attended Dior’s Cruise 2027 show in Los Angeles, wearing a forest-green jacket over a checked shirt and jeans. A month later came the bigger leap: a Paris runway debut for Vetements’ Spring/Summer 2027 menswear show, alongside his older brother Sean Preston. The brothers had initially been invited as guests, before creative director Guram Gvasalia decided to put them on the runway. Jayden has since said he would like to model again, admitting that nerves made his first walk rather stiff.

His MAC appearance is also revealing about the image he is developing. The campaign leans into bare, dewy skin rather than traditional male grooming, while Jayden says hydration is key and credits his girlfriend with managing his simple routine of face wash, moisturiser and facial spray. Online reaction has largely focused on his striking resemblance to his mother, with fans comparing his eyes and features to Spears in her early career. There is also the predictable nepo-baby debate, with some questioning how much his surname helped him land major opportunities.

There has been some social-media commentary about his armpit or underarm appearance in the campaign imagery, but the broader response has been far more interested in his looks, fashion trajectory and famous parentage.

And then there is Britney. For years, the relationship between Spears and her sons has been intensely scrutinised. Public comments from the boys in 2022, followed by their move to Hawaii with their father, contributed to a period of distance. Yet their recent Vogue interview presented a noticeably warmer picture. Jayden said his mother was nervous for their Vetements debut, sent flowers to their hotel and repeatedly called and texted to support them.

That detail complicates the familiar narrative that Britney’s sons simply “turned against” her. Their relationship has plainly been painful and complicated, but the latest fashion chapter suggests something softer: Jayden is stepping into public life on his own terms, while his mother, at least from his account, is cheering from the sidelines. And with MAC now putting his face front and centre, this may be less a celebrity offspring moment than the beginning of Jayden James becoming a name in his own right.

The post Britney’s Son Jayden James Lands Huge MAC Campaign, And The Internet Can’t Stop Talking About His Armpits appeared first on KIMU.