Latest news with #Radiohead
Yahoo
2 hours ago
- Entertainment
- Yahoo
What time do 'The Summer I Turned Pretty' episodes come out? How to watch
Wedding bells are ringing in "The Summer I Turned Pretty" Season 3. Well, not quite. During Episode 3, Jeremiah makes his engagement to Belly official with a ring. The two plan on sharing with their families when they are all together for Susannah's memorial garden dedication. Steven and Taylor seem to have a tense relationship – if you can even call it that – following his accident. Following the dedication, Belly announces their plans to get married in August from across the seafood tower. Her first love and Jeremiah's brother Conrad does not take the news well and stands in the empty parking lot as "No Surprises" by Radiohead plays in the background. So what could possibly happen in Season 3 Episode 4 of TSITP? Here's what time "The Summer I Turned Pretty" comes out and the Season 3 episode release schedule. 'The Summer I Turned Pretty' Season 3 number of episodes The third and final season of "The Summer I Turned Pretty" will be 11 episodes long. What days does 'The Summer I Turned Pretty' come on? During this season of 'The Summer I Turned Pretty,' Amazon Prime Video will not be releasing the whole season at once. The first two episodes of TSITP Season 3 premiered on July 16; the rest of the episodes air weekly on Wednesdays. This will go on until the Episode 11 finale, which airs Wednesday, Sept. 17. 'The Summer I Turned Pretty' Season 3 episode release schedule Here is the release schedule for "The Summer I Turned Pretty" Season 3: Season 3, Episodes 1 and 2: Airs July 16 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 3: Airs July 23 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 4: Airs July 30 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 5: Airs Aug. 6 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 6: Airs Aug. 13 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 7: Airs Aug. 20 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 8: Airs Aug. 27 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 9: Airs Sept. 3 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 10: Airs Sept. 10 at 12 a.m. PT and 3 a.m. ET. Season 3, Episode 11 (finale): Airs Sept. 17 at 12 a.m. PT and 3 a.m. ET. What time do 'The Summer I Turned Pretty' episodes come out? New episodes of TSITP are available at 12 a.m. PT and 3 a.m. ET. What time is the next episode of 'The Summer I Turned Pretty' coming out? "The Summer I Turned Pretty" Season 3 Episode 3 comes out on Wednesday, July 30, at 12 a.m. PT and 3 a.m. ET. 'The Summer I Turned Pretty' streaming platform "The Summer I Turned Pretty" Season 3 will premiere weekly on Amazon Prime Video. You can also catch up on Seasons 1 and 2 on the streaming platform. Prime Video is available with an Amazon Prime membership, which costs $14.99 per month or $139 annually for an individual. Student membership costs $7.49 per month or $69 per year. Sign up for Amazon Prime Reach the reporter at Follow @dina_kaur on X, formerly known as Twitter, and on Bluesky @ Subscribe to today. We occasionally recommend interesting products and services. If you make a purchase by clicking one of the links, we may earn an affiliate fee. USA TODAY Network newsrooms operate independently, and this doesn't influence our coverage. This article originally appeared on Arizona Republic: What time do TSITP episodes come out? Episode 4 release time
The Guardian
10 hours ago
- Entertainment
- The Guardian
‘A succession of bad paintings': Stanley Donwood and Radiohead's Thom Yorke
For decades, Radiohead's Thom Yorke and the artist Stanley Donwood have been locked in an intense creative partnership. They scribble over each other's drawings, scrawl in each other's notebooks, push each other, inspire each other. Their work has been on every Radiohead album cover since 1995's The Bends, every Yorke solo record, every poster and every T-shirt. Nothing is farmed out to designers or agencies – Radiohead's visual identity has been fully overseen by Donwood and Yorke. And now, in a homecoming of sorts for local hero Yorke, their artistic output is being celebrated at Oxford's Ashmolean Museum. There's no doubt that Donwood and Yorke, who met while studying at the University of Exeter, have created some of the most recognisable, ubiquitous and maybe even iconic album covers of their generation. But do they make sense in a huge, historic gallery such as the Ashmolean? Does any of it make for good art? Does it stand up to scrutiny when removed from the context of the records and merchandise it was designed for? It's a nice dream, but nope. The exhibition starts with LPs, CDs, posters and T-shirts arranged as though you are in a very hip but dour record shop. The gasping, deathly resuscitation dummy of The Bends; the ghostly schematics and angry doodles of OK Computer; the weeping little fella of Amnesiac; the mountains of Kid A; the multicoloured poetry of Hail to the Thief; the woodcuts of Yorke's The Eraser. This is how the work was meant to be seen, this is the context it works best in: arranged as if in racks, as if you could pull a record off the wall and play it. Donwood clearly has an issue with art galleries. 'They're just intimidating – it's not very democratic,' says a quote of his on the wall. 'Whereas you go into a record shop and it's full of all kinds of oiks.' I'm not sure I buy into this. Record shops can have exactly the same atmosphere of sneering exclusivity as galleries. There's a touchiness here that makes the show feel a little bitter. Guys, you're in the Ashmolean. You're not kicking against the establishment, you're in it. The exhibition goes album by album, with sketchbooks and paintings displayed to lay bare their creative process. Everything is jointly attributed, positioning Yorke and Donwood as equals. OK Computer sets an unfairly high bar early on in the show. The 1997 album captured the era's zeitgeist with its anxious teardown of corporate facelessness, technological paranoia and capitalist excess. It still resonates, as does its sense of isolation and loneliness in a world where you're constantly surrounded by people. The artwork looked like nothing else of its era: featuring a motorway overlayed with airplane safety manuals and the ghosts of people rushing by, the cover image looks how the music sounds – cold, frustrated, isolated, desperate. A brilliant meeting of music and album artwork. But it works infinitely better as a CD insert. You gain almost nothing by seeing these digital images enlarged, framed and plonked on a gallery wall. Radiohead would struggle to capture the moment again in quite the way they did with OK Computer. The same goes for the art. Donwood and Yorke made vast, bleak acrylic paintings for the covers of Kid A and Amnesiac. Eight canvases are displayed here and they are an unbelievable mess: badly composed, poorly executed, smudgy, splodgy, confused landscapes that even the RA Summer Exhibition would reject. The paintings of spiders and trees for 2011's King of Limbs are even worse; sub-A Level attempts at Max Ernst that almost make me embarrassed for them. The woodcuts for Yorke's solo albums are less visually offensive, and the ultra-colourful paintings of rivers and forests for the most recent albums by his other band the Smile work better as artworks, but are still quite a distance from anything you'd call brilliant. Plenty of the work here, especially from the 90s and early 2000s, has entered the wider public consciousness in a way that proves album artwork has cultural heft. It matters. It has an impact. But that doesn't mean any of it is especially good, or even interesting, as art. If you're a Radiohead fan, there is tons of insight and detail here to keep you happy, but from an art perspective it is a succession of bad paintings. Donwood and Yorke probably shouldn't have put themselves in this position, but they did it to themselves, and that's what really hurts. This Is What You Get: Stanley Donwood, Radiohead, Thom Yorke is at the Ashmolean Museum, Oxford, from 6 August to 11 January
Times
a day ago
- Entertainment
- Times
What Radiohead's artwork tells us about their music (and a new album)
In 2007, when Radiohead surprise-released the album In Rainbows, their legions of devoted fans were given a choice. Click here, we were told, and you can have the music for free. Or click here and you can pay £40 to have the music plus a load of artwork. Reader, I paid the £40 — and that record, with its gorgeous, trippy rainbow splurge of colour, is still on display in my living room. Hence This Is What You Get, an era-spanning hits, rarities and notebooks exhibition at the Ashmolean Museum in the band's home town of Oxford, and which is named for a lyric in their song Karma Police. Because nothing sums up Radiohead diehards better than spending hard-earned cash on some photocopied paintings instead of opting to own In Rainbows for zilch . Do the band have a sleeve as iconic as Sgt Pepper? Nevermind? Parklife? No. But nobody else gets close to the synergy between music and image that Radiohead's body of work boasts — a point This Is What You Get pushes over and over again as it traces the singer Thom Yorke's professional relationship with his artist friend Stanley Donwood through 180 exhibits. • The time Thom Yorke smiled — candid snaps by the Radiohead bassist They met at Exeter University in the late 1980s and started working together for the front cover of The Bends in 1995 — that image of a crash test dummy looking as if he is at the point of climax. The duo have put images to music for everything Yorke has written since. For fans, then, this exhibition will be essential, from the opening display of album and single covers they probably own, all the way to the gift shop, where a blue and white teacup and saucer will set you back £42. Yet fans are hardly the test here. Heck, we spent money on essentially free music and acolytes will lap up not so much the art on the wall as the personal items, mostly shown in display cabinets. There is a self-portrait by Yorke with spiders in his beard. One notebook shows an alternative track listing for the album Hail to the Thief (I tried it out; it's better). Another lists Yorke's fears from 2006, which include Iran, smoking ganja, getting fat, the suffering of millions as a consequence of global warming, and evangelists. Scribbled above some lyrics is a phone number for someone called Ellie. These lived-in pages in themselves prove to be a joy, probably as close to an autobiography as Yorke will get, showing us a mind that is always on, always jotting. The explanatory text for his solo album Tomorrow's Modern Boxes says it was made at 'a particularly bleak time for Yorke'. I am not sure we knew that. • Radiohead are playing together again Still, the focus here is not Yorke's words, nor his music, which plays very little role in the exhibition at his insistence that nothing would be played through speakers (there are a couple of points offering headphones for the uninitiated who have somehow found themselves in a Radiohead exhibition). Instead the point is is to let the visuals speak for themselves, to extricate Donwood and Yorke's artwork, which they mostly create at the same time as the music is being recorded, from the awards-laden band that made said art famous. 'It was years before I could go into a gallery,' an introductory text by Donwood reads. 'They're just intimidating, whereas a record shop is full of all kinds of oiks.' It says something about the confidence of the two men that we are clearly not in a record shop any more. So do the paintings, drawings and sketches, on canvases great and small, digital and analogue, stand alone? It is hard, as a fan, to divorce the art from the music — this is a nostalgia trip on which you recall where you were when you first heard each album in every room — but, largely, yes they do, albeit not at the start. The Bends, for instance, is limited here to a couple of posters, but its acclaimed follow-up, OK Computer, is gifted its own big room for artwork that was a parody of self-help and business speak — that lack of soul the album was railing against. It follows Yorke's lyrics and technological fears, thus making it less album art, more art for an album. Non-fans may wonder whether the room actually belongs in a gallery. Move on, though, and as Radiohead's music became more abstract, so did the images. The initially divisive, glitchy Kid A, we are told, was made when Yorke was struggling with the idea of following up OK Computer's success. 'Some anxiety could be exorcised by painting with brushes, knives, sticks, rags, anger, frustration and kicks,' the supporting text reads, and the nightmarish paint-splatter mountains and monsters perfectly evoke music that had left guitars behind and lyrics that no longer told stories but dealt with feelings. Which is pretty much what the past quarter of a century has been for Yorke, a man who, over time, became perhaps more interested in the visuals than he was in music. A real highlight is Yorke's debut solo album, The Eraser, for which Donwood created a London cityscape swept away in a flood. It is black-and-white, eerie and powerful in a way very little album art manages because most of it is not made in cahoots with the musician. At certain points the music supports the art, rather than the other way around: the monochrome sketches of endlessly chopped-down trees for Radiohead's single for war veterans, Harry Patch (In Memory Of), is far more memorable than the actual song. Now that I have seen that image, which I never had in full given I had only streamed the track on Spotify, the song packs a greater power. The exhibition ends with the Smile, Yorke's most recent band. This final room showcases how free-form his partnership with Donwood is. Made after lockdown, the bright, vivid paintings are full of life. It was a happy time and it shows. Many yellow suns are out and the trees are growing again. Donwood said he wanted to make 'less miserable pictures', something both Radiohead fans and haters will smile at. • How Radiohead reinvented rock (with help from a composer) But then the show ends — with a full stop rather than the comma fans would like. They would, after all, love another room, a hint at a new album by Radiohead, if one will ever exist. It is a question this exhibition does not even try to answer but it does at least point us towards what we already knew: that Yorke is an enigma who has put the art into art rock, someone who long ago left behind the idea that his music can be defined, let alone predicted. There is, after all, no mention whatsoever of the breakthrough hit Creep, made before Yorke really knew who he was — and before he started to work with Donwood, his most important creative Is What You Get is at the Ashmolean Museum, Oxford, Aug 6 to Jan 11,
Forbes
2 days ago
- Entertainment
- Forbes
Radiohead Pushes Several Decades-Old Titles To New Chart Peaks
Radiohead's 'Let Down' climbs Billboard charts thanks to viral popularity, helping OK Computer reach ... More a new peak while 'Creep' hits 100 weeks globally. Musician Thom Yorke, of group Radiohead, performs, Chicago, Illinois, August 3, 2001. (Photo by) 2025 has turned out to be a big year for the band Radiohead, even though no brand new music has emerged, and none is expected at the moment. The group suddenly and unexpectedly went viral with the tune 'Let Down,' which has become a surprise hit. The decades-old composition has long been a favorite among fans, but only recently has it reached a more mainstream audience, thanks to platforms like TikTok. The popularity of 'Let Down' has been growing for weeks now. As it soars on several charts in the United States, the album it's featured on manages to hit a new high point at the same time. 'Let Down' Hits a New All-Time High At the moment, 'Let Down' appears on four Billboard rankings. It rises on two of them and declines — but only by one spot each — on the other pair. The track surges from No. 25 to No. 23 on the Alternative Streaming Songs list in just its second week on the tally, which ranks the most streamed alternative tunes across the country. The Radiohead cut reaches a never-before-seen peak as it improves its standing. The tune also returns to its previously-set high point on the general Hot Rock Songs chart, inching upward from No. 13 to No. 12. "Let Down" Boosts OK Computer's Chart Performance Continued consumption of 'Let Down' in particular helps OK Computer — the Radiohead album that the track is featured on — ascend. OK Computer lifts one spot on the Top Rock & Alternative Albums chart, settling at No. 37. The band's third full-length project hits a new peak on the Billboard ranking 10 weeks into its resurgence, but decades after it was first released. At the same time, the critically-acclaimed studio effort holds at No. 153 on the Billboard 200, while descending slightly on the Top Alternative Albums roster. On that latter list, OK Computer reached its No. 19 high just last week and now dips two rungs to No. 21. As 'Let Down' Rises, 'Creep' Reaches a New Milestone As 'Let Down' reaches a brand new peak position, another Radiohead classic, 'Creep,' continues to stand out as perhaps the band's most celebrated tune. That cut declines slightly on both of Billboard's global rankings, but it does so as it reaches 100 weeks on the two tallies. That's a first for Radiohead, and it seems that renewed attention being paid to 'Let Down' has benefited more than just one track.
Time of India
5 days ago
- Entertainment
- 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.
