
The Summer I Turned Pretty Season 3 Episode 4: Release Date to Streaming Details, All About Belly, Conrad and Jeremiah's Future
For the new season, Lola Tung, Gavin Casalegno, Christopher Briney, and Jackie Chung, among others. Moreover, the new bunch of episodes marks the final season of the hit Amazon series.
The Summer I Turned Pretty season 3 episode 4 streaming details
After the third episode filled with drama and tension, the upcoming scenes are set to be dropped on July 30. The fourth episode will be out at 12 PM (Pacific Time) and 3 AM (Eastern Time). The season will have 11 episodes, and all of them will be available to stream on Amazon Prime.
The show premiered on July 16, with the first two episodes releasing simultaneously. Ever since then, all the new episodes have been dropping every Wednesday. To keep up with the show regularly, viewers will have to buy a subscription to the streaming platform.
Moreover, Amazon provides a 30-day free trial, giving them a chance to watch the show without paying a penny.
What happened in The Summer I Turned Pretty season 3 episode 3?
In the previous episode of The Summer I Turned Pretty, the audience saw Jeremiah proposing to Belly, and the two happily planning to announce the news to everyone. On the other hand, things get complicated between Taylor and Steven.
The latter suggests that they stay apart. Steven previously helped Taylor's mom with the finances, through which she learned that her mother's salon was struggling.
Meanwhile, when Belly announces the news of her engagement, everyone thinks she is joking. However, Belly affirms that Jeremiah is the love of her life, and she would tie the knot with him.
In the new episode, Conrad is expected to enter the scene and be heartbroken over Belly's engagement news.
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Scroll.in
a day ago
- Scroll.in
Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal
For years, political hostilities between India and Pakistan have disrupted entertainment exchange, but rarely have restrictions been as sweeping as those triggered by the Pahalgam fallout. The latest wave of bans targeted Pakistani shows on YouTube, blocked streaming access to cross-border dramas on Netflix and Amazon Prime, and even temporarily disabled Instagram accounts of Pakistani actors and peace activists. The clampdown came at a time when Pakistani dramas have been enjoying immense popularity across the border, on digital and social media. They have not just built massive fan bases there, but are also engaging with radical themes that, as Indian journalist Raksha Kumar points out, are missing from Indian television dramas, due to 'superfluous' research, lack of courage or financial constraints. One standout example is a three-part mini series that aired last August on the privately owned Hum TV, produced by veteran television pioneer Sultana Siddiqui. Each installment tells a stand-alone story. Each is bound by the shared theme of how far-right radicals terrorise individuals and the communities they inhabit at large and the limitations of the state to give justice or security to the victims. The final episode of Tan Man Neelo Neel (Body and Soul Covered in Bruises), the last in the trilogy, elicited emotion for audiences in both countries. The lead characters attacked by an angry mob were their parents' only children. They were young people whose dreams were cut short. The story ends with a chilling mosaic honouring real-life victims of 'blasphemy' mob violence like Mashal Khan, a university student in Mardan in 2017 and brothers Mughees and Muneeb Butt, in Sialkot in 2010. Mob violence Many others could have been included. The list is long and includes those who were victimised on the pretext of religion even if mob violence wasn't involved. The theme resonates wherever this phenomenon has occurred. Since she launched Hum TV in 2005, Sultana Siddiqui, now in her late 70s, has used the television channel as a platform for storytelling from a progressive bent of mind, offering a nuanced portrayal of Pakistani society through deeply grounded characters. This isn't the first time her storytelling has crossed borders. Zindagi Gulzar Hai (Life is Beautiful) in 2012 was a hit in India. The series shows a picture of Pakistan different from the narrative seen in the Indian context. Its popularity, fueled by social media, created a demand for Pakistani content in the Indian market. Its lead actor Fawad Khan, went on to become a Bollywood heartthrob, but was then banned in India along with other Pakistani artists following the 2016 Uri attack. The Pakistani film Maula Jatt that he stars in was due to be released in India, but that has been stalled too. The release of a Bollywood romance he stars in, Abir Gulaal, is now also in limbo due to renewed hostilities. Countering 'foreign' serials What catalysed Sultana Siddiqui to start Hum TV channel was a desire to create relevant content rooted in Pakistan. 'My son asked, 'Are you sure this will work? Indian channels are dominating ratings.' I told him, 'Give it two days – those ratings won't last',' she recalls. 'I was scared too. But when it happened, the entire atmosphere shifted. Not just in Pakistan, but anywhere Urdu is spoken.' She wanted to counter the dominance of 'foreign' serials, particularly Indian dramas known for their sensationalist aesthetics. 'Those vibrant colored walls, the dramatic music, and women cooking without a single stain on their clothes – it all used to bother me,' she says. The series are part of a long line of Hum TV productions that have challenged social norms, like Udaari (Soaring, on child sexual abuse) and Dar Si Jaati Hai Silah (Silah Gets a Bit Scared, on domestic violence). Speaking to Sapan News at her office in Karachi, Sultana Siddiqui recalled the backlash against Udaari (2016), which state-run regulators branded 'immoral ' and threatened to shut down. 'I asked them, 'What exactly do you gain by doing this?'' she recalled. Their reply? 'You get a lot of publicity'.' Public support But Siddiqui believes it wasn't just the regulators. 'When one of my dramas performs exceptionally well, there are always two kinds of competitors – those who respond positively, and those who don't. I choose to rise above. But some out of sheer spite think, 'It's doing well, so let's bring it down,' and they write complaints.' Udaari received a record number of notices from the Pakistan Electronic Media Regulatory Authority, an indication of how much pushback such socially conscious shows can get. The subject matter, she was told, was too 'bold' to ignore. Her response: 'Look at the end – the rapist was caught and punished. The purpose of Udaari was to show that if you see your child disturbed, talk to them. Because often, it's the nearest person who abuses the child, someone they trust.' What sustained her was support from the public. 'That's where we drew our strength from, to fight the case legally,' Sultana Siddiqui says. 'Sorry, but we are not followers; we create and make others follow.' She admits having to self-censor many aspects of her productions. 'Of course, you can play it safe, but if you're intelligent, you should know what your purpose is.' While Pakistani television channels today enjoy far more freedom than under military regimes, it was Pakistan's last military dictator, General Pervez Musharraf, who in fact allowed private channels to start. 'Back then we mostly adapted novels into dramas, where the mother was the epitome of goodness,' she says. 'They were slow-paced and good in their own right, but their reach and impact were limited. The subjects were limited too – you couldn't tackle issues like child abuse… You couldn't even show a couple holding hands. That's not the case now.' In contrast, films get caught in layers of bureaucracy with those in different regulatory departments 'sending mixed signals – one says yes, the other says no'. The horrific cases of mob violence in Pakistan affected Siddiqui on a personal level, she said, leading her to create the Tan Man series as a response. 'I don't have the energy anymore to keep running around, directing projects,' she admits. 'But I saw something that shattered me. I just hope some change comes from it – something that makes me feel like I've done my part. If nothing else, at least it brings some awareness.' 'When I see things like this, I know it's already time for me to bow out,' she says. 'But before I do, I want to leave behind something meaningful." Alongside Tan Man Neelo Neel, which runs for 11 episodes, the trilogy features Mann Jogi with nine episodes and Nadaan with eight. The latter tackles the controversial practice of ' Halala Nikah ' and exposes how religious doctrine is exploited for personal political gain. The second installment, Nadaan, directed by filmmaker Mehreen Jabbar (Ramchand Pakistani, 2008), examines the scourge of drug addiction. The story shows how drug addicts pose threats to people around them; they resist the opening of rehabilitation centres that might weaken their grip, hiding behind performative piety to deflect scrutiny, and ultimately incite mob violence to protect their influence and preserve the toxic ecosystems they benefit from. Cross-border drama Sultana Siddiqui has always strongly favoured the inclusion of cross-border talent in Pakistani and Indian cultural productions. She has participated in various bilateral conferences and meetings, including those organised by Aman Ki Asha (Hope for Peace), a joint platform initiated in 2010 by the two biggest media groups of India and Pakistan. At the 2018 inaugural Pakistan International Film Festival, which Sultana Siddiqui hosted in Karachi, she invited prominent Indian industry figures as guests, including the team behind the blockbuster film Baahubali. But when she informally asked one of them, a veteran writer, to create content for Pakistani audiences, he politely declined, citing 'grave risks'. Sultana Siddiqui advocates for a more equitable exchange of cultural assets between India and Pakistan. She doesn't mind Indian productions hiring Pakistani writers but 'it should be a two-way street. For every writer they take, we should get one in return – maybe even agree on a percentage.' There are other kinds of risks involved in collaboration that may derail such efforts. There have been cases of storylines from Pakistan being picked up by Indian productions but then, 'things were added according to their own wishes.' State policy has also played its part. In 2016, Pakistan banned Indian dramas on its television channels, after India's unofficial curbs on Pakistani artists. The blackout, she notes, did give a short-term boom to homegrown content, but the real game-changer has been the rise of digital streaming platforms. Not all of Hum TV's projects have been free from critique. The 2019 television series Ehd-e-Wafa, a collaboration with the military's media wing, the Inter-Services Public Relations, drew criticism for glorifying the army and depicting other professions and state institutions unfairly. Earlier ISPR-sponsored shows like Alpha Bravo Charlie (1998) and Sunehre Din (1991) focused on military life without overt political messaging. Asked whether private channels should be subject to such influence, Sultana Siddiqui stresses that collaboration should involve professionals who understand the craft. The conversation with Sultana Siddiqui took place in Urdu and the quotes provided are approximate English translations.


Hindustan Times
2 days ago
- Hindustan Times
Assassin's Creed Shadows update brings New Game Plus, level cap boost and story DLC
Ubisoft has announced a New Game Plus mode for Assassin's Creed Shadows, set to launch next week. Although the game is a single-player experience, Ubisoft continues to support it with regular updates similar to live service multiplayer games. The company has released a detailed summer update roadmap filled with several key additions and improvements. Ubisoft will add new Game Plus mode and expansions to Assassin's Creed Shadows starting next week.(Xbox) Assassin's Creed Shadows: New Game Plus and Level Cap Expansion The first major update, which will introduce the New Game Plus mode and increase the level cap, will arrive on 29 July. This mode will become available once players finish the main story, allowing them to replay the game either from the beginning or from when the Hideout first unlocks. Players can keep all their gear, skills, and progression from their previous playthrough, making it more engaging to revisit the game. Also read: Gaming mouse maker infected users with malware for weeks, then quietly replaced files without warning Alongside New Game Plus, Ubisoft will raise the level cap from 60 to 80 and add new ranks for Knowledge and Mastery skills. The update will also bring new hideout buildings and enhancements to the Forge system. Additionally, the update introduces a third Shadow Project, which acts like a battle pass, offering fresh rewards for players to earn. Also read: AI voice cloning scam tricks concerned mom into sending ₹12.5 lakh: What you must watch out for A second update is scheduled for early September and will focus on quality-of-life changes. This includes adding the ability to skip the time of day, unlocking the frame rate limit on PC, and simplifying how players remove the fog of war from the open-world map. These improvements aim to enhance gameplay in preparation for the final update in the summer roadmap. Also read: Amazon drone delivers more than a package, surprising customers with an unexpected backyard dust storm Claws of Awaji Expansion Coming in Mid-September The last update, releasing on September 16, will launch the Claws of Awaji expansion. This expansion will add over ten hours of new story content, a new region to explore, and introduce new weapons, abilities, outfits, and enemies. Players who pre-ordered Assassin's Creed Shadows will receive the Claws of Awaji expansion for free, but they must complete the main story before starting it.


Time of India
2 days ago
- Time of India
The Summer I Turned Pretty Season 3 Review: Growing up, going in circles again
Story: Two years later, Belly is in college and engaged to Jeremiah, while Conrad, her first love, remains distant in med school. As old emotions resurface, the love triangle rekindles one last time, forcing Belly to decide what—and who—she truly wants. Review: The third season of 'The Summer I Turned Pretty' picks up two years later and brings with it a quieter, more mature tone. Belly (Lola Tung) is now in college, navigating academic pressures and slowly inching her way into adulthood. She's in a steady relationship with Jeremiah (Gavin Casalegno), while Conrad (Christopher Briney) is away in med school, largely keeping to himself. On the surface, the characters seem older, but emotionally, not much has changed. The series continues to rely on the love triangle that has anchored it since the beginning. It's less about who Belly will choose and more about how long the question can linger. This season leans into emotional weight, attempting to show characters coming to terms with the grief of Susannah's (Rachel Blanchard) loss while also grappling with the growing pains of early adulthood. Belly, no longer the impulsive girl from earlier summers, is now quieter, more reflective. Some moments—like a flashback that shakes her—stand out for their emotional clarity. Lola Tung matches the tone with a subdued, internalized performance that carries the weight of someone learning to process rather than react. The writing, though occasionally insightful, often retreats into the familiar territory of unresolved feelings and romantic conflict. Things start to shift when Jeremiah proposes in the second episode of the season. While the moment should have landed with more impact, it feels hurried—more of a narrative beat than a truly earned emotional turning point. Belly says yes, but the decision sparks a return to old patterns, especially with Conrad's re-entry. The show dives back into stolen glances, awkward confrontations, and quiet heartbreaks. Jeremiah's arc, despite Gavin Casalegno's presence, feels thinner this time—limited mostly to insecurity and reaction. In contrast, Conrad's storyline is more emotionally layered. His therapy sessions, quiet struggles, and visible restraint bring much-needed depth and mark a subtle evolution from where he began. Based on the three episodes streamed so far, the series shifts away from the breezy aesthetic of Cousins Beach and now unfolds across college dorms, hospital corridors, and therapy rooms. While the sunlit charm is missed, the new backdrops complement the show's attempt to grow up. The soundtrack continues to do heavy lifting—featuring tracks from Taylor Swift, The Cranberries, and Radiohead. At times, the music overshadows the scene, but it usually adds the emotional dimension that the script sometimes lacks. A welcome addition is Zoé de Grand'Maison as Agnes, a calming presence from Conrad's present life who shifts the dynamic in small but meaningful ways. Ultimately, Season 3 attempts to strike a balance between closure and comfort. It gives its characters a sense of direction and growth, yet it remains shackled to the same emotional loop that defined the earlier seasons. There are a few touching moments—especially those involving siblings and parents—but the central love triangle, once full of possibility, now feels like it's simply going in circles. While longtime fans of Jenny Han's books may find satisfaction in how things unfold, others might feel like they're watching the same summer story dressed in fall clothes.