In Verity, Dakota Johnson plays Lowen Ashleigh, a financially struggling writer who is pulled into the eerie world of famed novelist Verity Crawford, portrayed by Hathaway. After a devastating accident leaves Verity unable to finish her bestselling series, Lowen is brought in to complete the remaining books. But while sorting through Verity’s notes and drafts inside the family’s isolated home, Lowen uncovers deeply unsettling writings that blur the line between confession and fiction. Did we mention Lowen is also falling for Verity’s husband, Jeremy? It’s all very messy.

The trailer wastes no time building tension. Lowen wanders through the sprawling house in a silk nightgown before finding Jeremy Crawford on the couch. The two share a heated moment that quickly spirals into something far more sinister. In one shocking sequence, Jeremy suddenly transforms into Verity, who pulls Lowen into a forceful kiss before flashing a bloody grin. Cue Lowen’s scream and our immediate intrigue.

“Know one thing: there is no light where we are going. Darkness ahead,” Verity warns in the trailer.

Honestly? The entire thing feels like a fever dream wrapped in gothic romance and psychological horror.

Verity marks the fourth novel by Hoover to receive a film adaptation, following It Ends With Us, Reminders of Him, and Regretting You.

Josh Hartnett, Brady Wagner, Asel Swango, and Daniel Echevarria round out the cast of Verity. The thriller is directed by Michael Showalter from a screenplay by Nick Antosca. Producers include Antosca, Alex Hedlund, Stacey Sher, Showalter, Jordana Mollick, Anne Hathaway, and Hoover, while Dakota Johnson serves as an executive producer alongside Kerry Orent and Lauren Levine.

Hathaway has been having a major year on screen, with The Devil Wears Prada 2 arriving later this week and her recent appearance in Mother Mary, directed by David Lowery. Johnson recently starred in Materialists and Splitsville, while also developing her directorial debut, a feature centered on a young woman with autism.

Verity will hit theaters on October 2, 2026.

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They were right.

Allen opened with “West End Girl,” the title track from her 2025 album, and from that first note, it was clear this wouldn’t play like a traditional pop concert. The show unfolded as a tightly wound, one-woman narrative; part performance, part emotional excavation. The staging leaned minimal, letting the songs carry the weight. It worked. Every lyric landed with intention.

Rather than jumping between eras or chasing hits, Allen moved through West End Girl front to back, letting the record breathe in full. The album, shaped by her split from David Harbour, doesn’t shy away from messy truths, and neither did she onstage.

Her vocals felt softer than expected at times, but never distant. If anything, that restraint made the sharper lines cut deeper. You could hear the room shift with her, fans locked in, singing along to the sadder stretches, then snapping back to life when the energy spiked.

“Tennis” sliding into “Madeline” became an early standout, a tonal pivot that set up one of the night’s most talked-about moments.

Mid-performance, the show cracked open in the best way. A spotlight swung into the audience, landing on Lisa Rinna, who emerged as the night’s “Madeline.” The reveal triggered instant uproar: cheers and disbelief turning into delight.

Rinna didn’t just wave and sit back down. She committed to the bit, stepping into the role tied to the song’s narrative of infidelity and tension. It added a layer of camp that cut through the heaviness without undercutting it. For a show rooted in personal upheaval, the moment felt like a wink, a reminder that Allen still knows how to have fun with the drama.

If the show had a climax, it came with “Pussy Palace.” The reaction was immediate. The audience shot to its feet, shouting every word back at her. It was loud and fully earned.

That push and pull, between heartbreak and defiance, defined the night. Allen carried herself with a calm control, guiding the room through songs that pulled from betrayal, anger, and self-reflection. There was no sense of spiraling here. Instead, it felt like watching someone reclaim their narrative in real time.

The lighting design followed that emotional arc, shifting from low, almost dim washes to brighter flashes that punctuated the bigger moments. Nothing overdone, just enough to match the mood without distracting from it.

By the time the final notes landed, the show didn’t feel finished so much as resolved. What Allen delivered at the Orpheum wasn’t built around spectacle, it was built around honesty. And that made it hit harder.

It’s easy to label West End Girl as a breakup album, but seeing it live reframes it. This is about survival, about processing something complicated in front of a room full of strangers who somehow feel in on it.

Walking out, the energy lingered. Not just from the surprise cameo or the louder songs, but from the quieter moments that sat with you a little longer (‘Let You W/In’ being a standout).

Allen has always had a way with storytelling, but here, she sharpened it into something more direct. Less distance, more clarity. And for one night in Los Angeles, that clarity felt shared.

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Released April 27 alongside a striking visual directed by Parris Goebel, the song wastes no time setting its tone. The video opens with Gaga and Doechii stitched into a single oversized red blazer, a surreal image that quickly gives way to a mantra fit for any catwalk: “No matter what, no matter what/ You got to strut.”

From there, the clip leans fully into fantasy. Think powdered wigs, sculptural gowns, and makeup that feels pulled from a gallery installation. The two trade verses and poses as the camera follows them through a world that blends ballroom energy with editorial fashion spreads.

Gaga leads with a declaration that reads like a mission statement:
“Walk, I’m feeling fab/ I’m feeling free, I feel exceptionally me/ Hate all you want, but I’m dangerous…”

Doechii meets her with a verse that feels just as self-assured, sliding into the beat with:
“Yes, serve a little sass/ Yes, with a little side of ass/ Yes, got the front row screaming…”

By the time they unite on the chorus, the message is clear, the dance floor is theirs to command. The track closes with a chant that feels destined for live shows:
“Pose/ I ain’t scared of no cameras/ Born for the runway…”

The visual mirrors that confidence. Custom looks from designers including LUAR, Robert Wun, and Gaurav Gupta rotate quickly, with each outfit pushing the concept further. Matching Thom Solo opera platforms anchor several scenes, while a red crocodile heel moment gives Gaga one of the video’s sharpest visual beats.

“RUNWAY” is deeply tied to the world of The Devil Wears Prada 2. The video slips in references to the fictional magazine that defines the franchise, including a quick shot of a “Runway” cover featuring Emily Blunt’s character, Emily Charlton.

The sequel reunites Blunt with original cast members Meryl Streep, Anne Hathaway, and Stanley Tucci, with director David Frankel and writer Aline Brosh McKenna also returning. This time, the story centers on Miranda Priestly navigating a shifting media landscape, where print is fading and power dynamics have changed. Emily, once her assistant, now holds influence, and the advertising dollars Priestly needs.

The film arrives May 1, with Gaga also making a cameo appearance.

The pairing didn’t come out of nowhere. Gaga has been vocal about her admiration for Doechii, previously telling British Vogue, “You don’t often see someone come out of the gate with a pen that feels immediately legendary.” She added that Doechii’s “raw, deeply personal perspective” left a lasting impression.

Doechii’s reaction was just as candid. “I’m the biggest Lady Gaga fan,” she said, recalling that she “audibly gasped” when she heard the praise. “For a legend like that to say that about me, it really, really validated me in a humbling way.”

Their chemistry here suggests that admiration translated easily into the studio.

“RUNWAY” is already gaining traction. The track opened with more than 16.2 million unfiltered streams on Spotify globally, landing at No. 32 on the platform’s global chart. In the U.S., it debuted at No. 25 with over 727,000 streams.

Behind the scenes, the song brings together a heavyweight lineup of writers and producers, including Andrew Watt, Bruno Mars, Cirkut, and Dernst “D’Mile” Emile II.

For Gaga, the release follows her recent Mayhem Ball Tour, while Doechii continues a rapid ascent that has made her one of the most watched artists in pop and hip-hop.

With “RUNWAY,” the two come together to create a cohesive and melodic masterpiece. One where fashion, music, and performance blur into something truly special that I’ll be thinking about and revisiting for time to come.

And if the final chant is any indication, they’re not asking for permission to take that space.

They were “born for the runway.”

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The pop star announced her eighth studio album, Petal, on April 28, confirming a July 31 release through Republic Records. The reveal arrives just weeks before she hits the road for her Eternal Sunshine Tour, signaling a tightly planned rollout that blends reflection with forward momentum.

Grande introduced Petal with a striking black-and-white cover image: a close-up of the singer smiling as strands of hair partially veil her face. The visual leans minimal, but it carries a sense of intimacy that mirrors the album’s concept.

In a statement, Grande described the title as something “full of life,” growing through difficult conditions. The imagery suggests resilience rather than reinvention, a continuation of the emotional clarity she began exploring on 2024’s Eternal Sunshine.

That previous album marked a turning point in her relationship with music and public life. In interviews at the time, Grande framed the project as a way to reconnect with her creative instincts after years of intense scrutiny.

Fans had already started piecing things together earlier this month. On April 8, Grande shared a series of behind-the-scenes photos from the studio, showing her recording vocals, reviewing tracks, and working through sessions at a mixing board.

The final image, Grande seated with her arms raised, read as a quiet victory lap. Tucked into the carousel was also a photo of delicate flowers, which now feels less like an aesthetic choice and more like an easter egg (we see you Ariana).

That subtle nod now connects directly to Petal, confirming that the rollout has been building in plain sight.

Production on Petal includes longtime collaborator Ilya Salmanzadeh, known professionally as ILYA, who will serve as an executive producer. His history with Grande stretches back over a decade, including early work alongside Max Martin on her breakout era.

ILYAs influence was also present on Eternal Sunshine, contributing to tracks like “Yes, And?” and “We Can’t Be Friends,” both of which topped charts. His return suggests continuity, though the absence of Martin as an executive producer raises questions about the sonic direction of the new project.

Grande recently teased the album with a brief audio clip layered with stacked vocals, offering little else in terms of instrumentation. The snippet hints at a vocal-forward approach, potentially placing her voice at the center rather than leaning on heavy production.

The album’s release lands near the final stretch of her upcoming tour, which begins in June. That timing positions Petal not just as a follow-up, but as a companion piece to the live experience.

Grande has also remained visible beyond music, recently appearing in the trailer for the upcoming film Focker-In-Law. The overlap of film, touring, and new music points to a multi-platform moment for the singer, one that feels carefully paced rather than overwhelming.

If Eternal Sunshine was about healing, Petal appears to be about what comes after. Not a reset, but growth that pushes through pressure.

We are eagerly waiting, Ms. Grande. Your fans are ready to be fed!

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The event, presented by Pride House Los Angeles/West Hollywood and hosted by Street Food Cinema, doubled as a fundraiser supporting LGBTQIA+ athletes through Pride House and Team OutAF. But before the film even began, the crowd was already locked in, because the cast had stories to tell.

Moderated by Jess Cagle, the pre-screening Q&A brought together Billy Porter, Zach Braff, writer-director Greg Berlanti, and producer Mickey Liddell. The chemistry was immediate. It didn’t feel like a formal panel so much as a group of friends picking up where they left off, with just enough chaos to keep it interesting.

Porter, in particular, wasted no time reminding everyone why he’s a scene-stealer. Recounting how he landed his role, he described a last-minute audition that took place in a hotel room on a Sunday night.

“That’s how I got that part, b****!” he said, landing the punchline with perfect timing as the audience erupted.

He also reflected on what the film meant at the time. “There wasn’t anything for queer people,” he said. “Let alone layering that with queer people of color.” It was a reminder that what feels nostalgic now once filled a real gap in representation.

Braff brought his own brand of humor, sharing a story that perfectly captured the unpredictability of early career hustle. After the film premiered at Sundance and started gaining attention, he was still waiting tables in Los Angeles.

“People would go see the movie and then come into the restaurant,” he recalled. “They’d say, ‘We just saw your film, you were great.’ And I’d say, ‘Thank you… can I tell you about the specials?’”

He paused, letting it land.

“Only in Hollywood can someone watch your movie and then have you serve them dessert.”

It was the kind of anecdote that stuck with the crowd, not just because it was funny, but because it grounded the film’s legacy in something real.

For Berlanti, the night carried a different weight. The Broken Hearts Club marked his directorial debut, and he made it clear he didn’t do it alone.

“My career and this film would not exist without Mickey Liddell,” he said, giving credit to the producer seated beside him.

That sense of gratitude carried through the evening. Even as the stories veered into comedy, there was a throughline of appreciation, for the film, for each other, and for the timing that made it all possible.

Beyond the panel, the guest list reflected how far the conversation around queer visibility has expanded. Attendees included Billy Porter, Zach Braff, and Berlanti alongside names like Adam Rippon, Robbie Rogers, and Brittany Bowe, athletes who represent a new era of out competitors.

That connection wasn’t accidental. Pride House Los Angeles/West Hollywood is already looking ahead to the 2028 Summer Games, aiming to create a space where LGBTQIA+ athletes and fans can gather, celebrate, and be visible on a global stage.

Watching the film in that context added another layer. What once felt groundbreaking now reads as foundational, a stepping stone toward broader representation across entertainment and sports.

As the sun set and the film began, the energy shifted. The laughter from the Q&A gave way to something quieter. People settled in, some revisiting the story for the first time in years, others seeing it for the first time surrounded by a community that understands its impact.

For me, the night showcased how the movie’s legacy continues to ripple outward, through the people it inspired, the stories it helped make possible, and the space it still holds in queer culture.

And if nothing else, it proved one thing: give Billy Porter a microphone, and he will absolutely give you a moment.

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In a statement to Page Six, the rapper explained her decision to walk away after nearly a year of dating.
“I’ve made the decision to end my relationship with Klay. Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward,” she said.

She added, “I’m taking this time to prioritize myself and move ahead with peace and clarity.”

The confirmation followed a blunt social media post that quickly gained traction online. Megan accused Thompson of being unfaithful and didn’t hold back when describing how the situation unfolded.

“Cheating, had me around your whole family playing house… got ‘cold feet,’” she wrote.
“Holding you down through all your HORRIBLE mood swings and treatment towards me during your basketball season. Now you don’t know if you can be ‘monogamous’????”

She ended the post with a line that captured the mood: “Bitch I need a REAL break after this one.. bye y’all.”

The message marked a sharp turn from how the pair presented themselves just a few months earlier.

Earlier this year, Megan shared glimpses of their relationship that painted a very different picture. For her 31st birthday in February, she posted photos from a trip to the British Virgin Islands, thanking Thompson for an over-the-top celebration that included luxury gifts and a lavish vacation.

“Aw man I was not ready for this birthday trip to be over 🥹 A time was definitely had🏝️🍹🥳 THANK YOU BABY⚓️,” she wrote at the time.

The post has since been deleted, signaling how quickly things have shifted.

The couple had also hinted at taking a major step together in October, teasing that they purchased a home. Fans first began connecting the two last summer after observant followers spotted Thompson in the background of one of Megan’s social posts.

As the breakup news circulated, Megan remained committed to her current run in Moulin Rouge! The Musical in New York City, where she is appearing in the role of Harold Zidler for a limited engagement.

During a recent curtain call on April 25, the rapper appeared emotional. In a video shared widely online, she turned away from the audience briefly to wipe away tears before returning to take her bow. The crowd responded with loud applause, while dancers behind her offered quiet support.

The moment added another layer to an already intense week, showing the personal weight behind her public statements.

Despite the breakup, Megan’s fanbase, often referred to as her “hotties,” has rallied around her online. Messages of support flooded social media following her posts, with many praising her for standing firm on her standards.

For now, Megan is focused on moving forward. Her statement made it clear that this chapter is closed, and her energy is shifting inward.

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The single, titled “Bring Your Love,” arrives April 30 and sets the tone for Madonna’s upcoming project, Confessions on a Dance Floor 2. While the album itself is still unfolding, this first major collaboration signals a clear intention: the club is open again, so bring your Stilettos!

Fans who caught Carpenter’s set at Coachella earlier this month already had a preview, even if they didn’t fully realize it at the time. Madonna joined Carpenter onstage for a performance that blended past and present, weaving “Vogue,” “Like a Prayer,” and Carpenter’s “Juno” into one set.

The moment wasn’t framed as a debut, but in hindsight, it played like a soft launch. Madonna even nodded to the symmetry onstage, reminding the crowd it had been two decades since she first brought Confessions material to that same festival environment.

What felt like a cameo now reads as a setup.

A teaser shared online hints that the track isn’t just built for the dance floor, it has something to say. In the preview, Madonna opens with a directive: “Bring it, Sabrina, you’ve got something to say about it.”

Carpenter answers in kind, singing: “Bring your love, ’cause you cannot shake me/ Bring your love, ’cause you’ll never break me.”

The tone mirrors lyrics Madonna debuted live at Coachella, where she took aim at industry pressures and metrics culture. “I know where all the bodies are buried / Don’t try to shut me out,” she sang. The exchange between the two artists reads less like a duet and more like a conversation across eras, one that’s pointed, not polite.

The single’s cover art strips things down. Shot in black and white, Madonna and Carpenter stand side by side, a stark pivot from the neon glow and disco palette that defined the original Confessions on a Dance Floor era.

It’s a calculated shift. Less nostalgia, more statement.

Whether that minimal approach carries through the full album remains to be seen, but the contrast suggests Madonna isn’t interested in repeating herself beat for beat.

The rollout hasn’t been limited to official announcements. Over the weekend, Madonna was spotted at The Abbey during a “Club Confessions” party, alongside rising pop figure Addison Rae.

The sighting added another layer to the narrative, Madonna, still embedded in nightlife, still orbiting the next wave of artists. It’s less about chasing relevance and more about shaping it.

“Bring Your Love” lands ahead of Confessions on a Dance Floor 2, the long-awaited follow-up to Madonna’s 2005 album that helped define mid-2000s club pop. While she has already shared “I Feel So Free” as part of the project, her team has clarified it’s not the official lead single.

That distinction matters. If anything, it positions “Bring Your Love” as the real opening statement, and we are absolutely ready to gobble it all up!

For Carpenter, the collaboration marks another step in a rapid ascent. For Madonna, it’s a reminder that she’s still directing the conversation, not reacting to it.

And if the track delivers on its early promise, the dance floor won’t just be revisited, it’ll be repaved with some iconic gay club bangers (brace yourselves for impact!).

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In a newly released podcast interview, recorded months before his August arrest, the “Call Me By Your Name” artist spoke candidly about stepping away from the spotlight and confronting his own fears. The conversation, taped in February 2025 for Outlaws with TS Madison, marks his first long-form interview in over a year, and it doesn’t hold back.

The 27-year-old artist, born Montero Hill, described a stretch of time where he intentionally kept a low profile. The reason wasn’t strategy, it was survival.

“[I was] a little paranoid, ‘cause I felt like the entire world was against me,” he said. “I kind of make that up in my head. I had to really go on a self-love journey again and… really accept every single part of me… and stop trying to force change in myself all the time.”

That mindset, he explained, came with pressure to constantly evolve. But instead of pushing forward, he found himself stuck in a cycle of overthinking.

“We’re very obsessed with the idea of growth and change and forcing that and you have to let that s–t come naturally.”

Part of that reset involved reevaluating the people around him. Hill said he made the decision to part ways with several collaborators, not out of conflict, but clarity.

“It’s nothing personal,” he said. “I’m just like, ‘Let me see… What do I need and want for this next chapter, and what don’t I want? And what don’t I want to f—ing deal with?’ And let me make sure I’m not clinging on to what I think should be instead of what I feel.”

It’s a sentiment that reflects a broader shift in how he approaches both his career and personal life: less obligation, more instinct.

Lil Nas X also touched on the expectations placed on him as a Black, gay artist navigating mainstream fame. He acknowledged that his bold, often playful approach to promoting music doesn’t always align with what audiences, or even parts of his own community, expect.

“I’m here to f–k s–t up. I can’t be the darling girl for a lot of the community who wants me to be like, this perfect representation of what we look like. ‘Cause that’s not even true for anybody. That’s not even true for straight people,” he said. “If anything, I should be the perfect representation because I’m not perfect. Because none of us are.”

Rather than soften his image, he’s leaning into what makes him unpredictable. That includes the theatrical tactics he’s known for, what he jokingly calls “gimmicks or schemes,” to keep audiences engaged.

The podcast arrives with added context following Lil Nas X’s highly publicized arrest in Los Angeles in August 2025. He was charged with allegedly assaulting multiple police officers who responded to reports of a man walking naked in Studio City.

He pleaded not guilty to the charges, which included three counts of battery with injury on a police officer and one count of resisting an executive officer.

Earlier this month, a judge approved his entry into a mental health diversion program, citing his bipolar disorder diagnosis as a contributing factor in the incident. According to court proceedings, Lil Nas X completed nearly two months of inpatient treatment in Arizona and has since shown progress.

If he complies with the terms of the program and avoids further legal trouble, the case will be dismissed after two years. A conviction could have carried a sentence of up to five years in prison.

Taken together, the interview and recent legal developments paint a more complete picture of an artist in transition. The bravado that helped launch his career hasn’t disappeared, but it’s now paired with a more measured approach to growth and leaning into internal work.

Instead of chasing constant reinvention, Lil Nas X is learning to sit with himself as he is. And for someone who built a career on breaking molds, that might be his boldest move yet.

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What began as a word-of-mouth warehouse party has grown into a cornerstone of queer nightlife in the city. This year’s edition leans fully into that evolution, bringing together DJs, live performers, and drag artists for a full-day experience designed to move beyond the traditional club format.

The newly announced lineup reflects the festival’s roots in underground dance culture while spotlighting the next wave of talent. Headlining DJs include Tama Sumo & Lakuti, Lauren Flax, and Ariel Zetina, alongside a wide range of selectors shaping electronic music today.

Artists like Kilopatrah Jones, Chris Cruse, and Victor Rodriguez join a roster that spans house, techno, and genre-blurring sets. The programming is intentionally varied, giving space for both established names and emerging voices to share the same platform.

Live performances add another layer to the experience, with acts like Ava, Infinite Coles, and Yavin stepping outside the DJ booth to bring a different kind of energy to the stages.

Drag remains a core part of the Ostbahnhof identity, and this year’s festival expands that presence with a dedicated showcase presented by Fat Slut. The lineup includes crowd favorites like Naomi Smalls, Meatball, and Abhora, alongside a mix of performers known for pushing boundaries in nightlife spaces.

Rather than functioning as an intermission, these performances are built into the rhythm of the festival, offering moments that shift the energy and keep the crowd engaged throughout the day.

Ostbahnhof XL has never positioned itself as just another event, and the 2026 edition doubles down on that approach. Organizers describe the festival as a “living ecosystem,” one that prioritizes community as much as sound.

Multiple stages will operate simultaneously, each with its own identity. Attendees can expect long-form DJ sets, curated takeovers, and immersive production that transforms the industrial setting into something more fluid. Lighting installations and large-scale visuals aim to blur the line between rave and performance.

The goal isn’t just to entertain, it’s to create space where people can fully be themselves, unabashedly. The festival continues to center queer expression in all its forms, welcoming a crowd that reflects the diversity of the scene it grew out of.

Reaching the 10-year mark is no small feat for an independent nightlife collective. Over the past decade, Ostbahnhof has built a reputation for thoughtful programming and a strong sense of community. That foundation is what allows this year’s expansion to feel like a natural next step rather than a departure.

The move to a full-scale festival format signals a shift, but the core ethos remains intact. It’s still about connection, discovery, and the kind of dance floor moments that don’t translate outside the room.

Tickets for Ostbahnhof XL: Pride 2026 are currently on sale, with prices set to increase on May 1. With a lineup this extensive and a format that invites people to stay all day and night, early planning may be the move.

As Pride season in Los Angeles fills up with options, Ostbahnhof XL stands out by staying close to its roots while thinking bigger. Ten years in, it’s not just celebrating longevity, it’s redefining what a queer music festival in LA can look like. And honey…we are ready for a good time!

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The series already proved its popularity back in 2022 when the Season 2 finale became the show’s biggest episode ever. The finale brought in 6.6 million viewers across HBO platforms, beating the show’s previous records and growing significantly from the week before.

Now, Season 3 is continuing that success. The second episode reportedly reached 8.5 million viewers across HBO and HBO Max within its first three days, matching the strong numbers from the season premiere.

Since Season 2 aired, stars like Zendaya, Sydney Sweeney, and Jacob Elordi have become even bigger names in Hollywood, helping turn the show’s return into one of the most talked-about TV events of the year.

This season, the series follows “a group of childhood friends [who] wrestle with the virtue of faith, the possibility of redemption, and the problem of evil.”

Season 3 stars returning cast members, including Zendaya, Hunter Schafer, Eric Dane, Elordi, Sweeney, Alexa Demie, Maude Apatow, Martha Kelly, Chloe Cherry, Adewale Akinnuoye-Agbaje, and Toby Wallace.

Returning guest stars include Colman Domingo, Nika King, Alanna Ubach, Sophia Rose Wilson, Melvin Bonez Estes, Daeg Faerch, Paula Marshall, Zak Steiner, and Marsha Gambles.

The first two episodes have already premiered on HBO, and it feels like the chaos is only beginning.

And yes, we’re still wrapping our heads around that sapphic bathtub moment that closed out Episode 2. Hello.

Episode 3 will not hit the streamer until April 26, but HBO has already dropped a new batch of first-look photos to keep fans talking until then. And honestly? There is a lot to unpack. Is Jules stepping out in a nude-colored dress? Is Maddy serving the ultimate revenge look? And what is going on with Rue’s shoes?

• Episode 1: April 12
• Episode 2: April 19
• Episode 3: April 26
• Episode 4: May 3
• Episode 5: May 10
• Episode 6: May 17
• Episode 7: May 24
• Episode 8 (Finale): May 31

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