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MM6 Maison Margiela Puts Its Touch on Your Favorite Supreme Hoodie — Spring 2026 Collab

Vera Adamidou
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MM6 Maison Margiela Puts Its Touch on Your Favorite Supreme Hoodie — Spring 2026 Collab

Supreme and MM6 Maison Margiela came back for a second round, almost two years after their first project, serving up 35 pieces in total. Just the right amount to create a human snake that hugs the long corner of the Milanese store on March 19. Even though this is technically a MM6 collab, the “chill” side of Margiela, hardcore fans will still get plenty of little winks to geek out over.

Picture the front of T-shirts divided into three panels, with the middle one unable to hide its identity. Which makes sense once you spot it next to its source piece, the intentional mismatch is obvious, deeply rooted in Margiela’s history of deconstruction and reconstruction. If the heart of a garment is borrowed, the rules are up for grabs too.

Supreme X MM6 Maison Margiela Spring 2026 collection
@supremenewyork via Instagram

Zip hoodies carried tiny splashes all over them, a tip of the hat to Martin Margiela himself and his well-known love for white paint. “When I started out in 1988, the trendy color was concrete gray, and designer furniture was black. I had a strong desire to break with these customs and to stand out, so white was the solution,” he once shared with Numéro. Then came more T-shirts, shearling jackets, and Timberlands, all dressed up to look very pricey, plastered with the dollar bill print that traces back to Margiela’s infamous 2008 wallet.

Supreme X MM6 Maison Margiela Spring 2026 collection
@supremenewyork via Instagram

The call-back to Margiela went even further than clothing. A heavy bag and a pair of boxing gloves showed up looking somewhat… hairy. For that, Everlast seems to share the blame. Martin Margiela has always had a thing for hair, something that, judging by his later work, never really went away. “My father was a barber and, as a child, I spent all my free time observing everything from a corner in his salon. I was especially intrigued by the ceremonial shaving that took place with each customer. Later, my mother introduced wigs, a fascinating world as I recall. My resulting obsession seems very natural to me,” same interview, he says elsewhere. Logos, denim, and a bit of hair later, collabs seem to still be a good excuse to line up outside a store.

Interview: Dry Socket

Priya Elan
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Interview: Dry Socket

“TIRED OF BEING SCARED! EXHAUSTED BY THEIR HATE! NO LONGER LIVING TO APPEASE OR TO PLACATE!” sings a lone voice – in a tone of broken glass, open flames, and agony. It’s ‘The Chop’, the opening track from Portland punks Dry Socket’s second album, Self Defence Techniques. The quintet’s new album is an urgent hardcore purge against the downward pressure from systems of power to control us.

But Self Defence Techniques is powerful on another level. Riding on a wave of muscular riffs, Allen’s voice – a clenched fist of controlled hysteria – articulates a lifetime’s worth of being othered. “I grew up queer in a family where I was told that if I was gay, I would be disowned,” she says over Zoom as dawn is breaking. Allen describes her childhood as “questionable at best” and one where she felt silenced. “I had a home where I couldn’t express myself,” she explains. “That my feelings were not valid, that it was better to be quiet. I was really angry.”

Discovering her local hardcore punk scene when she was a teenager was a moment of self-recognition. “It was the first time I felt accepted in having feelings,” Allen says. “With the childhood I had, without punk and hardcore I would maybe not be here.”

She remembers being powerfully captivated by seeing Californian hardcore punks Look Back and Laugh, fronted by Tobia Minkler. “I was very young and it was the first time I had seen a female person fronting a punk or hardcore band,” she recalls. “She was hanging off some rafters, going wild. It was not socially acceptable! She was purely angry and not trying to imitate masculinity. It felt like permission.”

Hearing the socially charged lyrics and between-song banter was also important for the young Allen. “Coming from a pretty conservative family where people didn’t say things like that, I resonated with the political side of things.” Further education came from a bookseller who would have a table full of books at shows. “I would buy a book at every show, like I bought a book about the Rwandan genocide which I would have never learned about at school. It introduced me to a world bigger than my own and taught me about having compassion for other people.”

Allen fibbed about being able to play bass to get into a band and began her musical career. Formed with friends from the scene, Dry Socket began just before the pandemic, but Allen’s medical conditions meant they were hesitant to start playing venues again post pandemic. “I have POTS (a nervous system disorder), EDS (a condition which affects the skin, joints and blood), and MCAS (an immune disorder) so I am high risk,” says Allen. “We waited a long time (before playing again). We had our first show booked and then my dad died of Covid. And I was like, ‘I’m not playing shows anytime soon.’”

After a series of one-off singles, EPs, and split singles, the band’s debut album, 2024’s heavy Sorry For Your Loss, was a swirling cauldron of emotions. “I wasn’t ok at that time,” says Allen. “I had been diagnosed and I was grieving my dad who I had a complicated relationship with. A lot of those lyrics were me crying on voice notes.”

Allen’s high-risk health conditions mean that touring is dangerous. “I wear a back brace because my EDS means that my joints slip out of place.” She also wears a hand brace and has an “assisted thing” on her microphone because too much gripping leads to hand immobility. “Also because of POTS I don’t get enough blood flow to my brain, so I don’t remember a lot of our sets.” She admits she has to lie to her doctor “a bit,” saying, “Honestly, I shouldn’t be doing what I do.” At the same time, she is a rare and vital figurehead for her community. “I’m showing up for other people who have chronic illness. That’s why representation is so important. So many people don’t get that. Especially with the disabled community where (your disability) is not necessarily visible.”

These very real life or death high stakes give another dimension to the urgency of Dry Socket’s music – a death-defying rawness that cuts through when you’re listening to Self Defence Techniques. “I wanted to write an emotionally angry album about everything that’s going on now,” says Allen. “It feels really uncontrolled for most of us, like we don’t have choice in how we interact in the world right now.”

The lyrics on the ‘Ace of Spades’-ish ‘Clenched Fist’ (“Their budget is our obituary when death costs less than dignity/ Math disguised as mercy as we vanish statistically”) touches on Allen’s own health struggles. “That song is about being disabled in America,” she says, “we are being reduced to numbers on a page by CEOs and politicians, who are making a butt ton of money. They act like your life is not worth saving.” While ‘Rigged Survival’, which goes from Black Sabbath riffs to a Black Flag-ish swirl, with its end of days lyrics (“Hands of greed, mouth of lies”) tackles wealth inequality and systemic greed. “That’s probably the most straightforward song, in terms of being extremely angry at billionaires like Elon Musk who own all the wealth. While things have been getting progressively more expensive everywhere.”

Allen’s Cassandra in the coal mine lyrics makes Self Defence Techniques a vital but shocking album, a snapshot of the darkness of the world today. It also makes Dry Socket one of the most important bands around right now.

Dry Socket’s Self Defence Techniques is out March 27 via Get Better.

Ivan Chebotar: Time, Witness, and the Work of Looking

Abbie Wilson
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Ivan Chebotar: Time, Witness, and the Work of Looking

Ivan Chebotar works between two lived coordinates: he builds his daily practice in Pittsburgh, and he edits with the memory of Ukrainian streets that shaped his visual language. This interview starts from that concrete split, because his strongest images are not abstract statements about time—they come from repeated walks, careful sequencing, and close attention to how public space records pressure.

His recent international milestones are measurable and specific: the International Breath of Time Award in Photography (2024), the ARTENO International Art Awards 2026, jury service in Serbia and Italy, and exhibitions at A.L.L. Gallery and Deep Reverie Gallery. Those contexts widened the audience for his work, but they also raised the standard he applies during editing and presentation.

Across Streets and Emotional Echoes, Chebotar keeps returning to the same working questions: what can a photograph verify, what can it carry without exaggeration, and how should an artist balance commissioned production with long-form inquiry. In the conversation below, he answers those questions in practical terms—through process, sequencing, and responsibility to subjects.

You now work from Pittsburgh, yet your pictures often feel connected to a longer Ukrainian timeline; how does place function in your daily practice?

Ivan Chebotar: Pittsburgh gives me a working ground where change stays visible. Neighborhoods shift, light behaves in hard seasonal rhythms, and the social texture of the street remains legible when you spend real time inside it. I photograph here with patience, then I review contact sheets with a second layer of attention that comes from Ukrainian memory. A wall, a bus stop, or a crossing can carry visual pressure far beyond its local context.

I do not force direct parallels. I work through observation, sequence, and return. Over months, certain motifs keep reappearing: pauses before movement, faces in transit, architecture that seems to hold previous lives. That repetition is where place becomes method. Pittsburgh is the immediate field, while Ukraine remains an internal compass that shapes how I read time, fragility, and civic endurance.

Your International Breath of Time Award in Photography in 2024 brought strong attention to your treatment of temporality; what changed after that recognition?

Ivan Chebotar: The award did not change my core intention, yet it sharpened responsibility. Once a project receives international visibility, each next decision enters a wider critical space. I became stricter during editing and less interested in single-image impact. I wanted each frame to justify its place inside a sequence that could hold up over years, not only during a brief cycle of visibility.

Recognition also expanded dialogue with curators and peers who read time as structure rather than theme. Those conversations helped me refine pacing in both still and moving image work. I now build projects with clearer internal rhythm: where to open, where to hold tension, where to leave silence. The result is a calmer surface with deeper pressure inside the work.

At ARTENO International Art Awards 2026, your photography was praised for emotional precision; how do you build intensity without slipping into sentiment?

Ivan Chebotar: Emotional precision begins in distance. I avoid telling the viewer what to feel. Instead, I focus on framing, duration, and material detail so feeling emerges through encounter. If a photograph leans too heavily on symbolic shortcuts, it loses dignity. I prefer images where meaning arrives through texture, gesture, and interval, because that path leaves room for the viewer’s own memory.

During post-production, I remove frames that perform emotion rather than carry it. This step can be severe, yet it protects the project from overstatement. Precision means choosing images that remain active after repeated viewing. A strong picture should keep opening, with emotional force growing through structure instead of rhetorical emphasis.

You served on the jury in Serbia in 2024; what did that role reveal about current international photography?

Ivan Chebotar: Jury service in Serbia exposed a wide range of visual languages from different regions, and the strongest works shared one quality: they had a clear position toward reality. Technical confidence was common. What separated memorable projects was ethical orientation, the sense that the author understood where they stood in relation to the subject and the public sphere.

The jury process also clarified my own standards. I started asking sharper questions during my edits: Does this frame advance thought? Does it carry witness, or only style? Can it survive outside its immediate context? That discipline stayed with me after the event and shaped how I build portfolios for exhibitions and publications.

In Italy, as a juror for the Time Vector International Cultural Art Event in 2025, did you encounter a different visual discourse?

Ivan Chebotar: Italy brought a strong awareness of visual history into the room. Many submissions engaged with lineage, craft, and formal memory in explicit ways. Discussions frequently moved between contemporary urgency and historical vocabulary. I appreciated that depth, since it pushed judgment beyond immediate reaction and into longer evaluation of coherence, sequence, and conceptual durability.

That environment influenced my own working rhythm. I began reviewing projects in stages that mimic jury thinking: first visual impact, then structural consistency, then historical relevance. The method slows decision making in a productive way. It prevents premature closure and keeps the project open to necessary revision.

Your exhibitions at A.L.L. Gallery in Italy and Deep Reverie Gallery in Serbia placed similar themes in distinct contexts; how did audience response differ?

Ivan Chebotar: In Italy, viewers often entered through formal questions: color temperature, interval between frames, and compositional rhythm across the wall. Conversations were detailed and analytical, with close attention to how sequencing produced argument. That mode of reception was valuable because it tested the architecture of the work at a very high level.

In Serbia, discussions more often moved toward biography, historical memory, and civic tension. People read emotional stakes quickly and connected the images to lived social experience. I value both responses. Formal reading protects craft integrity, while lived reading confirms that witness remains active beyond institutional language.

Streets has become central to your public profile; what question drives that series today?

Ivan Chebotar: Streets asks how a city records pressure in ordinary time. I am interested in moments where people move through shared space while carrying private weather that remains visible for one brief second. The series avoids postcard urbanism. I search for civic texture: uncertainty, adaptation, fatigue, and persistence mapped onto sidewalks, facades, and transient gestures.

Practically, the project depends on repetition and return. I walk the same routes across seasons and different hours, then build sequences that reveal slow transformation rather than single dramatic events. Over time, the city becomes an archive of traces. That archive tells a sharper truth than any isolated iconic image.

Emotional Echoes feels quieter and more interior than Streets; what shift in method produced that tone?

Ivan Chebotar: Emotional Echoes required a slower aperture of attention. I reduced visual noise and moved closer to intervals where memory enters the present through small signs: a glance, a pause, a surface marked by wear. The project grew from the need to record afterimage rather than event, with each frame holding a delayed emotional charge.

Methodologically, I edited for resonance across distance. Images that looked modest on first pass often became essential once I viewed them in sequence. They carried the low-frequency signal of the work. This taught me to trust quiet evidence and to allow silence to do part of the narrative labor.

How does Ukrainian memory enter your images without reducing them to biography?

Ivan Chebotar: Ukrainian memory enters through orientation, not through display. It shapes what I consider significant: thresholds, interrupted routines, civic surfaces marked by endurance. I avoid direct illustration of trauma when it risks flattening complexity. Instead, I work with exact observations that carry historical weight through structure and relation.

Biography can open context for a viewer, yet the image must stand on its own formal and ethical logic. My task is to build photographs where memory is active in composition, timing, and sequencing. When that happens, the work remains specific and still travels across cultures.

You often speak about witness; what does witness require from a photographer in practical terms?

Ivan Chebotar: Witness requires accountability to place, time, and intention. I need to know where I stood, why I framed in that direction, and what relation I had to the subject at that moment. This is a working ethic, not a slogan. It influences shooting distance, editing choices, and the order in which images are presented to the public.

In practical terms, witness also means resisting visual overproduction. I would rather publish fewer frames with strong evidentiary clarity than release large sets that dilute meaning. Accuracy in context and sequence matters as much as visual strength. Without that discipline, witness collapses into style.

You are a photographer and videographer; how does motion work influence your still-image sequencing?

Ivan Chebotar: Video trained me to think in temporal units, so I build still-image sequences with attention to pace and transition. A photograph can function like a cut, a hold, or a bridge depending on what surrounds it. I use that logic when ordering a body of work for print, exhibition walls, or digital publication.

Motion work also sharpens discipline around continuity. Even when a still frame is autonomous, it belongs to a larger current of perception. I evaluate each image for directional energy, gaze flow, and emotional temperature. This process creates a sequence that breathes with controlled variation rather than random alternation.

Your certified 60 Second Photographer training in 2025 suggests speed under pressure; how has that informed long-form projects?

Ivan Chebotar: The training developed fast decision architecture: identify priority, lock framing, control exposure, and commit. In documentary conditions, those skills reduce hesitation and preserve authenticity of fleeting moments. Speed in capture can coexist with depth in project design when each phase has a clear purpose.

For long-form work, the benefit appears during editing. Rapid capture teaches respect for clarity. I no longer confuse delay with seriousness. Instead, I spend effort where it matters most: sequence structure, narrative interval, and contextual notes that protect witness value of the final body of work.

How do you handle the tension between commercial assignments and artistic inquiry?

Ivan Chebotar: I treat the two domains as distinct contracts. Commercial work asks for precise communication under external constraints: brand language, schedule, deliverables, and audience objective. Artistic work asks open questions and accepts uncertainty as part of discovery. Keeping this boundary explicit protects integrity in both directions.

At the same time, each domain contributes useful discipline to the other. Commissioned projects strengthen production reliability and technical agility. Personal projects protect risk tolerance and conceptual depth. The tension remains real, yet it becomes productive when intention, context, and evaluation criteria stay clear from the beginning.

Many artists romanticize that divide; you describe it in operational terms. Where did that pragmatic approach come from?

Ivan Chebotar: It came from lived schedule pressure. When deadlines, budgets, and collaborators are involved, romantic narratives provide little guidance. I built a workflow that separates project intent, technical plan, and review checkpoints. This structure allows me to deliver professional results while preserving space for artistic research.

Pragmatism also supports emotional sustainability. Clear process lowers friction and leaves mental energy for perception, which is where artistic value is created. I believe discipline is a creative tool. It creates conditions where intuition can operate with greater precision.

Pittsburgh appears in your work as a city of transition; what does this landscape reveal to you over time?

Ivan Chebotar: Pittsburgh reveals layered transition: industrial memory, current adaptation, and uncertain future occupying the same visual field. Bridges, inclines, river corridors, and neighborhood edges become markers of social tempo. I am drawn to moments when infrastructure and human gesture intersect in ways that expose civic psychology.

Over time, the city teaches observational patience. Repeated visits to the same site show how light, weather, and public movement reconfigure meaning without dramatic events. That slow change aligns with my larger interest in time as lived pressure rather than decorative concept.

Your projects frequently return to displacement; how do you avoid reducing displacement to a single narrative?

Ivan Chebotar: Displacement has many registers: legal, linguistic, emotional, spatial, and temporal. I resist single-story framing by gathering scenes that show variation in adaptation and memory. Some images carry rupture, others carry routine rebuilt under new conditions. Together they form a more accurate map of lived experience.

I also pay attention to scale. A project needs public scenes and intimate evidence, architecture and gesture, movement and pause. This plurality protects complexity and prevents simplification. Displacement then appears as a dynamic condition rather than a fixed label.

When you edit a full sequence, what makes a frame essential rather than attractive?

Ivan Chebotar: An essential frame changes the reading of adjacent images. It introduces necessary tension, context, or transition that strengthens the whole argument. An attractive frame may look strong alone while adding little to sequence intelligence. I choose the first category, even when it appears visually quieter.

My editing passes move from broad structure toward fine calibration. Early rounds remove redundancy. Later rounds test rhythm, emotional gradient, and evidentiary clarity. I leave the sequence for a short interval, return, and read it again as a viewer would. If logic remains clear under distance, the selection is ready.

How has jury service affected your sense of risk in your own photographic decisions?

Ivan Chebotar: Jury service exposed recurring safety patterns in contemporary submissions: visual polish without conceptual commitment, trend alignment without personal stake. Seeing this repeatedly encouraged me to take clearer risks in my own work, especially during sequencing and project framing.

Slay the Spire 2: Every Playable Character and How to Unlock Them

Shubhendu Vatsa
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Slay the Spire 2: Every Playable Character and How to Unlock Them

Unlocking characters in Slay the Spire 2 couldn’t be easier. Unlike most other games where you have to grind through full runs or beat tough bosses, character unlocks in Slay the Spire 2 happen automatically as you start runs with each character. What’s even better is that you can even quit early and it’ll still count as a completed attempt toward unlocking the next character, so getting the full roster doesn’t feel like a slog.

Slay the Spire 2 currently features five unlockable characters and each one brings its own set of cards, mechanics, and resource systems that can noticeably change how a run plays out. So, if you want to move through the full roster without getting stuck on long runs, here’s how you can unlock every character in Slay the Spire 2.

Slay the Spire 2: Every Playable Character and How to Unlock Them

Slay the Spire 2 features five playbale characters: the Ironclad, the Silent, the Regent, the Necrobinder, and the Defect. As we said earlier, you don’t have to finish full runs or take down bosses to unlock them. Instead, all you need to do is simply start a run with a character to unlock the next one.

Since the characters in Slay the Spire 2 unlock in a set order, you’ll work your way through the roster one at a time. With all that out of the way, here’s how to unlock every playable character in Slay the Spire 2 and what each one brings to a run:

Ironclad

The Ironclad is available right from the start and is the easiest choice to get a feel for how the game works. His cards deal direct damage and include important debuffs like Vulnerable and Weak. His starting relic heals 6 HP after every fight, making early runs more forgiving and also opens up different ways to build his deck.

The Silent

You can unlock The Silent by playing a run as the Ironclad. She’s built for speed and control, letting you chain several low-cost cards in a single turn or stack poison to wear enemies down over time. Her deck works well with draw and discard tricks, and Sly cards can be played for free after being discarded, which lets you pull off some tricky combos.

The Regent

The Regent unlocks after you play a run as The Silent. He introduces Stars, a secondary resource that works alongside Energy but doesn’t reset each turn. This allows you to build resources and allocate them in bursts as needed. He also uses Forge to strengthen a retained attack over time, giving him a more deliberate and setup-focused playstyle.

The Necrobinder

You can unlock The Necrobinder by playing a run as The Regent. She fights alongside Osty, a summoned companion that can absorb damage once your Block is broken. You can increase Osty’s health through summoning effects, turning it into a reliable buffer in longer fights. On top of that, The Necrobinder has Soul cards for extra draws without spending energy, as well as Doom, which can automatically defeat enemies if it reaches their remaining HP.

The Defect

The Defect becomes available after you play a run as The Necrobinder. It’s back with its signature orb system, summoning elemental orbs that trigger effects at the end of each turn. However, you’ll need to keep an eye on your orbs, since adding new ones can trigger their stronger evoke effects.

And that’s how you unlock every character in Slay the Spire 2. For more gaming news and guides, be sure to check out our gaming page!

Neeraj Chopra’s Olympic Journey – India’s Greatest Athletics Story

Sebastian Bickley
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Neeraj Chopra’s Olympic Journey – India’s Greatest Athletics Story

Neeraj Chopra is not just an athlete; he is a phenomenon that redefined the sporting landscape of a nation of 1.4 billion people. Before Neeraj, Indian athletics was often associated with “near misses” and “valiant efforts.” After Neeraj, it became about gold medals, world records, and global dominance. His journey from a mischievous boy in a small village to the podiums of Tokyo and Paris is a masterclass in dedication, humility, and raw power.

From Village Boy to World-Class Athlete

Growing Up in Haryana

Born in the village of Khandra in Haryana’s Panipat district, Neeraj’s path to the javelin was almost accidental. As a child, Neeraj struggled with childhood obesity, weighing nearly 80 kilograms at the age of 12. His father, a farmer, insisted he take up sports to get fit. While he initially tried wrestling and running, it was at the Shivaji Stadium in Panipat that he saw senior athletes throwing the javelin. The way the spear cut through the air fascinated him, and a legend was born.

The Moment That Changed Everything

Neeraj’s natural talent was evident from his very first throws. He possessed a rare combination of flexibility and “fast-twitch” muscle fiber. Under the guidance of his early coaches, he moved from local competitions to national camps. His transition from a hobbyist to a professional was fueled by a simple realization: he had the potential to be the best in the world, not just the best in Panipat.

Junior Career – The Record That Started It All

The world first took notice of Neeraj Chopra in 2016 at the IAAF World U20 Championships in Bydgoszcz, Poland. He didn’t just win gold; he shattered the junior world record with a massive throw of 86.48m.

To put this in perspective, his junior record throw would have been enough to place him in the top four at the Rio 2016 Olympics. This was the moment India realized they had a once-in-a-generation talent. Even then, Neeraj remained grounded, focusing on his technique rather than the fame that followed.

The Road to Tokyo 2020

Rise Through Commonwealth & Asian Games

The years leading up to the Tokyo Olympics saw Neeraj dominating the Asian circuit. He secured gold medals at:

  • 2017 Asian Athletics Championships: Gold (85.23m)
  • 2018 Commonwealth Games: Gold (86.47m)
  • 2018 Asian Games: Gold (88.06m)

During this period, he became a household name. However, top-tier success requires more than just domestic dominance. Neeraj began training with international experts like Uwe Hohn and later Klaus Bartonietz to refine his biomechanics.

The Injury That Almost Ended It All

In 2019, tragedy struck. Neeraj suffered a severe injury to his throwing elbow, requiring surgery. For a javelin thrower, an elbow injury can be career-ending. He missed the 2019 World Championships and spent months in grueling rehabilitation. Then, the COVID-19 pandemic hit, delaying the Olympics. While others saw a setback, Neeraj saw an opportunity to heal completely and perfect his form.

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Tokyo 2020 – The Throw That Made History

The 87.58m That Beat the World

On August 7, 2021, Neeraj Chopra entered the Olympic Stadium in Tokyo. He looked calm, almost serene. On his second attempt in the final, he unleashed a throw of 87.58m. He didn’t even watch the javelin land; he turned around and raised his arms in celebration. He knew.

The Tokyo 2020 Podium:

  1. Neeraj Chopra (India): 87.58m
  2. Jakub Vadlejch (Czech Republic): 86.67m
  3. Vítězslav Veselý (Czech Republic): 85.44m

Why India Celebrated Like Never Before

This wasn’t just another medal. It was India’s first-ever Olympic gold in track and field. For decades, Indian fans had watched legends like Milkha Singh and P.T. Usha come agonizingly close to the podium. Neeraj finally broke the “curse,” proving that Indians could compete with—and beat—the best in the world on the biggest stage.

Life After Tokyo – Staying at the Top

Many athletes struggle with “post-Olympic slump,” but Neeraj only got better. He became a model of consistency, rarely finishing outside the top two in any Diamond League event.

World Championship Gold in 2023

In 2023, Neeraj added the one missing trophy to his cabinet: World Championship Gold. With a throw of 88.17m in Budapest, he became the first Indian to win a gold medal at the World Athletics Championships. At this point, he held the Olympic, Asian, Commonwealth, and World titles simultaneously—a feat very few in history have achieved.

Breaking the 90m Barrier

The “90m mark” has become the holy grail for Neeraj and his fans. While he has come incredibly close with a personal best of 89.94m, the pursuit of this distance remains his primary technical goal. It is this hunger for perfection that keeps him motivated despite having won everything there is to win. To keep track of your own preferences and settings during the upcoming seasons, you might need to manage your Mostbet account to ensure everything is ready for the next big competition.

Paris 2024 – Silver but Not Second Best

Neeraj vs Arshad Nadeem – The Rivalry

The Paris 2024 Olympics featured one of the greatest javelin finals in history. The rivalry between Neeraj Chopra and Pakistan’s Arshad Nadeem has become a symbol of healthy sporting competition in South Asia. In Paris, Arshad set a breathtaking Olympic record of 92.97m.

India’s Only Two-Time Olympic Medalist

Neeraj responded with a powerful 89.45m, securing the Silver medal. While it wasn’t gold, the achievement was historic.

  • Neeraj became the first Indian track and field athlete to win two Olympic medals.
  • He proved his longevity by delivering his second-best career throw under immense pressure.
  • He handled the loss with grace, immediately congratulating Arshad, further cementing his status as a role model.

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24 New Songs Out Today to Listen To: Fire-Toolz, Jim Legxacy, and More

Konstantinos Pappis
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24 New Songs Out Today to Listen To: Fire-Toolz, Jim Legxacy, and More

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 Tuesday, March 24, 2026.

Fire-Toolz – ‘Balam =^..^= Says IPv09082024 Strawberry Head ‘

Oh, you listen to Fire-Toolz? Name one of their songs. No, say the title of this song right in front of you. Excitingly, Angel Marcloid’s unpindownable project has signed to Warp, which will release the wonderfully titled Lavender Networks on May 8. It features contributions from Zola Jesus, Jennifer Holm, Brothertiger, Nailah Hunter, Lipsticism, and Sling Beam, and you can hear its dizzying lightbeam of a lead single below.

Jim Legxacy – ‘idk idk’

Hot on the heels of his black british music mixtape, Jim Legxacy has dropped a standalone single, ‘idk idk idk’, which is chaotically vibrant. The London rapper is set to head to North America to play Lollapalooza, Osheaga, and Outside Lands in the months to come.

Future Islands – ‘Sail’ and ‘Find Love’

Future Islands are celebrating their 20th anniversary with a new compilation album, From a Hole in the Floor to a Fountain of Youth, arriving May 22 via 4AD. It features “alternate hits, rarities, and fan favorites,” including two new songs, the meditative ‘Sail’ and characteristically propulsive ‘Find Love’, that are out today. “I’ve always loved the imagery of that lyric,” bassist William Cashion, who chose the title, commented.  “The hole in the floor is the everyday, but the fountain is the magic that happens when the life you dreamed about actually becomes the one you’re living. It’s the dream and the reality existing in the same room… This is for everyone who has carried these songs with them, from the first house parties to the rooms we’re playing today.”

Tori Amos – ‘Shush’

Following ‘Stronger Together’, a duet with her daughter Tash, the second single from Tori Amos’ upcoming LP is a hauntingly atmospheric ballad about an alternate reality in which she’s married an evil billionaire “lizard demon.” Here’s what she had to say about ‘Shush’: “He represents what we’re dealing with right now. He sees congressmen, senators, and even probably presidents as people who answer to him and other billionaires, who don’t think you and I should vote. He’s trying to develop the kind of feudal system we had hundreds of years ago. But it doesn’t look like it once did. We don’t look like we’re in the trenches, in the muck. We have all the cool, digital devices now. So it looks different. But it has the same philosophy.”

Courtney Barnett – ‘One Thing at a Time’

“I don’t know where to start,” begins Courtney Barnett’s new single, “When every thought at once/ Comes flooding til I’m underwater.” Perhaps the overanalytical mind never stops running, but ‘One Thing at a Time’ cools into that headspace while opening itself up to change. Plus, it’s got Flea on bass, as well as a delightful video directed by Lance Bangs. Barnett’s new album, Creature of Habit, is out this Friday.

Pulp – ‘Marrying for Love’ and ‘Cold Call on the Hot Line’

‘Marrying for Love’ and ‘Cold Call on the Hot Line’ serve as B-sides to Pulp’s recent cover of Johnny Cash’s ‘The Man Comes Around’, but they’re not to be glossed over. Both tracks are quite easygoing, which means you can really appreciate Jarvis Cocker’s spoken word.

mary in the junkyard – ‘Crash Landing’

mary in the junkyard have announced their debut album, Role Model Hermit. It’s slated to arrive on July 3 via AMF Records, and it’s led by the slow-burning ‘Crash Landing’. “It’s about fear and how men often rely on keeping their emotions secret, and how you have to crack them open,” Clari-Freeman Taylor commented. “To be the only one that’s seeing one side of someone, it’s trapping.”

Spencer Krug – ‘Timebomb’ [feat. Elbow Kiss]

As Wolf Parade’s ‘I’ll Believe In Anything’ is enjoying a resurgence thanks to Netflix’s Heated Rivalry, Spencer Krug has announced a new solo LP, Same Fangs, out May 15. Its first single, ‘Timebomb’, is a spare, poignant duet with Elbow Kiss. “‘Timebomb’ is a song about a song about a band on tour, or rather, about the failed revision of that song, upon sadly realizing that its original message no longer rings true,” Krug explained. “This is me lyrically folding myself into the murky layers of self-made lore.”

Fruit Bats – ‘The Landfill’

Fruit Bats has announced a new album, The Landfill, due out June 12 via Merge Records. It’s led by the breezy, winking title track, which is accompanied by a music video from director Adam Willis that made me laugh out loud. Eric D. Johnson commented: “This is my 6th video with the great Adam Willis, AKA Brother Willis. Another in our long line of collabs which are often funny with cold opens and strange characters plumbing the depths of the human psyche.The very first brainstorm session, we landed on Close Encounters of the Third Kind as an initial reference. Especially the notion of a man at a crossroads who is haunted by a mysterious shape. Later that morphed into the idea that, for some strange reason, I live a double life as a tortured art star in Europe. And that my music career there is completely unknown. Truth be told, Fruit Bats have had a strange journey as more or less a cult band for a long time. Things have gotten bigger in recent years in North America but we ARE still quite obscure in Europe. This is a less than subtle nod to that fact.”

Lucy Liyou – ‘Crisis (Identity)’

Lucy Liyou’s new album MR COBRA doesn’t arrive until April 17, but its accompanying perfomrance piece debuts on Saturday at Performance Space New York. Following the introductory ‘Yoohoo (An Overture)’ and ‘Babygirl’, the artist has today shared ‘Crisis (Identity)’, the LP’s spine-tingling centerpiece, featuring saxophone from Patrick Shiroishi and electronic contributions by Nick Zanca. “There’s clarity in the beginning. She calls this a crisis. She calls her body a narcissist,” Liyou remarked. “But in reality, this is not her crisis. It’s the titular character’s problem, who has to attempt to understand and contain this kooky breadth of her being. Babygirl starts with explanations (‘I liken me to an actress’), but soon her language (d)evolves into commands (‘look at me’) until her words become nonsensical in phrase and nature.”

Brennan Wedl and Waxahatchee – ‘Six O’Clock News’ (Kathleen Edwards Cover)

Nashville singer-songwriter Brennan Wedl has signed to ANTI- Records, and to mark the news, she’s teamed up with Waxahatchee for a lovely cover of Kathleen Edwards’ ‘Six O’Clock News’. “I absolutely love this so much and am humbled that my song gets to live a new life with Katie and Brennan,” Edwards commented. “25 years ago, my audience looked a lot different than theirs does today – it’s incredibly cool to see young women love the songwriting that means so much to me, too.”

Cole Berliner – ‘The Black Door’

You may be familiar with Cole Berliner’s work as one half of Sharpie Smile, who unveiled their pop-minded debut album last year after years of leading the psych-rock outfit Kamikaze Palm Trees. Now, Berliner is gearing up to release his solo debut, and it finds him leaning in an entirely different direction. The Black Door is out May 29 on Drag City, and the leading title track is a stunningly folky instrumental that serves as “an ode to the sweetness and darkness of memory, both in one’s immediate life and in the context of history. The inspiration was drawn from the mystical sounds of American (and proto-American!) folk music and swing, filtered through the lens of heart-string pullers like Bert Jansch and Jim O’Rourke, and carved into something both personal and simultaneously universal.”

Styrofoam Winos – ‘Pearls’

Nashville’s Styrofoam Winos have announced a new album, Any River – out June 19 on Dear Life Records – with the lead single ‘Pearls’. The riveting, playful track was inspired by the Frank O’ Hara poem ‘Today’. “I liked its celebration of little things as surprising sites of meaning – the pearls in particular,” the band’s Lou Turner reflected. “I went on a walk after that and found an oyster on the ground in the middle of the sidewalk. Uncanny. All of this was inspiration for the lyrics, the idea of finding meaning where you least expect it, especially within someone else. That’s what it’s like to make music and play shows, too. It was very fun to figure out how we wanted to sing the syllables of each place together.”

Portrayal of Guilt – ‘Object of Pain’ and ‘Death From Above’

Portrayal of Guilt have dropped a pair of singles, ‘Object of Pain’ and ‘Death From Above’. Taken from their forthcoming …Beginning Of The End, the eerie, sludgy tracks come with videos from Craig Murray.

Mikaela Davis – ‘Starlite Tonite’

Mikaela Davis has previewed her forthcoming LP Graceland Away with a mesmerizing new song, ‘Starlite Tonite’, which she describes as such: “Now entering mankind’s long, dark night of the soul. Mother earth’s resources depleted, natural wonders destroyed, our only home turned to dust in the name of money and power. But amongst the barren landscape, there will still be a glimmer of hope as we look up to an ever-present reminder of a universe far beyond. Walk me out in the Starlite Tonite.”

New German Cinema – ‘Eyes’

Ahead of the release of her debut solo album, Pain Will Polish Me, this Friday, New German Cinema (the solo project of Fear of Men’s Jessica Weiss) has shared its final single, ‘Eyes’. It’s accompanied by a video shot whilst on tour in Japan last year, about which she said: “It is such a visually rich and very precise culture, that can feel enticing but also slightly unknowable to outsiders. That tension felt very apt for the energy of the song. We filmed fragments as we moved through cities and train stations, neon streets and quiet corners, trying to capture that feeling of being both immersed in a place and slightly outside it, with the recurring motif of landline phones suggesting emotional relationships beyond the frame. The video became a kind of travel diary, but also a visual echo of the song’s inner landscape.”

New Idea Society – ‘Dancing Horse’

New Idea Society, the project led by Mike Law (Wild Arrows, Eulcid) and Stephen Brodsky (Cave In, Mutoid Man), are releasing their fourth full-length, Fire on the Hill, on May 15 via Relapse. The contemplative lead single, ‘Dancing Horse’, is out now. “Part of ‘Dancing Horse’ first appeared all the way back in 2007 and it took a lot of forms over the years that never quite worked,” Law recalled. “Then out of nowhere it arrived somehow fully re-formed and totally realized into one of my favorite songs I’ve ever been a part of. The original idea started on an August night in Budapest and was tied together one August morning in 2024 back in Massachusetts. It was one of those moments where Steve reached deep and found something that had been floating around in another universe and brought it to ours.”

Brodsky added: “I remember listening to Mike’s original demo for ‘Dancing Horse’— it was a shoegaze thing with one lyric that shone brightly through the sonic haze: ‘There’s a dancing horse on my roof.’ My fiancé had just hung a horseshoe above the front door of our home. A native Texan, she explained that a horseshoe points up to catch luck and then flips over to rain it down… suddenly, that one line from the demo spawned a whole other thing in my head. I’m grateful that Mike was receptive to me taking a brilliant seed of his imagination and going off to the races with it.”

Accessory – ‘This Is Not Your Life (Static)’

Accessory, the solo project of Dehd’s Jason Balla, has dropped ‘This Is Not Your Life (Static)’, a gorgeously intricate track off his debut album Dust. “I wanted to capture that feeling of that moment in love when you cease to be the central figure in your own story,” Balla shared. The song “is about vulnerability and commitment and the beauty of submission. It’s life in the service of something beyond. As the song continues it becomes less about transcendence and slides into the realm of obsessive regret, depression and the lasting grip of intimacy now past.”

Joe Pernice – ‘I’d Rather Look Away’ [feat. Norman Blake]

Joe Pernice has teamed up with Norman Blake from Teenage Fanclub for ‘I’d Rather Look Away’, the rambling new single from Sunny, I Was Wrong. “This song was not on my list to make the record,” Pernice commented. “It was among the 20 or 30 songs I sent my old friend Warren Zanes and when I told him it was not on my list, he said, and I quote, ‘Joey, Joey, Joey, are you nuts?’ Okay, okay. To quote Robert Evans, ‘The kid stays in the picture.’ Pete Mancini plays all of the beautiful electric guitar tracks on the song. His parts and cues are spot on. And I knew I had to have my old friend Norman Blake add a vocal harmony arrangement, and he generously obliged. Norman is, among other notable things, the best harmony vocal arranger/singer I’ve ever met. It’s part of his natural way.”

Rachel Lime – ‘Nacrée’

Rachel Lime has previewed her upcoming record, STORIES, with a new song, ‘Nacrée’, which sways with longing. “This is a spring 2020 lockdown song I wrote about desire when I wasn’t able to fulfill it,” the Brooklyn-based artist commented. “The lyrics are completely unaltered from that first iphone notes app draft and I built the song around the words, playing around with sampling my own vocals, sighs, breaths. I wanted sounds that brought to life the lyrics, the ‘long blue afternoon’ and ‘sea and milk,’ the ‘black strand’ of the seashore as evening falls. Water, and specifically the ocean, has always had such a sensual, sexual connotation for me—the salt! The grit of sand on your skin. The sun and water touching every part of you. It’s funny because I’m definitely repressed in that I struggle to take myself seriously singing a, idk, kind of sexy song, but it’s exactly this kind of boldness I wanted to bring to this album. Less lonely, intellectual pining—more risk and drama.”

Alela Diane – ‘In My Own Time’

A perfect song to wind down your day, ‘In My Own Time’ is the latest single from Portland-based singer-songwriter Alela Diane’s forthcoming Who’s Keeping Time?. “It is so hard to stay present and not get caught inside the web of distraction that is the modern world,” she expounded. “This is a song for those of us who waste our own precious time, but strive to go outside and smell a rose instead. I am someone who could just fester away inside my house forever, but that isn’t what I want for myself. I want to feel alive! To breathe the air! To take the dog for a walk! To go out and see live music! I am doing more of these things, but I really do take my own time to get there.”

Scarpetta Season 2: Cast, Rumours & Release Date

Alexandra Pleșa
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Scarpetta Season 2: Cast, Rumours & Release Date

A new forensic pathologist has entered the chat. Starring Nicole Kidman, crime series Scarpetta has been getting a significant amount of buzz lately. That’s likely due to its star-studded cast and thriller undertones.

The fact that the show is based on a popular book series doesn’t hurt either. Despite being met with a mixed response from critics and audiences alike, the show has been topping Prime Video charts ever since its release. Does that mean a second installment is coming?

Scarpetta Season 2 Release Date

Prime Video gave the series a two-season order from the get-go. In other words. Scarpetta season 2 is definitely happening.

As for when it’s coming out, it all depends on how fast production moves. If all goes well, new episodes could arrive in early-to-mid 2027.

Scarpetta Cast

  • Nicole Kidman as Dr. Kay Scarpetta
  • Jamie Lee Curtis as Dorothy Scarpetta
  • Bobby Cannavale as Pete Marino
  • Simon Baker as Benton Wesley
  • Ariana DeBose as Lucy Farinelli-Watson
  • Rosy McEwen as young Kay
  • Jacob Lumet Cannavale as young Pete
  • Hunter Parrish as young Benton

What Could Happen in Scarpetta Season 2?

Based on the bestselling novels by Patricia Cornwell, the series follows the titular character, Dr. Kay Scarpetta. A brilliant forensic pathologist, she uses cutting-edge science to solve violent crimes.

After returning to Virginia to take on a high-profile role, Scarpetta becomes entangled in a series of disturbing cases. Before long, these begin to blur the line between professional duty and personal history. As she navigates political pressure and her own past, she’s forced to confront secrets that refuse to stay buried.

This mix of professional and personal is what makes Scarpetta an intriguing watch. Viewers are immersed in two timelines, with evidence suggesting that the murders may be connected to an old case Scarpetta worked years prior.

Without giving away spoilers, the first season steadily ramps up the tension, eventually leading to a tense confrontation between Scarpetta and the person responsible for the present timeline crimes. We get answers, as well as an enticing cliffhanger.

That’s likely where Scarpetta season 2 will pick up. There are 29 novels in the book series so far, plenty of original material to draw from. That said, the show puts its own spin on the narrative, to the point where even long-time readers can be surprised.

Per The Los Angeles Times, the second outing will adapt the fourth and fifth books, Cruel & Unusual and The Body Farm. If you want to delve deeper into Scarpetta’s story, we just gave you a head start.

Are There Other Shows Like Scarpetta?

Scarpetta enthusiasts can breathe easy: there’s no shortage of crime shows to pick from for your next watch. We especially recommend Criminal Minds, Bones, His & Hers, Absentia, Dept. Q, and Bosch.

Alternatively, check out some of the other series trending on Prime Video. Like Young Sherlock, Cross, Fallout, 56 Days, and Steal.

Rooster Season 2: Cast, Rumours & Release Date

Alexandra Pleșa
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0
Rooster Season 2: Cast, Rumours & Release Date

There’s a new HBO comedy to look forward to every week. Rooster, which is available in the UK on Sky/Now, stars Steve Carell as a middle-aged author navigating a complicated relationship with his adult daughter.

Set on a college campus, the series quickly made a splash, becoming HBO’s most watched comedy debut in over a decade. Moreover, its fanbase keeps growing thanks to good word-of-mouth. Does that mean another season is on the horizon?

Rooster Season 2 Release Date

At the time of writing, the comedy hasn’t officially been renewed for more episodes. That said, there’s still time. The show premiered recently, and viewership numbers are strong. We’re choosing to be cautiously optimistic.

As long as HBO gives the green light, Rooster season 2 could arrive in early-to-mid 2027.

Rooster Cast

  • Steve Carell as Greg Russo
  • Charly Clive as Katie Russo
  • Danielle Deadwyler as Dylan Shepard
  • Phil Dunster as Archie
  • Lauren Tsai as Sunny
  • John C. McGinley as Walter Mann
  • Connie Britton as Beth

What Is Rooster About?

The comedy centres on Greg, a once-celebrated novelist whose career has quietly stalled. He is known for creating a wildly popular fictional character named “Rooster,” but finds himself grappling with irrelevance. He also struggles with the realisation that professional success hasn’t translated into personal fulfillment.

Greg’s life takes an unexpected turn when he accepts to become a writer-in-residence at a small liberal arts college. Beyond a respectable academic role, the position is a reluctant attempt to repair his relationship with his adult daughter, Katie, a young professor at the same college.

Katie, meanwhile, is in the middle of her own unraveling. Her marriage implodes after her husband becomes involved in a scandal with a student, so Greg’s arrival isn’t exactly welcome.

Greg inserts himself into her world anyway, which will likely lead to a number of awkward yet heartwarming moments down the line. So far, the show seems like a charming blend of dry humour and emotional storytelling. In other words, it’s gentler (and deeper) than your average laugh-out-loud sitcom.

Until we find out whether Rooster season 2 becomes reality, new season 1 episodes arrive weekly until May. So far, we’re hooked.

Are There Other Shows Like Rooster?

Rooster was co-created by Bill Lawrence, who is also behind hits like Scrubs, Ted Lasso, and Shrinking. Those might be up your alley as well.

Alternatively, shows with similar campus vibes include The Chair, English Teacher, Lucky Hank, and Mr. Corman.

Tori Amos Releases New Song ‘Shush’

Konstantinos Pappis
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0
Tori Amos Releases New Song ‘Shush’

Tori Amos has released ‘Shush’, the second offering from her forthcoming album In Times of Dragons. Following ‘Stronger Together’, a duet with her daughter Tash, the haunting new single imagines an alternate reality in which she’s married an evil billionaire “lizard demon,” and it calls back to her classic ‘Silent All These Years’. Listen to it below.

“He represents what we’re dealing with right now,” Amos explained in a statement. “He sees congressmen, senators, and even probably presidents as people who answer to him and other billionaires, who don’t think you and I should vote. He’s trying to develop the kind of feudal system we had hundreds of years ago. But it doesn’t look like it once did. We don’t look like we’re in the trenches, in the muck. We have all the cool, digital devices now. So it looks different. But it has the same philosophy.”

In Times of Dragons arrives on May 1 via Universal/Fontana.

Brennan Wedl and Waxahatchee Cover Kathleen Edwards’ ‘Six O’Clock News’

Konstantinos Pappis
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0
Brennan Wedl and Waxahatchee Cover Kathleen Edwards’ ‘Six O’Clock News’

Nashville singer-songwriter Brennan Wedl has signed to ANTI- Records, marking the news with a cover of Kathleen Edwards’ ‘Six O’Clock News’. It’s a collaboration with Waxahatchee‘s Katie Crutchfield, who also produced the track with Brad Cook. Check it out below.

“I first heard ‘Six O’Clock News’ on the Cities 97 Sampler CD around 2003,” Wedl shared in a statement. “There’s no doubt that this song shaped my songwriting voice. Originally written by Kathleen Edwards, ‘Six O’Clock News’ is a story about the hysteria of gun violence in an American town. To record and sing this very contemporary story with Waxahatchee over twenty years later is a direct link to the very heart of why I play music. It’s an honour to be joining the ANTI- roster and I’m ecstatic to share what we’ve been working on.”

Crutchfield added: “Brennan and I really bonded over our mutual love for Kathleen Edwards’s music. It’s such a powerful song with timeless appeal and I’m just thrilled to get to release our take on it.”

Edwards, who’s heard their version of the song, had this to say: “I absolutely love this so much and am humbled that my song gets to live a new life with Katie and Brennan. 25 years ago, my audience looked a lot different than theirs does today – it’s incredibly cool to see young women love the songwriting that means so much to me, too.”

This April, Wedl is opening Waxahatchee and MJ Lenderman‘s upcoming co-headling US tour, where they’ll continue to cover this song and others.

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