While The Big Bang Theory might have ended back in 2019, the story seems to be far from over. The franchise has only gotten bigger since, with spin-offs Young Sheldon and Georgie & Mandy’s First Marriage keeping longtime viewers immersed in the sitcom’s universe.
Now, another series has joined the fray. Stuart Fails to Save the Universe, streaming on HBO Max, follows a bunch of secondary characters from the original. It also has an ambitious concept that might draw in new fans. But is it enough to guarantee a second season? Here’s what we know so far.
Stuart Fails to Save the Universe Season 2 Release Date
At the time of writing, there’s no official news available about a potential Stuart Fails to Save the Universe season 2.
That said, only one episode has come out so far. If viewership numbers are good, there’s no reason why a second installment shouldn’t happen. The franchise continues to be popular, and cameos from the original cast might be enough to keep veteran fans coming back for more.
If all goes well, the series could return with a sophomore season in 2027.
Stuart Fails to Save the Universe Cast
Kevin Sussman as Stuart Bloom
Lauren Lapkus as Denise
Brian Posehn as Bert Kibbler
John Ross Bowie as Barry Kripke
Ryan Cartwright as Kyle
Josh Brener as Trevor
Tommy Walker as Gary
What Is Stuart Fails to Save the Universe About?
Expecting another cozy sitcom set around the comic book shop? Stuart Fails to Save the Universe takes a different approach, leaning heavily into science fiction.
The story begins when Stuart accidentally breaks an experimental device built by Sheldon and Leonard. What should have been another embarrassing mishap spirals into catastrophe as the machine tears open reality itself, unleashing a multiverse Armageddon. Stuart is reluctantly tasked with putting everything back together.
He’s not the only original character making a comeback. The sitcom also features Stuart’s girlfriend Denise, geologist Bert, and Barry Kripke. They travel between strange realities, searching for a way to repair the damage. Each universe they visit offers a twisted variation of the world. Some are humorous, others bleak. You might also see alternate versions of beloved characters, which adds to the show’s zany premise.
While Stuart Fails to Save the Universe season 2 isn’t a sure thing yet, season 1 episodes keep rolling weekly on HBO Max. The finale will arrive in late September.
Are There Other Shows Like Stuart Fails to Save the Universe?
If you like Stuart Fails to Save the Universe and have already seen The Big Bang Theory, you might like Future Man, Legends of Tomorrow, Pluribus, or Resident Alien.
When it comes to career pivoting, few people have done it as well as Dwayne “The Rock” Johnson. While he was born into a wrestling family, Johnson not only rose to the high bar set by his father, but raised it.
Now, he’s one of the most famous faces in Hollywood. His net worth should be the stuff of dreams, right? Here’s what we know about the actor’s earnings.
Most of it comes from his lucrative endeavours as an actor, wrestler, entertainer, and entrepreneur.
After a brief football career, Johnson joined the World Wrestling Federation in 1996. He found fame when he reinvented himself as “The Rock,” and his larger-than-life personality quickly turned him into one of the biggest stars in WWE history.
Johnson made his acting debut while still wrestling, as the Scorpion King in The Mummy Returns. The character’s popularity led to his first starring role in The Scorpion King, which boosted his movie career.
From there, Johnson appeared in action and family-friendly films including The Rundown, Walking Tall, Gridiron Gang, The Game Plan, Race to Witch Mountain, and Tooth Fairy. He joined the Fast Five cast as Luke Hobbs, injecting new energy into the Fast & Furious franchise.
Additionally, you might have seen him in blockbuster hits including Journey 2: The Mysterious Island, San Andreas, Central Intelligence, Moana, the Jumanji movies, Rampage, Jungle Cruise, Fighting with My Family, and Black Adam.
While he is best known for blockbuster action films, Johnson brings warmth and self-aware comedy to many of his performances. He got a chance to showcase his dramatic chops in the 2025 biopic The Smashing Machine, and he co-created and appeared in TV show Young Rock, which is inspired by his life. His TV credits also include Ballers, where he stars as a retired NFL player turned financial manager.
Besides acting, Johnson is still involved with the WWE and has numerous business ventures. They include a tequila brand, co-ownership of the United Football League, and a production company, among others.
Dwayne Johnson Salary
Actor salaries are not often public, but we do know that Dwayne Johnson is both sought-after and well-compensated. According to Forbes, he was the highest-paid actor of 2024, with $88 million. The sum included an estimated $50 million for Red One.
It is also rumoured that Johnson received nearly $30 million to star in and produce the latest Moana movie, which came out recently.
Dwayne Johnson Highest Grossing Movies
While Johnson’s salary is substantial, his movies also earn big at the box office. Furious 7 made a whopping $1.5 billion worldwide, with all Fast & Furious installments performing well. The Jumanji movies, which also star Kevin Hart, are top earners too.
Next up, fans can catch Johnson in sequel Jumanji: Open World come December.
Chenyu Wang’s digitally constructed environment speaks of personal awakenings as an attempt at resistance. VVS Layers 1 materialises before our eyes, gifting us the image of a “Sleeping Beauty” nestled in a mellow, cosy bedroom, where a soothing melody is conducive to an afternoon nap. Yet an eeriness pervades as this virtual visual space unfolds and the romantic quality of the soundtrack intensifies; as the ideological and political connotations of the work progressively dissipate the naïveté of the protagonist nymph, gradually exposing the structured reality beneath the dream.
The intertext behind the creeping wrongness interspersed in VVS Layers 1’s fairy-tale-like succession of chromatic and allegorical compositions is clear, and goes as follows: escaping the prevailing regime of societal structuration through ethical self-awareness, commitment to individuality, and the deliberate self-shaping of identity capable of challenging the status quo is an illusion. This, given that our identity is a sortable commodity, surreptitiously and entirely converted into a market instrument, and, as such — like a diamond subjected to grading such as VVS (Very Very Slightly included) — is part and parcel of a logic of price differentiation. What we perceive as our private, incorruptible gradient of authenticity cannot escape a market-legible classification system, as it does not precede that system at all, but is instead produced by it through the same logic that assigns diamonds’ clarity a price premium.
Still Image of “VVS Layers 1”, 2025. Courtesy of the artist.
Under veiled totalitarianism, where no residue is left uncommodified — as VVS Layers 1 suggests in the fragments where a metallic and crystalline colour scheme wraps the nymph — a silver ring in the shape of a raven holding a diamond in its beak is the only way for her to flee from the quotidian constraints of the ruling order. However, there is an underlying tension in Wang’s digital simulations. Here, escapism is merely a fleeting moment within a bucolic and idyllic scenery; a dreamlike environment where a raven’s gathering allegorically stands for the historically distinct strategies that critical thinking has enlightened humanity with: the Foucauldian therapeutic route of “know thyself, become reflexively aware of your conditioning”; the postmodern, Butlerian proposition that if identity is first and foremost a construction, then one ought to resist predatory capitalistic impositions by shaping it oneself on one’s own terms insofar as possible; and the liberal-humanist pathway of commitment to individuality and irreducible selfhood against mass imposition.
Still Image of “VVS Layers 1”, 2025. Courtesy of the artist.
Wang collects theoretical resources the way a raven collects shiny objects, mobilising them with mastery. What is more, Wang seems to suggest that if his virtual-world nymph’s freedom from the ruling order is brief, it is because her only means of evasion is itself part of the order’s trap.
Still Image of “VVS Layers 1”, 2025. Courtesy of the artist.
VVS Layers 1 is adiegetic space in which escapism and resistance are encoded as unreality. The atmosphere rendered in this work is, ultimately, a philosophical argument whereby the commodification of identity manifests as a false awakening structure; one cannot outthink a system where power is reproduced through mechanisms one cannot perceive.
Hauser & Wirth is set to present its first exhibition with celebrated South Korean artist Lee Bul this autumn, opening at the gallery’s 22nd Street location in New York from 10 September to 24 October 2026. Titled The Anatomy of Every Setting Sun and organised by guest curator Dr. Jiyoon Lee, the exhibition brings together major new sculptures alongside recent works that continue the artist’s long-running exploration of technology, nature and history.
Spanning sculpture, installation and painting, the exhibition examines the tension between utopian ambition and inevitable collapse. Lee Bul first gained international recognition in the 1990s for genre-defying works that combined cyborg imagery with questions of gender, posthumanism and political change. Over the past four decades, her practice has evolved into immersive installations that draw on philosophy and speculative futures while reflecting on the promises and failures of modernity.
One of the most influential contemporary artists working today, Lee’s work is held in major collections, including the Metropolitan Museum of Art, Tate Modern and the Guggenheim Museum. The exhibition follows a major touring survey organised by Seoul’s Leeum Museum of Art and Hong Kong’s M+, further cementing her international reputation as a leading voice in contemporary art.
Linda Perhacs has been “found safely” after being reported missing earlier this week. The 82-year-old folk musician’s former manager, Laurel Stearns, wrote in a statement: “We are grateful to share that singer-songwriter Linda Perhacs has been located and is safe. After a period of concern during which friends, collaborators, and members of the music community were unable to establish contact with Linda and had filed police reports accordingly. Law enforcement has just confirmed that she has been found and is safe.”
“We extend our sincere thanks to everyone who helped amplify this effort by sharing information, reaching out with support, and expressing genuine care for Linda’s well-being,” Stearns continued. “The overwhelming response from fans, fellow musicians, journalists, and the broader creative community has been a powerful reminder of the profound impact Linda’s music. We are especially grateful to the authorities for their assistance and to all those who worked behind the scenes to help bring clarity to this situation.”
She added: “At this time, we ask that Linda’s privacy be respected as those close to her determine the best path forward. We hope this moment allows for compassion, healing, and continued support for an artist whose work has touched so many lives. Thank you again to everyone who stood with Linda and helped ensure that she was found safely.”
According to Stearns, the singer-songwriter was discharged from a residential care facility eight months ago under the supervision of her legal guardian, but claimed on Monday that “no one has been able to contact either of them since.” In a new Instagram post, Stearns said that Perhacs is now “in a new care facility.”
You wouldn’t mistake the Strokes for any other band on Reality Awaits. Well, maybe Julian Casablancas’ other band, the Voidz, which has allowed him to experiment with AutoTune in ways that now frustrate and divide his core fanbase, if not enough to jeopardize the Strokes brand. The follow-up to 2020’s career-revitalizing The New Abnormal is a strange attempt at portraying a disaffected, shadowy world sapped of humanity while remaining playful and immediate, capitalizing on their crowd-pleasing instincts just when the mood gets too grim. But in its clumsy, ambling structure, the balance is thrown off before the album even hits its midpoint, each member flirting with flashes of brilliance but fumbling in their coordination. It’s in Reality Awaits’ conceptual interests that it struggles to be soulful, but the few moments that actually are leave you craving for more.
1. Psycho Shit
The slow-burning arpeggios might be the first sign that the Strokes have no interest in replicating the immediate hookiness of The New Abnormal’s opener ‘The Adults Are Talking’, currently their most streamed song. ‘Psycho Shit’ is both the strangest and most fitting way to open Reality Awaits; if you can stomach his pitch-shifted vocals for more than five minutes, there might be something for you here. He doesn’t merely coast on AutoTune but caaves an impressive emotional arc through and in spite of it – instead of making things easier, it makes the strain in his voice audible, weirder. When he pleads to be lowered down, it’s implausibly high and indecipherable. But some words inevitably cut through, ready to be quoted: “Only my beloved songs will define me.”
2. Dine N’Dash
The monstrous atmosphere of ‘Psycho Shit’ lingers on, but the band injects a driving pulse and instantly satisfying interlocking guitars to get the album’s gears turning. While Casablancas’ voice isn’t as heavily effected, he tries some bizarre things with it – spoken word, a British accent? – as he gets into character. He swaps one hook for another with the same haphazardness, which is a shame, because at least a couple of them stick out.
3. Lonely in the Future
Casablancas’ vocal playfulness becomes insufferable on the otherwise groovy ‘Lonely in the Future’. “And in a hundred thousand days from now, I’ll say/ I did that yesterday when I was a kid,” he sings, and AutoTune may be the mask of agelessness, but that doesn’t make it any less grating. Any sense of gravity or momentum is squashed in favour of cheap satire.
4. Falling Out of Love
For a moment, ‘Falling Out of Love’ seems to be the moment Reality Awaits regains its composure, where AutoTune’s disorienting effect aids a much more resonant portrait of solitude than the previous track. But while Casablancas finds interesting pockets of melody as the song meanders, it bears none of the dynamism of ‘Psycho Shit’ and struggles to justify being the longest song on the record.
5. Going to Babble On
We finally get the band at their most approachable, even relatable; ‘Going to Babble On’ is so “classic Strokes” that not making it a single feels like oddly deliberate. While not really a song of resistance, it inhabits the headspace of mindlessly obeying corporate structures without emotionally resigning itself. If anything, the dual solo at the end counts as a small triumph.
6. Going Shopping
The single theoretically conjures the same level of immediacy as the previous track, hitting the same thematic territory, but the vocal processing as Casablancas sings about wanting to be “a 7-foot zombie” is distracting, to say the least. ‘Going Shopping’ prods at a collective ennui without rising above it: “The worse reality gets, the less you wanna hear about it/ Solidarity can be difficult/ When you got cool stuff to lose.” It’s a little too absurd and unsettling to qualify as mere “cool stuff,” but you get why most fans could take it or leave it.
7. Liar’s Remorse
Malaise and minimalism go hand in hand on ‘Liar’s Remorse’, a ghostly psych-ballad about a man so enamoured with AI he can’t think for himself, let alone find true love. The guitars are prickly and disorienting, blending into the rest of the instrumentation as if struggling to stay in the human world. It’s the most affecting song on the record.
8. The Fruits of Conquest
It starts out strong enough, but ‘The Fruits of Conquest’ quickly grows into a mess of incongruous ideas. What is this interplay between the guitar riff and Casablancas’ falsetto as he repeats “I’m a leech” a dozen times too many? Why’s that synth blaring over bongos? There’s tension all over the place, but it scans as a rough draft.
9. Tyrants of the Mellow Moon
The album’s vaporous closer disperses the shadowy energy of the last few tracks, reminding me of the time Casablancas asked a festival crowd if they were psyched to see Thom Yorke’s new band, the Smile. One last time, the guitars and drums search for curious ways to complement Casablancas’ filtered crooning, but it falls flat. “That’s all I got, I let the song play out,” he sings, “But at the end, must let all songs die.” Amen.
Apart from being a patience test, debugging has always been part detective work. A single missing character can break an application. Bugs hidden deep inside a large codebase can consume hours of investigation. However, not everyone has the skills and time to become the Sherlock Holmes of the coding world. AStripe report showed that developers spend over 17 hours per week on debugging, among many other maintenance tasks. But that was years before AI tools for debugging code became extremely capable.
While they haven’t cleared all the tedious work, they’ve gotten good at cutting the time between “something’s broken” and “here’s why.” TheseAI tools now also cover more ground than they used to. Some are dedicated bug-hunters. Others are general-purpose by design and happen to be genuinely strong at debugging. And both are on this list. This guide gives you a streamlined selection that explains problems, traces root causes, and suggests practical fixes.
Top Five Best AI Tools for Debugging Code
GitHub Copilot
GitHub Copilot isn’t just limited to code completion. It’s also a highly capable and reliable debugging assistant. It does the job through a chat interface. This acts like a second pair of eyes to catch errors. Developers just need to paste in a stack trace or highlight a broken function. Copilot then explains error messages, identifies bug causes, and suggests code changes to resolve them. Because it understands the surrounding project context, the tool often recommends solutions that fit the existing codebase.
Key Features:
Cutting the time needed for debugging
Analyzing programs that produce incorrect output
Suggests bug fixes and test cases
Pricing:
Free Trial
Pro Package – $10 per month/user
Pro+ Package – $39 per month/user
Max Package – $100 per month/user
Real Use Case:
Fintech startups can use GitHub Copilot to interpret exception logs when looking into a failed payment workflow. It can help speed up the identification of where validation breaks. Copilot can even suggest a code fix before the next deployment.
Kodezi
Image Credit: Kodezi
Unlike general-purpose AI coding assistants, Kodezi is built specifically around debugging. Keeping workflows within the terminal, this tool can automatically scan local codebases, find bugs and issues, and provide pull-ready fixes. What’s more, Kodezi includes features to remove bloat and inefficiencies. It even explains why a change improves the code. So both experienced developers and beginners understand what went wrong and how to avoid it.
Key Features:
Automated code debugging for faster shipping
Long-term project memory to enable smarter fixes
Native Java, JavaScript, Python, TypeScript, and other tech stacks support
Pricing:
Free Package
Pro Package – $9.99 per month
CLI + OS Package – 59.99 per month/user
Real Use Case:
Kodezi allows a university programming class to review student assignments before submission. With that, students don’t just find coding mistakes. They also understand how to fix them independently.
Cursor
Cursor does much of the debugging gruntwork for developers. Users have two routes to go. The Agent mode is faster and better suited for clear stack traces in straightforward errors. But for more complex problems, the tool offers Debug Mode. Cursor enables developers to identify potential causes of errors quickly. It does so by checking stack traces, code context, and runtime information. It also traces issues across a codebase, generates hypotheses, suggests fixes, and verifies solutions.
Key Features:
Accurate bug detection based on real execution data
Closed-loop debugging
Identifying the root cause of the bug, not just where it showed
Pricing:
Free Package
Pro Package – $20 per month
Business Package – $40 per user/month
Real Use Case:
Debugging an intermittent 500 error that occurs only under load is hard. It wouldn’t be obvious from the error log alone. But with Cursor’s debug mode, a backend engineer can generate hypotheses and analyze execution behavior to uncover issues in a caching layer.
Sentry
Image Credit: Sentry
Most debugging tools stop at the source code. Sentry starts where production issues begin. What enables it to perform debugging is its dedicated AI agent, Seer. It uses stack traces, logs, traces, and commit history. This allows it to do root-cause analysis of issues. Users can also manually ask Seer. The agent then taps into relevant signals to provide answers and solutions. Developers can expect it to summarize what happened, highlight the relevant code paths, and recommend the next debugging steps.
Key Features:
Root-cause summaries using real application telemetry
Produces merge-ready patches
Determining regressions before shipping
Pricing:
Free Package
Team Package – $29 per month
Business Package – $89 per month
Enterprise Package – Custom Pricing
Real Use Case:
Popular e-commerce companies likeAmazon can use Sentry to investigate checkout failures. Using the Seer agent, they can better analyze production crashes and identify the deployment responsible.
Claude Code
Claude Code doesn’t just write code. It can also investigate. Running in a developer’s terminal or IDE, it acts directly on a codebase. It covers all the essentials in debugging. That includes analyzing files, tracing code relationships, and forming hypotheses about error causes. Inspecting import chains, configuration files, and relevant code paths is also part of its offerings. After finding potential issues, Claude Code can suggest fixes and test solutions through an iterative debugging workflow.
Key Features:
Terminal-based debugging and testing workflow
Explains complex code behavior in clear language
Syncs seamlessly with command line tools
Pricing:
Free Package
Pro Package – $20 per month
Max Package – Starts at $100 per month
Real Use Case:
Developers can hand the failing test to Claude Code when chasing a flaky integration test. Its end-to-end debugging workflow eliminates the need to add logging and re-run the suite manually.
Choosing the Top AI Tools for Debugging Code in 2026
Applications are more complex. As such, developers need more than traditional debuggers. They need AI tools for debugging code. Tools that narrow down the problem much faster.
Among GitHub Copilot, Kodezi, Cursor, Sentry, and Claude Code, not one is a silver bullet. And that’s kind of the point. Each contributes from different angles. GitHub Copilot and Cursor live where you write code. Claude Code steps in when you need help chasing a bug down. Kodezi specializes in the fix itself. Sentry catches what only shows up once real users are involved.
When making a pick, don’t hesitate to stack two or three. Use all the tools you need that align with where the bug actually surfaces in the pipeline.
Bonus conditions determine what kind of feelings players get from an offer before they even start playing. While large numbers on banners attract a player’s attention, the small print determines if that number really means anything at all. In the past, the small print usually was hidden behind Wagering Requirements (W.R.), which converts a bonus into a loan to be paid off by the player while playing.
No Wager Bonuses are gaining popularity lately as a different type of structure. Players notice these. It works simply enough to describe in just one sentence. This may be why they’re growing in use.
What Makes a Bonus “No Wagering”
The standard “bonus offer” generally comes with an additional element – a “play-through.” The player puts up their own deposit money; they receive a bonus from the casino; and after receiving the bonus, they have to make that same amount (the bonus) many times over (as many as a certain number of times), before they are able to take out any of those winnings.
Players need to read the terms carefully. If they miss this, a great-looking offer could quickly become difficult for them to use.
When we talk about a “no wagering” or “no play-through” bonus, we’re talking about eliminating one of these elements. When a player makes a bet using their bonus money, whatever they win from that bet can be withdrawn immediately. In other words, there’s nothing getting in the way. That eliminates all of the terms associated with most bonuses.
This format started appearing on newer platforms first, often ones built around simplicity as a selling point rather than an afterthought. From there it spread to more established sites looking to compete on clarity rather than size. For anyone comparing offers, resources liketop no wagering casino bonuses break down which platforms actually deliver on that promise. Casual players, in particular, seem drawn to the format. Fewer conditions mean fewer reasons to hesitate before trying something new.
A Broader Entertainment Shift Toward Simplicity
This shift isn’t happening in isolation. Streaming platforms have trimmed their tiers, gaming companies have simplified in-game purchases, and media brands across the board are cutting down on the extra steps between a customer and what they actually want. Recententertainment industry research points to simplicity becoming a defining expectation across media in 2026, not just a passing preference.
Audiences are fed up with offers that need an instruction guide to decipher. The old norm was complicated terms and fragmented benefits, which felt like hurdles. In contrast, when something is easier to take advantage of, you will see it as long-term because of this.
No wagering bonus offer fits into this category. No wagering bonuses remove one layer of complexity (that didn’t provide any real value to players). This type of benefit shows what audiences desire from their entertainment experience at this point: no confusion about the terms or value; and the least amount of time possible to figure out what you get.
How This Fits Into Broader Casino Culture
Casino platforms recognize trends in other forms of entertainment, as well as the wager-free trend, as an indication that they are listening. The wager-free trend is one aspect of larger format changes aimed at respecting players’ time rather than testing their patience. Wagers were always hidden behind some form of language or terminology, so it wasn’t readily apparent as to how much of the player’s money was actually being given back in the form of a bonus.
This isn’t an isolated experiment either. It sits alongside other player-friendly changes happening across the space, from clearer withdrawal timelines to simpler loyalty structures. Readers who want to follow how these shifts continue to play out can find more coverage in ourgaming section, where these trends get tracked as they develop.
This new format will be at least one of the many ways bonuses are promoted from now on. Casino platforms that are transparent about the terms of their bonuses build trust with their players more quickly. Trust can give you more value for your dollar than any amount of dollars could.
Conclusion
No-wagering bonus offers a simplified version of exactly how much money or services (or whatever) a player can get from a casino, as well as the way in which this has been made clear to be the main reason for their attractiveness. Interest in no-wagering requirements reflects a broader trend toward simplification in entertainment.
In Spooky in Love, a hotel heiress who can see ghosts teams up with a prosecutor to solve mysteries. If that doesn’t sound like a surefire way to fall in love, we don’t know what does.
Kooky premise aside, the K-drama, which is available on Netflix, is building a solid fanbase. The show has already spent a fortnight climbing the platform’s charts. With 4.2 million views this week, it’s a Top 10 show in 47 countries. Could a second season be in the cards? Here’s what we know so far.
Spooky in Love Season 2 Release Date
At the time of writing, there’s no official news about a potential Spooky in Love season 2.
That said, the title is listed as a limited series on Netflix, and Korean productions rarely get follow-ups. In other words, it looks like one season is all we’re going to get.
Spooky in Love Cast
Park Eun-bin as Cheon Yeo-ri
Yang Se-jong as Ma Gang-uk
Ong Seong-wu as Kang Min-hwan
Jo Hye-joo as Cheon Ha-ri
Ye Soo-jung as Baek Gyeong-ja
Lee Chang-hoon as Go Pil-dong
What Is Spooky in Love About?
Spooky in Love is a supernatural romantic comedy that follows Cheon Yeo-ri, the heiress and CEO of a luxury hotel. Underneath her polished surface, she hides an extraordinary secret. Turns out, Yeo-ri has been able to see ghosts ever since she was a child.
Believing that anyone she touches with her bare hands will be cursed, she has isolated herself from others while quietly helping restless spirits find peace. Yeo-ri’s lonely routine changes when she crosses paths with a prosecutor investigating a string of unsolved murders. Although he is skeptical of the supernatural, he reluctantly teams up with Yeo-ri.
The duo begins to solve increasingly dangerous cases, given that the ghosts can provide important clues. Before long, sparks fly. Could romance be on the table for these two? Our money is definitely on yes.
While Spooky in Love season 2 is unlikely, the show is still ongoing, with episodes arriving weekly on Netflix. The finale drops on August 23.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, July 29, 2026.
Tony Iommi – ‘World Alone’
Black Sabbath’s Tony Iommi has announced his first solo LP in 21 years, From the Dark. Vocalist Jorn Lande, bassist Becky Baldwin, and drummer Karl Brazil join the legendary guitarist on the album, which was co-produced with longtime collaborator Mike Exeter. It’s out October 23, and the lead single ‘World Alone’ is out today, alongside a music video from director Ryan Mackfall.
Sour Widows – ‘Blood in the Grass’
Sour Widows have announced the follow-up to 2024’s Revival of a Friend. Produced by Jay Som’s Melina Duterte, Sigil is set to land on October 23 via Julia’s War Recordings. The stirring lead single ‘Blood in the Grass’ was written by the duo’s Susanna Thomson for Babehoven’s Maya Bon. “‘Blood in the Grass’ is about fate, creating family, and finding refuge in one another in times of spiritual and physical pain,” Thompson explained. “It’s a gift to share pain with someone you love while you are alive because you can’t do that after you die. This song is set in the natural world because all living things are the same when they are born. In nature, the state of vulnerability is a fact that is fundamental to life and can’t be obscured.”
Coco & Clair Clair – ‘Coldplay’
Coco & Clair Clair are back with their first single in two years, ‘Coldplay’. Equal parts bouncy and ethereal, it’s the first half of a two-track release, with a companion song to follow soon. “This song encapsulates that one scene in Zola where the white girl is hanging out of the roof of the car and bouncing around with her tongue out before all hell breaks loose,” the duo explained. “It illustrates the duality of women and how we contain multitudes… Black Cars and yellow cabs, cashmere and beer, longing for someone and hating him at the same time, expecting a private entrance into a dive bar, etc.”
Dinosaur Jr. – ‘Blowin’ Up’
Dinosaur Jr. have dropped ‘Blowin’ Up’, the second offering from their forthcoming album, There Near. As caustic as it is melodic, it’s one of two album tracks penned by Lou Barlow and includes lines like, “There’s nothing quite as bad as a bored edge lord/ The dreaming and the scheming get so dark.”
Julia Holter – ‘My Lost One’
“‘My Lost One’ is a witchy folktale inspired by children’s books with creepy rhymes and nonsense syllables, trees growing through living rooms, and animals doing things in clothes,” Julia Holter said of the mesmerizing new single from her forthcoming album Materia. “I imagine wildlife moving into my home, a superimposition of the outdoors and the indoors. I think about a squirrel cooking a meal on my stove. What are we conjuring, and what are we truly longing for?”
Peter Gabriel – ‘One by One’
‘One by One’, the latest preview of Peter Gabriel’s upcoming effort o\i, stretches out to nearly 10 minutes, reamining gentle all the way through. “This is another song that comes out of the brain show that I am working on and the character has been effectively torn apart and is trying to reassemble himself one piece at a time,” he expounded. “I needed a character for the story and I’d always wanted to do a little more with Mozo, who I had introduced many years back, and I thought, well, let’s give him another blast here. He’s been brought back from the dead. What was interesting for me about Mozo was that he was not fully of the world and not fully outside it. For the original second album narrative, he was found on this waste tip, and there was a reference to alchemy, and how you only really get the opportunity to create gold out of the lowest material; shit. In Japanese culture, they also have kintsugi (kin: gold, tsugi: repair), where a broken cup is repaired with gold or precious metals and the repaired cup with its faults showing ends up more valuable than the original. It’s a beautiful symbol for humanity, because we’re remarkably easy to break and trying to reassemble self, psyche, and sanity, is really the journey of the song.”
“There are two or three story songs on the record, and I actually like the length of time they occupy, and I like the fact that you have to stay in it for the ride to understand the story,” Gabriel added. “It’s like when you arrive in some hut in the woods and it takes a while just to settle in and get yourself tuned-in to the pace of that place. I wanted a bit of that in the song. If people are on for the full ride, they’re going to take it through to the end. It’s a long journey, but I think its place in the show, which is percolating in my head, it’ll be towards the end, if not the end.”
Smidley – ‘Love in Every Direction’
Last month, Smidley, aka Conor Murphy of Foxing, announced his new album Murphy Horse with ‘Captsone’, a single whose tender, loving nature was reinforced by a guest appearance from Lucy Dacus. Today’s offering, ‘Love in Every Direction’, is buoyed by a similiar sentiment. As Murphy said upon announcing the record, “These songs summarize a year of confusion and doubt where the only thing I was actually sure of is that I married the love of my life. Those two ideas were the basis for every song here.”
Billboard Style – ‘Billboard Style’
Billboard Style is an exciting new band formed by Ben Guterl of Forth Wanderers and Dan Howard of Victoryland. Their eponymous single is out today, the first taste of their debut album Pull of the Moon, arriving October 16 via Good English. “This song is about desire and wanting someone so bad it’s like a little parasite that nestles in your brain and rewires your thoughts,” Guterl commented. “It’s about how you always lose a part of yourself in pursuit of someone else and how you might not care because love is intoxicating and maybe that’s the shit life is all about.”
Elanor Moss – ‘Fixer’
London-based singer-songwriter Elanor Moss has unveiled ‘Fixer’, another striking track from her debut album, The Knife, The Needle. “‘Fixer’ is a song about vulnerability, that double-edged sword,” Moss explained. “It came to me first as this image of how when you love someone it’s like you are a little animal, rolling over and showing your little white belly, exposed and endangered to the power of the other. Everyone has their own particular vulnerabilities, and when you love someone you have to show them; you put that power in their hands. That’s scary. They could hurt you. But that exposed place, that vulnerability, can also be a doorway into something else, some kind of healing. This is the song where the album title comes from.”
Dis Fig – ‘The Account’ [feat. the wind between]
Dis Fig, the project of Berlin-based, New Jersey-raised producer and vocalist Felicia Chen, has announced her sophomore album, What to Make of These Mortal Hands – out October 23 via Thrill Jockey. The discombobulating lead single, ‘The Account’, opens with the voice of poet the wind between. “I liked teasing it by opening with a voice that wasn’t mine,” Chen explained. “I felt like I really needed someone to set the stage for what was about to unfold, like a Greek chorus or narrator, and it was clear to me that he was the right person to do it.”
Pretty Sick – ‘City Kid’
Pretty Sick, the project of Sabrina Fuentes, has a dizzying new single out today called ‘City Kid’, from her forthcoming Anarchy. “This song is about growing up in New York, and reflecting on all the experiences I’ve had that have led me to where I am now, for better or for worse,” Fuentes said. “Obviously a pretty unique experience, growing up somewhere so big and fast-paced, and being out on your own from a really young age has its benefits and setbacks. In most of my music, I reflect on my own life and look around at the kids I grew up with and try to make sense of the past hectic 25 years and figure out how we got here, through both the life events as well as the music and art that shaped us.”
Tokyo Tea Room – ‘Always in the Sun’
Margate’s Tokyo Tea Room have dropped a new single, ‘Always in the Sun’, from their upcoming album Feel Forever. “The track, almost utopian in spirit, is simply as joyful as it gets and captures everything that’s good about love,” the group commented. “Beth’s toplines paired with the groovy bassline and the instrumental make it an essential for summer evenings with that special someone.”
saoirse dream – ‘death vs dying’
saoirse dream has announced a new album, grimdark – out October 9 via Lauren Records – with the vibrant lead single ‘death vs dying’. “’death vs dying’ was the tone-setter for grimdark,” Portland artist Catherine Egbert explained. “I have a hard time writing from a place of anger, but the exercise of writing for a fictional character opened that up for me. It probably won’t surprise you to hear a trans woman say she’s got a lot to be angry about. In finally feeling that anger for myself, the record poured out of me.”
