Tate McRae is back with Housewife, a single that invites us into a world where femininity, desire and independence collide. The track marks the beginning of a new chapter for the Canadian pop star, who appears ready to play with the expectations placed on women while leaning into a more surreal, psychedelic pop aesthetic. McRae has described the song as being about a woman who cannot be contained, setting the stage for a playful but pointed exploration of what it means to be a woman on your own terms.

At the heart of Housewife is the tension between the traditional domestic ideal and the reality of a woman who refuses to be defined by it. The title immediately conjures images of marriage, motherhood and domestic responsibility, yet McRae’s visual language suggests something far less conventional. The single artwork, featuring the singer in a red bikini pushing a stroller filled with cash, turns familiar symbols of family life into a statement about ambition, wealth and personal freedom. Rather than suggesting that femininity and domesticity are inherently restrictive, the concept challenges the assumption that women must follow a prescribed path to be considered fulfilled.

That tension gives the song a distinctly feminist edge. The housewife stereotype has long been used to frame women’s value around their relationships and their ability to care for others. McRae’s approach appears to reclaim the label, asking who gets to decide what a woman should want. There is room here for irony, seduction and contradiction, qualities that make the concept feel more interesting than a straightforward declaration of independence with the hook, “I just wanna make a lot of money, be my own housewife… You could be the one I’m calling honey, be my sex on the side…”

Sonically, Housewife leans into psychedelic pop, with an atmospheric, slightly hazy sensibility that evokes Lana Del Rey’s cinematic vocal style. There is a sense of drama in that approach, allowing vulnerability and confidence to exist side by side. Yet McRae’s signature production sensibility keeps the track rooted in contemporary pop, with rhythmic precision and a sleek, beat-driven energy that complements her sharper, more assertive persona.

The music video set in Southern Europe extends the song’s central tension into a visual world where glamour and domestic imagery meet. Its provocative premise invites viewers to question whether the idealised housewife is a genuine aspiration or a role imposed by society. The contrast between polished femininity and unapologetic ambition creates a surreal, almost dreamlike atmosphere that reinforces the track’s psychedelic edge.

Ultimately, Housewife finds McRae exploring a compelling contradiction: a woman can embrace femininity without surrendering her autonomy. Blending hazy, Lana-esque vocal moods with her own distinctive pop production, she delivers a fresh perspective on gender expectations, identity and self-definition. It is a confident step into a new era, where femininity is not a box to fit inside, but something to define for yourself.

The post Tate McRae’s Housewife Is a Psychedelic Pop Twist on Feminine Expectations appeared first on KIMU.

What do you really know about dairy? It is a question at the heart of Viva!’s powerful new 30-minute documentary, What Do You Really Know About Dairy?, which challenges generations of assumptions about milk, nutrition and the realities of modern dairy farming.

We were delighted to attend a private screening at THIS UK’s headquarters in London last night, for an evening that brought together important conversations about animal welfare, health and the influence of the dairy industry.

Presented by Juliet Gellatley, founder and director of Viva!, the film investigates how dairy became so deeply embedded in our understanding of a healthy diet. Featuring registered dietitian Rosie Martin, alongside haematologist Dr Shireen Kassam and gastroenterologist Dr Alan Desmond, it examines the evidence behind familiar nutritional claims and asks whether dairy really is essential for human health.

The documentary explores the biological reality of milk production: cows must become pregnant and give birth to produce milk. Their calves are typically separated from them within hours of birth, raising difficult questions about the emotional bond between mother and offspring. Female calves may enter the dairy herd, while male calves face different outcomes, including rearing for meat or slaughter.

It also challenges the belief that dairy is necessary for strong bones, examining the science behind calcium, bone health and the nutritional claims repeated through advertising, public campaigns and popular culture. The film encourages viewers to consider how plant-based foods can provide essential nutrients without relying on dairy.

Another important theme is the power of industry marketing. Familiar images of happy cows grazing in green fields have helped shape public perceptions, but the documentary investigates the contrast between these reassuring portrayals and the realities of modern milk production.

The statistics behind the screening

• 30 minutes: The length of Viva!’s investigative documentary.
• 59%: According to Viva!’s pre-film public survey, this proportion of respondents believed cows produce milk simply because they eat grass.
• £19 billion: The annual value attributed to the UK dairy industry in Viva!’s September 2026 press release.

These figures highlight the scale of the industry and the importance of questioning what we think we know about dairy. The 59% finding is particularly striking, revealing how easily fundamental misunderstandings can become accepted as common knowledge.

A huge thank you to THIS UK for hosting last night’s screening and supporting such an important conversation. The evening was made even more special by delicious canapés from Charlotte Roy, chef at Michelin-starred Plates London, alongside Sophie Surgue, MasterChef 2025 runner-up.

Viva!’s documentary is an invitation to look beyond the packaging, question established narratives and make informed choices. Whatever your current diet, it is a conversation worth having.

Watch What Do You Really Know About Dairy? via Viva!’s official website, where the film is available to rent for £2.99 or buy for £5.99. Watch the film via dairyfilm.viva.org.uk

The post The Truth About Dairy: Viva!’s Powerful New Documentary Challenges Everything We Think We Know appeared first on KIMU.

Marking Romeo’s acting debut, the French-language film sees the 24-year-old son of David and Victoria Beckham step into an unexpectedly provocative role opposite French actor Paul Kircher. And if the trailer is anything to go by, he is certainly not afraid to get stuck into the action.

What is everyone saying about Forty Love?

The newly released footage has sparked conversation thanks to its tantalising glimpses of the chemistry between the two leads. Kircher plays Sacha Gallo, an ambitious young tennis star whose carefully controlled life is turned upside down by the arrival of Romeo’s charismatic rival.

Their relationship begins with on-court taunts and competitive tension before spilling into something considerably more intimate. There are stolen glances, flirtatious exchanges, bedroom scenes and a passionate kiss that has quickly become one of the trailer’s biggest talking points.

One particularly cheeky line sees Romeo’s character declare, “It’s not my fault if you’re f***ing in love with me.” Elsewhere, he jokes about not wanting to sound as though he wants to be Sacha’s boyfriend during a press conference. Subtle, these two are not.

Of course, Romeo’s famous surname has also fuelled discussion about celebrity privilege and whether his acting debut can establish him as more than just another nepo baby. Having previously modelled for luxury fashion houses including Saint Laurent and Balenciaga, he is now entering an entirely different arena.

Everything we know about the film

Directed by fashion photographer Pierre-Ange Carlotti in his feature-film debut, Forty Love explores the collision between sporting ambition, identity and desire. Sacha has spent years training under his father’s watchful eye, determined to secure a major tennis title in Paris. But his new rival threatens both his championship dreams and his emotional composure.

The supporting cast includes Guillaume Canet, Benjamin Voisin and French screen icon Catherine Deneuve. The soundtrack features music by 070 Shake and Johan Lenox, adding another intriguing dimension to the project. The film is scheduled to arrive in French cinemas on 25 November 2026, with international release plans yet to be confirmed.

The Heated Rivalry effect

The comparisons with Heated Rivalry are inevitable. The hit hockey romance captured audiences with its irresistible combination of enemies-to-lovers tension, secret encounters and emotional vulnerability between two elite athletes.

According to Queerty, Forty Love shares plenty of familiar ingredients, including teasing exchanges, coded public flirtations and intimate moments behind closed doors.

More importantly, the success of Heated Rivalry demonstrated the mainstream appetite for unapologetically sensual queer romances featuring complex male characters in traditionally masculine sporting environments. Forty Love arrives amid that cultural momentum, potentially attracting viewers who want more stories that challenge conventional ideas about masculinity and desire.

Whether Romeo and Paul can recreate that same onscreen magic remains to be seen. But with a provocative trailer, a compelling rivals-to-lovers premise and plenty of chemistry to fuel speculation, Forty Love has already served up its first winning shot. And this time, the real match is happening off the court.

The post Romeo Beckham Gets Steamy in Sexy New Forty Love Trailer, and the Internet Is Already Obsessed appeared first on KIMU.

The key is narrative depth. Across eight episodes, Flanagan has room to explore the ecosystem of cruelty surrounding Carrie White, rather than treating her suffering as a countdown to prom-night carnage. By updating the story for an era of social media, viral humiliation and anonymous online abuse, the series recognises that bullying no longer ends when the school bell rings. Carrie’s torment follows her everywhere, turning the internet into an extension of the hostile world she is desperately trying to understand. As The Verge observes, the series brings a fresh perspective to the classic story through its focus on cyberbullying and psychological horror. (The Verge)

The character arcs are equally ambitious. Carrie’s transformation becomes a gradual, painful accumulation of rejection, hope, tenderness and rage. Her mother, Margaret, also gains a more complicated emotional trajectory, while the supporting characters are given greater psychological texture. The result is a story less interested in dividing the world neatly into monsters and victims than in examining how fear, insecurity and collective cruelty create them. RogerEbert.com calls this adaptation “the most layered”, a distinction that captures its greatest achievement. (RogerEbert.com)

Then there is the acting. Summer H. Howell makes Carrie painfully vulnerable without reducing her to a passive victim. Her performance captures the awkwardness of adolescence, the tentative thrill of acceptance and the terrifying consequences of discovering a power that nobody has taught her to control. Samantha Sloyan’s Margaret is similarly compelling, bringing emotional contradictions to a character who might otherwise have remained a straightforward embodiment of religious fanaticism. The Los Angeles Times describes Howell as “exceptional throughout”. (Los Angeles Times)

Cinematically, the series earns its scale. Flanagan builds towards the prom massacre through atmosphere, perspective and accumulating dread, making the violence feel like the culmination of an entire community’s failures rather than an isolated horror set piece. The expanded format also allows music, visual storytelling and quieter interpersonal scenes to deepen the emotional impact.

De Palma’s Carrie remains a masterpiece of compression and cinematic terror. But Flanagan’s version achieves something different: it turns a familiar nightmare into a sustained tragedy about adolescence, power and the human need to belong. By expanding the story without losing sight of its wounded heart, Amazon’s Carrie may well be the most complete adaptation yet.

The post Why Amazon’s Carrie Is the Best Version Yet 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.

Yseult’s new single SUPERSTAR sounds like someone raiding the pop archive and deciding the future belongs to her anyway.

The track arrives in the wake of Freak and Now or Never, continuing Yseult’s increasingly obvious flirtation with the golden age of American R&B. But SUPERSTAR feels particularly interesting because it isn’t simply retro. It understands why the music of Michael Jackson, Janet Jackson and the great Black vocalists of the ’80s and ’90s felt so enormous in the first place: attitude, rhythm, sexuality, theatricality and absolute vocal authority.

The New Jack Swing influence is impossible to miss. Online listeners have already picked up on the Jacksonian DNA, with one reaction describing Freak as exactly the kind of “Jacksonian new jack swing” they had been waiting for. SUPERSTAR pushes that conversation further, marrying glossy, physical production with Yseult’s much rougher, more idiosyncratic vocal presence. (Bias List⁠)

There is also something distinctly Janet about the song’s relationship with self-invention. Janet’s great records turned pop stardom into a language of control: choreography, sexuality, vulnerability and rebellion could all exist simultaneously. Yseult approaches that territory from a contemporary position, with considerably less interest in sounding “perfect”. Her voice has grain, weight and personality.

And then there is Chaka Khan. Yseult does not sound like Chaka, nor is she attempting to recreate that particular vocal architecture. What connects them is the refusal to make power feel polite. Yseult sings as though the voice itself is part of the costume: sometimes glamorous, sometimes abrasive, sometimes deliberately excessive.

The Crystal LaBeija sample adds another layer. It gives the track a direct connection to queer Black performance history, making the word “superstar” feel less like a generic pop aspiration and more like a declaration of identity and survival. Listeners have singled out the sample as one of the track’s defining details. (Reddit⁠)

That is ultimately what makes Yseult interesting in this lineage. She isn’t trying to become the next Michael or Janet. She is taking pieces of their vocabulary and filtering them through a very different artist: French, Black, queer-coded, fashion-conscious, emotionally confrontational and completely uninterested in behaving like a conventional pop star.

Yseult once described her ambition as wanting to be a rock star while specifically embracing being a Black artist.
SUPERSTAR suggests she has found another route to exactly that scale: make the past sound dangerous again.

The post Yseult’s SUPERSTAR: channeling the ghosts of Michael, Janet, Chaka and Crystal LaBeija appeared first on KIMU.

Released on 13 October, the trailer promises a contemporary take on the franchise while retaining the ingredients that made the original a global television phenomenon. Viewers are treated to dangerous water rescues, explosive action, complicated relationships and plenty of sun-soaked beach glamour. One dramatic sequence involves a plane crashing into the ocean, giving the new lifeguard team a high-stakes introduction.

The 12-episode series will premiere on Fox in the US, while UK and Irish viewers can watch exclusively on Sky and its streaming service NOW.

Who stars in the new Baywatch?

Leading the reboot is Stephen Amell, best known for Arrow and Heels, as Hobie Buchannon, now a captain of the Baywatch lifeguards. Hobie is the son of Mitch Buchannon, the legendary character played by David Hasselhoff in the original series.

Hobie’s life takes an unexpected turn when his estranged daughter, Charlie Vale, played by Jessica Belkin, arrives hoping to follow the family tradition and become a lifeguard herself. Her ambitions create tension as Hobie struggles to balance his responsibilities as a father with the dangers of the job.

The new ensemble also includes Shay Mitchell as Trina, Hassie Harrison as Nat, Noah Beck as Luke, Brooks Nader as Selene, Thaddeus LaGrone as Brad and Livvy Dunne as Grace, marking the former gymnast’s acting debut.

Nostalgia is firmly on the agenda, too. David Chokachi returns as Cody Madison, while Erika Eleniak reprises her original role as Shauni McClain. The series is overseen by Matt Nix, creator of Burn Notice, with original Baywatchcreators Michael Berk, Greg Bonann and Doug Schwartz among the executive producers.

How the original became a global sensation

First broadcast in 1989, Baywatch ran for 11 seasons until 2001, becoming one of the most widely watched television shows in the world. At its height, it reportedly reached more than a billion viewers weekly across over 200 countries.

Hasselhoff’s portrayal of Mitch Buchannon anchored the series, while Pamela Anderson became a household name as C.J. Parker. Its mix of rescue missions, personal drama, glamorous beach settings and instantly recognisable red swimwear made it a defining fixture of 1990s pop culture. The franchise also helped launch the careers of stars including Carmen Electra and Jason Momoa.

The new series aims to recapture that appeal for a modern audience, blending familiar characters and visual trademarks with a new generation of lifeguards. Whether it can recreate the original’s extraordinary cultural impact remains to be seen, but the trailer makes one thing clear: Baywatch is ready to make a splash again.

The post Baywatch Is Back: New Trailer Reveals First Look at 2027 Reboot, Cast and Release Date appeared first on KIMU.

Grimes’ PSYOPERA rollout has finally moved from cryptic concept to actual footage, and the visuals are every bit as unhinged as you would expect. Rather than a conventional album trailer, the new material feels like fragments from a much larger mythology, with Grimes repeatedly transforming into different archetypal figures.

The first major image is Grimes as Mary Magdalene, then engaging with a monolith holding as she says, “In the beginning was the word, and the word was God…”. The religious imagery is difficult to miss, but it is presented through Grimes’ distinctly futuristic visual language rather than traditional Christian iconography. That makes the character feel less like a literal depiction of Mary and more like another persona inside the PSYOPERA universe. The title “Eve Is Online…” also makes the religious imagery particularly interesting, although there is currently no confirmation that the character represents a specific narrative.

The imagery then shifts toward science fiction. A statue of Grimes holing a gun, then an AI image of Grimes in space taking a gun, intercut with apocalyptic and destructive imagery. The Dune comparison is visually understandable, but it should be treated as an aesthetic reference rather than evidence that PSYOPERA is actually connected to Dune. What matters is the recurring combination of motherhood, power, religion and futurism.

It is a bizarre collision between celestial imagery and pop spectacle. It is perhaps the clearest example of what makes these visuals feel like a “psy opera”: sacred imagery is being turned into performance.

That distinction is important. Grimes has previously described Psy Opera as a forthcoming album and has mentioned tracks including The Light Ages and now Eve Is Online. She has also connected the project to her broader interest in artificial intelligence and machine consciousness. The caption of the YouTube video simply says:

RCHIVAL FOOTAGE – NASA – Defense Visual Information Distribution Service (DVIDS)

The appearance of U.S. Department of Defense visual information does not imply or constitute DoD endorsement.

The trailer does not give us a neat storyline. Instead, it presents roles: mother, saint, warrior, angel, performer. Whether these are literal characters, symbolic identities or simply different visual worlds remains unknown.

And honestly, that ambiguity seems intentional. PSYOPERA is shaping up less like a conventional pop era and more like Grimes constructing her own strange mythology in real time. The next single, ACCELERANDO is out at midnight.

The post Breaking Down the Surreal World of Grimes’ “Eve Is Online…” PSYOPERA Trailer and What It Could Mean appeared first on KIMU.

The series launched in 2022 with DAHMER — Monster: The Jeffrey Dahmer Story, starring Evan Peters as the Milwaukee serial killer. The season became a global Netflix phenomenon, accumulating 1 billion viewing hours in its first 60 days and earning 13 Emmy nominations.

Season two, Monsters: The Erik and Lyle Menendez Story, turned to the brothers convicted of murdering their parents in 1989. Cooper Koch and Nicholas Alexander Chavez played Erik and Lyle, with the series generating renewed attention around the brothers’ claims of abuse and the broader question of how their case was understood by the public and justice system.

The third installment, Monster: The Ed Gein Story, arrived with Charlie Hunnam portraying the Wisconsin killer whose crimes helped inspire fictional villains including Norman Bates and Buffalo Bill. The season opened with 12.2 million global views in its first three days and reached No. 1 in 11 countries.

Now comes Monster: The Lizzie Borden Story, starring Ella Beatty as the Massachusetts woman accused of killing her father and stepmother with an axe in 1892. The season also introduces Sarah Paulson as Aileen Wuornos, creating an explicit thematic connection between two generations of infamous female killers.

So who comes next?

There is no officially announced Season 5 subject, but several possibilities have emerged. Showrunner Ian Brennan has said the creative team has considered Dennis Rader, better known as BTK, and Gary Ridgway, the Green River Killer. Luigi Mangione has also entered the conversation, although Brennan has stressed that the subject remains a complicated and premature possibility.

Ted Bundy, meanwhile, appears less likely. Murphy previously said he had rejected a Bundy season because he did not see a sufficiently compelling social theme for the anthology to explore.

Another possibility comes from inside the cast. Charlie Hunnam has publicly floated Roy DeMeo, the notorious Gambino crime figure, as a potential subject. Murphy, however, has indicated little interest in taking Monster into the organized-crime world.

For now, the safest prediction is that Season 5 will remain within Monster‘s established territory: a notorious real-life figure whose story offers Murphy and Brennan more than murder alone, with questions about society, media, gender, celebrity or the machinery surrounding the crime providing the larger dramatic hook.

The post What Comes Next for Ryan Murphy’s Monster? The Four Installments So Far and the Likely Candidates for Season 5 appeared first on KIMU.

Drawing us in with cerebral percussion and ethereal vocals, BITEZ opens Black Silk On Purple Bruises with poetic prowess and a sensual alternative energy. Her vocals are sublime and her lyricism is intelligent, culturally referential and laced with not only metaphorical depth, but also deep lived experience expressed through eye-opening constructs.

There’s a 90s sensibility that manifests with nods to trip-hop of Massive Attack and Portishead, but at the same time, the song holds a cinematic allure perfect for a sync placement in a TV show like The Day of the Jackal, Industry, I May Destroy You, Killing Eve, Top Boy, Black Mirror, or the new Carrie series on Amazon Prime.

The hazy vibes create an immersive sonic environment that feels seductive and psychedelic. We love the way BITEZ balances the intimacy of a late-night confession with wider atmospheric scope and nods to the 70s drug culture. We learn that beneath the track’s dreamy surface lies a much more complicated narrative about inheritance, visibility, and the cost of being recognised.

Black Silk On Purple Bruises was released during UK Black History Month, and pays tribute to Black women and boundary-breaking artists whose innovations have too often come with personal sacrifices. Tina Bell, Nina Simone, Sister Rosetta Tharpe, and Poly Styrene all form part of the lineage.

The title itself is a compelling metaphor. Silk feels luxurious and refined, whilst the idea of purple bruises points towards the injuries concealed beneath. BITEZ extends this into a valid critique of the music industry. She poignantly frames its power dynamics through the language of romance. Contracts become commitments, recognition arrives with conditions. It’s genius.

For some context, Princess Arinola Adegbite, professionally known as BITEZ, is a Manchester-based, British Jamaican-born Nigerian singer, rapper, and lyricist whose genre-fluid sound brings together trip-hop, jazz-inflected pop, hip-hop, and alternative R&B. A multi-award-winning artist and poet, she draws on an eclectic palette of influences, including Nina Simone, Gorillaz, Erykah Badu, FKA twigs, Sade, and André 3000. Her recognition includes the Manchester Young Creative of the Year award at the 2021 Manchester Culture Awards, alongside support from organisations including Factory International, MOBO Help Musicians, and Youth Music.

Needless to say, we are totally in awe, and have added Black Silk On Purple Bruises to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream the wider discography of BITEZ, including 0161, Put Me in a Trance, and Performative Love.

The post BITEZ confronts the hidden costs of recognition through sensual trip-hop textures and a powerful tribute to boundary-breaking Black women with new single, Black Silk On Purple Bruises appeared first on KIMU.