All of the biggest music headlines in one place and playlist. Updated live throughout the week.

It’s Official. It’s Been Awful.

Isaiah Rashad’s return record is en route. Confirmed. At first, at the top of the week, the rapper took to his Instagram stories to share an image of what appeared to be a new project entitled It’s Been Awful, stamped with a Top Dawg Entertainment authentication on the bottom. Later that same day, TDE’s Punch shared a post on X, reading “It’s been awful,” followed by the same posts from label signees Doechii, ScHoolboy Q, Devin Malik, and Zacari. Within the hour, posters were reportedly seen throughout New York City, and photos of new merch materialized on X. Come Tuesday morning, Rashad has officially revealed in a striking initial trailer that It’s Been Awful is, in fact, a studio album that’s due out in less than a month. What will land as his fourth longform project, Rashad’s return album – what a press release describes to be "a raw, fully realized return" – is slated to drop everywhere on Friday, May 1 as his first longform studio release since 2021’s acclaimed The House Is Burning. Full story here.

Two of Our Favorite Hypetrak Stars Linked Up: Ovrkast. x Niontay

Whenever two former Hypetrak featured artists get together, it’s a good day. And a damn near guarantee that the creative output will be top-tier. On Wednesday, two of our favorite budding big dogs in the New York City underground rap ether – Ovrkast. and Niontay – got together for their first-ever formal collaboration. Dubbed “Wata,” Kast first teased the punchy track on his Instagram last week before releasing the cut, accompanied by its clean, monochromatic visual, on streaming services this week.

The Coachella Set Times Dropped

With Weekend 1 kicking off in just hours, the first sign of Coachella Crunch Time came at the beginning of the week, when the festival (finally) lifted the veil on the official set times for the first weekend.

...And So Did the Coachella Billboards

Set times are important and all, but the billboards are the real indicator that we’re reaching Indio’s biggest two-weekend stint of the year. All of our favorites here.

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Mark Hamill will forever be synonymous with the Jedi, having brought Luke Skywalker to life across generations of Star Wars. Now, he’s stepping into a new role, this time with LEGO as the brand’s newly appointed Junior Executive Director of Information (J.E.D.I.).

The title arrives as LEGO rolls out its SMART Play initiative, a new platform centered around interactive building through its sensor-driven SMART Brick. Debuting with LEGO Star Wars sets, the technology introduces sound, motion, and responsiveness into the building experience -- bridging physical play with modern interactivity.

We caught up with Hamill via LEGO’s fan hotline to discuss the evolution of play, the enduring appeal of Star Wars, and what it means to engage a new generation of builders.

 

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LEGO has a strong sense of humor. How did you approach stepping into this J.E.D.I. role?

Mark Hamill: Obviously LEGO has a sense of humor -- they gave me a title like Junior Executive Director of Information! The brand is all about fun, and it’s great to be part of something loved by kids worldwide.

As a parent, you look for ways to connect with your children. My kids are grown now, but my granddaughter loves LEGO, and it’s the kind of activity that really sparks creativity. The only limit is your imagination.

You’ve seen Star Wars evolve across generations, and now LEGO has too with SMART Play. How does something like SMART Play change the way people connect with Star Wars?

SMART Play is amazing. The sounds the sets make, from the lasers to chatter, are incredible. When I first got LEGO in the ‘80s, it was just a box of bricks. Technology keeps evolving, and they’ve really embraced that here.

“The only limit is your imagination.”

What impact does building something physical like LEGO have in today's digital world?

It’s important to find a way to get kids off their phones and back into the real world. This is the perfect way to do that, where you’re interacting with your child and doing something that makes them forget about being online. LEGO preserves the past, but in a very futuristic way.

What does it mean to see Star Wars and LEGO shared across generations?

It’s special when you find something the whole family can enjoy. I remember watching things with my kids that I never would have otherwise, (coughs) American Idol, just because they loved it. When you find something that you can all enjoy together as a family, it’s priceless.

Did working with the SMART Play sets bring back memories of your early Star Wars days?

I saw all of the movies, but I didn’t watch them again. When they re-released the films for the 20th anniversary in 1997, all three of my kids exclaimed, “We have to go see them!” I told them, “You guys watch the movies on an endless loop already.” Nathan would watch one, rewind the tape, and start it again. It got to the point where his younger brother came to me and pleaded, “I can’t stand it anymore. It’s the fifth time today he’s watched Empire Strikes Back.” They appeal to every generation, and I’m so grateful for that.

We had never seen the movies on a big screen with great sound, so that was very exciting. After the re-watch, I was reminded how well-crafted and clever they are. I don’t go back and watch anything I work on, outside of screenings or premieres. There are still movies I’ve done that I haven’t seen. I won’t mention any names, (coughs) The Guyver.

“LEGO preserves the past, but in a very futuristic way.”

We’ve seen LEGO produce around 70 unique Luke Skywalker minifigure designs to date. What was it like first seeing Luke Skywalker as a minifigure?

I always appreciated that LEGO was the one to finally get my hair color right. When I was first an action figure, I had lemon yellow hair. I always thought that it was odd since my hair is brown. I suppose it did get a little blonde in Tunisia, since we were out in the sun every day for a few weeks. But when I first saw LEGO, I was happy they got so many things right.

If Luke Skywalker had access to LEGO, what do you think he’d enjoy building?

He would probably build his home on Tatooine, since he misses his aunt and uncle. Another that stands out is the Emperor’s Throne Room, as it was such a climactic location for the series.

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Summary

• Prada Mode will arrive in New York for its 14th edition, presenting Satellites II by Hideo Kojima and Nicolas Winding Refn
• The showcase features installations and performances within the hotel and across the city, exploring themes of connection, creativity and love

Satellites II, a new exhibition by gaming polymath Hideo Kojima and filmmaker Nicolas Winding Refn, will take over New York’s Hotel Chelsea for the 14th edition of Prada Mode. Coinciding with the Tribeca Film Festival, the show will be open to the public from June 5 to 7, with a private members club running from June 3 to 4.

The forthcoming presentation follows Satellites, Kojima and Refn’s collaborative project shown at Prada Aoyama in Tokyo around the same time last year. Satellites II builds off the original show, diving deeper into the artists’ friendship and creative dialogue. Images so far suggest that we can expect a similar sci-fi transformation of the space, with films on retrofuturist televisions exploring themes of love, language and creativity.

During the earlier private program, guest rooms will be reimagined into “micro television studios,” each hosting an original performance. For public viewing days, the same spaces will house installations.

The exhibition will be accompanied by a slate of cultural events, including talks, concerts, performances and curated dining experiences. Additional site-specific works will appear through the hotel and around the city, expanding on the show's exploration of human connection and communication.

Check out Prada’s website for more information on Prada Mode.

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Premium watches are popular graduation gifts for a reason. They mark years of studying with a symbolic representation of time while proposing a rare combination of meaning, function, and longevity that few other gifts do.

The sentimental value of a watch is attached to the relationship with the gift-giver. For the wearer, it becomes a talisman that can be worn every day or only on special occasions, growing exponentially as a personal treasure that is rarely sold and often passed down to future generations.

Luxurious horological designs from brands such as Rolex, Omega, and Cartier serve as a go-to choice with durable builds that require little upkeep. But, the options for a commemorative timepiece gift can vary as much as the graduates themselves.

With so many technical specifications and styles, Hypebeast joins the watch experts at Chrono24 to curate a guide of timepieces for the milestone from a selection of categories. Discover the best suited timepiece in the edit below.

Sports Watches

Omega Speedmaster Professional Moonwatch 310.30.42.50.01.002

Widely known as the Omega “Speedy,” this sports model boasts ties to the iconic Moonwatch from NASA’s space missions, making it a unique emblem of ambition and achievement. The timepiece features an iconic black dial with white markers, a tri-compax chronograph layout and tachymeter bezel. However, one of its most unique features is the hand-wound mechanical movement.

Rolex Explorer II 16570

Built for travelers, the Rolex Explorer II embodies the understated yet adventurous essence of the brand’s heritage. It serves as a great gift because the design – in particular, the highly legible dial and signature fixed 24-hour bezel with a bold GMT hand and dual-time functionality – feels meaningful without being flashy.

Dress Watches

Cartier Tank Solo WSTA0028

What makes the Cartier Tank Solo so iconic is its instantly recognizable rectangular case. Within it, a Roman numeral dial meets the blue sword-shaped hands to create an elegant look that still feels modern. As for the technical spec, the Cartier runs on quartz movement for ultra-reliable performance.

IWC Portofino Automatic IW356501

With a slim case, minimal dial and subtle date window, the IWC Portofino range finds beauty in simplicity. Complemented by a leather strap, the automatic movement watch is perfect for those who want a versatile accessory that adds an effortless finishing touch to everyday outfits.

Entry-Level Watches

Grand Seiko Heritage Collection SBGX261

While the Heritage Collection is one of Grand Seiko’s more accessible ranges, it’s also its most loved. This model is special because it executes every detail to a high level. Inside the 37mm case, the 9F quartz movement is accurate to ±10 seconds per year, ensuring the seconds hand hits each marker perfectly.

Tissot Prx Powermatic 80 Ice Blue T137.407.11.351.00

The retro-modern look of the coveted Tissot PRX Powermatic 80 is exaggerated in the “Ice Blue” version, with a fresh colorway dressing the waffle-style dial pattern. It’s also powered by an automatic movement which boasts an impressive 80-hour power reserve, so it’s the kind of watch that’s as reliable as it is good-looking.

Colored Watches

IWC Portugieser Chronograph IW371616 “Red”

Compared to the pared-back style of the Portofino, IWC’s Portugieser looks to make a statement by blending a rich “Red” dial with a clean layout featuring Arabic numerals, slim hands and spaced out subdials. Since the timepiece runs on an in-house automatic chronograph movement with a column-wheel design, the pushers are smooth and precise, bringing life to the piece.

Tudor Black Bay Chrono 2025 M79360N-0024 “Flamingo Blue”

If blue is more your color, take a closer look at Tudor’s Black Bay Chrono in “Flamingo Blue.” The contrast between the bold dial and the black subdials instantly stands out while the tachymeter bezel and chunky steel case give it a race-inspired edge. Its automatic movement offers a 70-hour power reserve bringing serious capability to the design.

Smaller Watches

Cartier Santos Carrée 2961

The Carrée model is vintage Cartier at its most refined. Its heritage-infused style comprises a square case, exposed screws, two-tone steel and a gold bracelet, perfectly framing the brand’s classic Roman numeral dial and blue hands powered by automatic movement.

Breitling Chronomat 32 A77310101K1A1

Small but mighty, the Breitling Chronomat runs on the brand’s SuperQuartz movement which is incredibly precise yet low-maintenance. As well as its reliable performance, the watch’s polished steel case, iconic “Rouleaux” bracelet and sparkling diamond hour markers make this an ultra-special gift for any graduate.

Explore the timepieces featured on Chrono24’s online marketplace.

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Summary

• Diptyque has revamped its iconic candle vessel with a ten percent weight reduction and an all-new refill system
• The expanded fragrance lineup introduces five new scents including coffee, nettle, black sesame, rhubarb, and shiso
• A new collection of decorative accessories crafted from borosilicate glass and biscuit porcelain accompanies the launch

Diptyque is officially introducing a refined evolution of its classic candle for 2026, marking a new chapter for the brand's very first object. With a focus on sustainability and elevated design, the maison has partnered with Franco-Swiss designer Julie Richoz to subtly adjust the iconic glass vessel.

The redesigned vessel maintains its timeless aesthetic but now features an oval-shaped ridge of glass that marks the perimeter of the label. The label itself retains the signature monochrome print and distinctive typography originally envisioned by Desmond Knox-Leet, now updated with sharper delineation. In a push toward eco-responsibility, the new glass vessel is 10% lighter and accommodates a brand-new refill system, arriving in bio-sourced "paperfoam" casing.

Expanding its olfactory herbarium, Diptyque enlisted perfumers Alexandra Carlin and Olivia Giacobetti to create five unprecedented fragrances. The new lineup includes the roasted warmth of Café, the green freshness of Ortie, the addictive roasted notes of Sésame Noir, the fruity acidity of Rhubarbe, and the complex aromatic profile of Shiso. Rounding out the release is a collection of decorative accessories, including a flame-blown borosilicate glass Coasted Candle Holder, biscuit porcelain trays, and graphic matchboxes.

The Diptyque classic candle revamp and new fragrances will arrive later this year, with the refill system specifically launching in Fall 2026.

Click here to view full gallery at Hypebeast

The thing about the Antwerp Six is that they were never really meant to be the "Antwerp Six".

The story, as it’s told, begins with a van. Six young designers, Ann Demeulemeester, Dries Van Noten, Walter Van Beirendonck, Dirk Bikkembergs, Dirk Van Saene, and Marina Yee, loaded their collections into the back and headed to London in 1986.

They arrive at the British Designer Show to find themselves placed on the second floor, somewhere between bridalwear and latex. So they make flyers, hand them out themselves, and – after a big order from Barneys New York – change contemporary fashion. It’s neat. But like most neat stories, this one obscures as much as it reveals.

The Antwerp Six, 1986

MoMu’s new exhibition, The Antwerp Six, marking 40 years since that London breakthrough, leans into the gaps. It celebrates this moment in time, but it also begins to pull at its edges – questioning what, exactly, the Antwerp Six ever were in the first place.

“The Antwerp Six never really existed in the way we think it did,” says curator Romy Cockx."They got to know each other at the Academy, but when they went together to London, it was only three years that they really presented together. It’s a bit of a myth that kept on living."

What follows from that is less a rewriting of history than a reframing of it. Because while the term has come to function as shorthand for a particular moment in fashion, it was never something the designers themselves set out to define.

The name, famously, was coined by the British press, partly out of necessity – journalists were struggling to spell their names correctly – and partly out of convenience. Their individual practices were distinct, their aesthetics divergent. What bound them together was something more practical: proximity, friendship, and a shared need to be seen.

That pragmatism is key. The decision to present in London was not born of a manifesto, Cockx says, but of logistics. They could share a van. Split costs. Amplify their presence. As Cockx puts it, they “reinforced each other”, even as they developed entirely different creative languages.

Ann Demeulemeester, SS90
Dirk Bikkembergs, SS07
Dries Van Noten, SS20
Walter Van Beirendonck, SS93
Dirk van Saene, AW89
Marina Yee, SS88

If anything, the exhibition suggests that the Antwerp Six were more moment than movement – a brief alignment of six individuals, each with their own trajectory, their own ambitions, their own voice.

To understand that moment, the show moves outward, situating the designers within the cultural and economic landscape of the late 1970s and early 1980s. Fashion was shifting rapidly. The established codes of Parisian couture were being challenged by a new generation, by the theatrical excess of Jean Paul Gaultier and Thierry Mugler, and by the conceptual deconstruction of Rei Kawakubo and Yohji Yamamoto.

At the same time, Antwerp itself was undergoing its own transformation. A city with a strong textile industry but little international fashion identity, it became an unlikely incubator for a new kind of creativity, one shaped by art, nightlife, and a distinctly independent approach to design.

What emerges in the exhibition is not a singular narrative but a network of influences. The Royal Academy of Fine Arts, where all six studied and were mentored by Mary Prijot, fostered an environment that prioritised individuality above all else. This emphasis on difference is reflected in the exhibition’s scenography. Rather than presenting the Six as a cohesive unit, each designer is given their own space, an installation that speaks to their individual practice. The effect is deliberately disjointed, resisting the urge to smooth over contradictions or impose coherence where it doesn’t naturally exist.

Dirk Bikkembergs
Walter Van Beirendonck
Dirk Van Saene
Dries Van Noten
Marina Yee
Ann Demeulemeester

Even the process of constructing the exhibition mirrors this fragmentation. According to Cockx, conversations with the designers revealed inconsistencies in memory, small details that didn’t quite align, moments remembered differently. Forty years on, the story is no longer singular but plural.

So the curatorial approach became one of assembly. Interviews were layered with archival material in the form of photographs, invitations, and documents. Some pieces were found in disorganised attics, others in carefully preserved archives.

Instead, the exhibition allows for this level of ambiguity, and for the possibility that the Antwerp Six is less a fixed entity than an evolving idea.

However, the show does not underplay the scale of their impact. If the Antwerp Six were not a movement in the traditional sense, they were nevertheless catalytic. Their success helped to reposition Belgium on the global fashion map, transforming Antwerp into a destination for design education and attracting a new generation of international students.

Runway invitations on show
Runway invitations on show
Runway invitations on show
Runway invitations on show

Their legacy, then, is not easily distilled into a set of aesthetic principles. It is infrastructural, cultural, embedded in the systems they helped to shape, rather than the silhouettes they produced.

Perhaps this is what makes the exhibition feel particularly resonant now. In an industry that often relies on clear narratives and easily digestible identities, there is something refreshing about a story that resists simplification. The Antwerp Six were never really meant to be the Antwerp Six. They were six designers, working alongside one another, and ultimately making Belgium a place for fledgling creatives to flock.

The mystic of it all remains, of course. The van, the flyers, the second-floor stand. But here, in the new exhibition, it is allowed to exist alongside a more complex reality, one that acknowledges not just what happened, but how and why it has been remembered.

Click here to view full gallery at Hypebeast

As the 2026 World Cup countdown begins, the way football is being discussed is undergoing subtle changes. While the spotlight still shines on professional leagues, national teams, and top players, the intense focus is gradually extending into different arenas—streets, communities, media, and even daily life expressions. Football is becoming a more multi-dimensional experience, with participants at various levels bringing it to life in their own unique ways.

Nike Toma MIAMI

In this context, if we look at Nike Football's actions globally over the past six months, it becomes clear that they aren't simply about a "return" or an emphasis on a single style of football. Instead, Nike is driving multiple things forward simultaneously: On one hand, it continues to serve professional stadiums and enhance athlete performance; on the other, it's enabling more people to engage with football in different ways. From Portland to Miami to Shanghai, these seemingly scattered events are slowly piecing together a more complete picture of contemporary football.

Before the whistle blows, jerseys already learn to breathe.

At the end of 2025, Nike hosted the Nike Innovation Football Camp at their Portland headquarters—not a simple historical exhibition, but a bold move forward. Decades of Nike's football innovations were reimagined in ways that could be understood and experienced today: from early milestones in football innovation, to iconic shoes and jerseys that left their mark on different eras, to the legendary athletes who wowed generations. Every historical element was reactivated, turning "history" into a present-day expression. Undoubtedly the most captivating moment was the unveiling of the revolutionary Aero-FIT fabric technology and the surprise appearance of Francesco Totti, bringing the connection between past and present to its peak.

One of the major highlights was the groundbreaking Aero-FIT fabric technology, Nike's most breathable material to date, which was featured prominently at the event. In Portland's Mad Research Lab, Hypebeast delved into the athlete's world to see how Aero-FIT responds to the ever-increasing challenges of heat. During a two-hour co-creation workshop, the Aero-FIT jersey became the creative canvas, blending performance innovation, creative expression, and football culture. During the first day of the Hypebeast Cup, Nike's Senior Director of Global Football Apparel Design, Stuart McArthur, also shared the magic of this technology.

Before the whistle blows, jerseys already learn to breathe.

It’s in this context that Aero-FIT was integrated into the 2026 national team jerseys, becoming the core foundation for the designs of this World Cup cycle. As high temperatures increasingly impact the playing field, jerseys are no longer just visual or identity symbols; they must also address immediate physical challenges. Through adjustments in structure and fabric weaving, Aero-FIT boosts air circulation while maintaining a lightweight feel, incorporating patterns and prints directly into the fabric itself, eliminating the need to sacrifice performance for aesthetics. On March 27, China’s national football team, wearing the new Aero-FIT jerseys, triumphed over Curacao in the 2026 international qualifiers, marking a strong start. Nike's new kit for China combines traditional colors and cultural symbols with fresh, dynamic visual elements, offering players and fans a rejuvenated matchday experience.

Nike's new national team jerseys also offer a more narrative-driven design. Under a unified design language, each jersey revolves around the unique identity of its team, continuing tradition while introducing bold visual expressions. From Brazil's "frightening smile" to France's "great heist," from the Netherlands' "orange dominance" to England's "lion-hearted glory," the cultural essence of each country is translated into dramatic graphic language. From the field to the streets, these jerseys remain the most direct expression of football culture, continuously reinterpreted in the daily lives of fans.

Hypebeast Cup Shanghai: Football Beyond the Field

If Nike Football's global actions have built a unique expression of the brand, the Hypebeast Cup in Shanghai brought this framework directly into the real world. Around the 2026 World Cup cycle, products and content were presented to football and streetwear fans alike, offering a hands-on experience—everything from the Heritage archive jersey exhibition, the new national team kits designed for modern competition, to the Aero-FIT experience area that showcased cutting-edge fabric technology. Nike condensed the past, present, and future into a single space.

The Hypebeast Cup was more than just a tournament or exhibition; it became a living, breathing space for football culture. Technology served performance, products carried history, and communities provided a medium for expression—football was no longer just something to watch, but a language everyone could participate in and redefine. Over the two days of the event, this participatory culture was amplified—looser rhythms and more street-inspired challenges turned the game itself into a form of expression.

In this context, Nike Toma presented an entirely new form of street football: restless, chaotic, free, yet deeply immersive. In this space, everyone is the protagonist, and offense is the only language. Nike nurtures the next generation of football culture in a pure way, cultivating a culture that belongs to the youth. During the Nike Toma Miami finals in December 2025, Hypebeast also followed the perspective of Mika to experience the charm of Toma first-hand. Perhaps in the near future, Chinese football fans will also experience their own Toma locally.

End of 2025, Nike and PALACE open Manor Place in London

From the field to the street and daily life, football's rhythm naturally flows into urban culture. Nike Football's iconic memories are being reimagined here—from the earlier Hollywood Keepers series, which reinterpreted classic goalkeeper kits through a street lens, to the upcoming MAD 90 collection, which incorporates iconic boot design language into daily wear. Each item allows the rhythms and emotions of specific eras to continue unfolding in the streets and communities, reinterpreted by real-life crowds. The boundaries between on-field and off-field are fading; football is no longer just about matches but a cultural practice that's always ready to be engaged with and expressed.

Marcus Rashford in PALACE SKATEBOARDS x Nike England National Team Kit

Earlier this month, England forward Marcus Rashford arrived at St. George's Park wearing the PALACE SKATEBOARDS x Nike England national team jersey, officially kicking off Nike Football's major World Cup campaign. The national team jersey is no longer just for the pitch; it’s continually reinterpreted on the streets and in community events, becoming a cross-regional symbol of streetwear culture.

When these actions across different cities are connected, Nike Football's World Cup cycle is no longer just a countdown in time—it's an assault spreading out from the pitch: centered around athlete innovation, community-driven participation, and localized connections built in various cities. Football is being reorganized—it no longer belongs solely to the 90 minutes of competition but to everyone who wants to step onto the "field." From Portland to Miami to Shanghai, these seemingly isolated events all point to the same thing: the soul of football doesn't start only after the whistle blows. It is instinct, it is attack, it is present in every unbounded moment—and Nike is making it happen ahead of schedule.

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Mild spoilers for those who have yet to watch the latest episodes of The Pitt Season 2.

Lucas Iverson is currently the most misunderstood man on television. As James Ogilvie on HBO’s Emmy-winning medical drama The Pitt, he’s a wildly ambitious, highly competitive, technically skilled, and abrasive fourth-year student doctor who’s gunning for a residency in the emergency department of the fictional Pittsburgh Trauma Medical Center (PTMC) But meeting Iverson is a study in contrast. In reality, the Yale School of Drama graduate carries a warmth that his onscreen counterpart is yet to fully show to audiences. Rather than viewing his breakout role as a pursuit of stardom, he sees it as a deeply personal love letter to the medical world that once saved him.

Before he even stepped into the ED of PTMC, Iverson was already acutely aware of a hospital’s high-stakes environment. Born with a rare birth defect, he views his role as Ogilvie as his own way of showing gratitude to healthcare workers. “It’s like the ripple effect through my life where a lot of people who have worked with me in the past, and with whom I still work with as a patient — to hear from them and to be able to give something small back in some way means the world,” he tells Hypebeast from New York City, just days after the show’s pivotal 11th episode.

To prepare for his role in The Pitt, Iverson needed to balance the physical language of the ED with staying in character. His theater background prepared him for that. “I think it's vital,” he says. “So much of what we do requires an extreme appetite in a way that training gives an actor. There’s a process of learning in rehearsal for a play that translates really well to when sh*t hits the fan in The Pitt,” he adds before pausing to apologize for the curse word, which I assure him is fine to use, “It’s like learning the physical aspects of the choreography of a trauma scene while still being able to fold in character.”

“It’s not easy,” he clarifies, “but it's the same muscle as when the director says, ‘Do something that feels a little unnatural.’ You have to, like, raise your volume in a way that feels a little uncomfortable on stage in order to share with the audience. That muscle of making that true is really useful on our set.”

The next step was medical bootcamp. Unlike the two-week tutelage the Season 1 cast underwent, Iverson and his cohorts only had two days. “I think that was a crazy decision because it was a lot of information for two days,” he states, still with a hint of disbelief in his tone. Their training involved everything from learning the typical cardiac arrest treatment plan to working on dummies, ultrasounding their stand-in team and each other, practicing intubations, placing a central line, and suturing for two hours (“You can’t really fake that”).

By the end of the 48-hour crash course, he was still questioning whether he was ready to convincingly portray the technical precision of a life-and-death profession on-screen — an evident dissimilarity between him and the assertive Ogilvie.

Ogilvie’s bold and brazen entry in the ED didn’t go unnoticed by fans. Right from the start of the season, viewers already had their own unfavorable assumptions of the student doctor. Many called the character brash, singling him out for his “gunner” attitude and perceived arrogance towards his peers, and his overall lack of empathy towards some patients. Whenever he would receive some sort of comeuppance, audiences were quick to celebrate those moments. It was evident that, to these viewers, Ogilvie was deserving of whatever hell he was about to experience on his first day.

Iverson doesn’t reject the criticism. In fact, he’s very much aware that Ogilvie is a type of med student, and maybe even a doctor, that can be unpleasant to interact or work with. But the audience's response has begged him to ask: who deserves our empathy?

“It's interesting that our punishment is to take away our empathy for [Ogilvie]...It’s a slippery slope. How do we determine who's worthy of our empathy?"

“It's interesting that our punishment is to take away our empathy for him, as though he hasn’t earned it,” he muses. “I think that that's sort of how he views some of these patients erroneously. But I think it’s really interesting. And, if not, perhaps the entire reason why he's in the show.”

"It’s a slippery slope," he continues, "How do we determine who's worthy of our empathy? I think Ogilvie needs to interrogate that, and maybe we, as the viewers, could learn from that too. Maybe people are totally justified in taking it away from him as well.”

But Iverson doesn’t ever fault the viewers for their perspective of Ogilvie, especially considering that he found it hard to like his own character at first. “Initially, we didn’t get along. I had a hard time liking him,” he reveals. Fans who felt the same way regularly dissected Ogilvie’s dynamic with fellow med students Joy Kwon (a new third-year student portrayed by Irene Choi) and Victoria Javadi (a fourth-year student portrayed by Shabana Azeez), breaking down scenes of when they go toe-to-toe. “Anytime Ogilvie one-ups Joy, I think it’s just a chance for him to shine a little harder. But Javadi,” he confirms, “he feels directly threatened by.”

The tension between Ogilvie and Javadi lies in a shared common goal: a residency spot at PTMC. While not much is currently known about his backstory, Javadi — who’s been in the main cast since the show’s inaugural season — has her history set: she’s both a prodigy and a nepobaby, attending her final year of med school at only 21 years old with both her parents working as doctors in the same hospital. Her advantages, on top of her natural gift as a doctor, haunts Ogilvie. “The rivalry there is about self-preservation. He feels like the deck is stacked against him, and he really has to compete,” Iverson explains. “The thing that unites Ogilvie and Javadi is that they both desperately want to be here. They want to be doctors here in this emergency room. Their attachment is greater, and that's also a seed of their rivalry.”

As season two progressed, Iverson’s own understanding of and context for Ogilvie grew. For audiences, it didn’t really come to fruition until Episode 11, specifically in the scene where Ogilvie and Dr. McKay (portrayed by Fiona Dourif) treat a recovering addict and unhoused patient, Kiki, at the park just across PTMC. Initially dismissive of this patient as an addict, he’s then shocked by the reality of how some unhoused, recovering addicts like her live. Ogilvie is, for the first time, speechless.

It’s already rare for the series to film outside of the hospital premises, but placing these characters in a quiet and peaceful setting — away from the never-ending chaos and pressures of the ED — was a subtle yet powerful move on the writers’ behalf.

“This moment is built upon a series of other moments of forced empathy, so to speak, for Ogilvie. But it's his first time in this sort of quiet, serene park, looking at this young woman who’s close to his own age. I think it's his first ‘There but for the grace of God go I’ moment, you know? The first time that he's able to really say, ‘Okay, as soon as I see you, I have a hard time justifying my previous beliefs and holding them to you. You seem to me to be the thing that I need to see in everybody, which is a person who's tried their best in every circumstance.’”

Outside of his PTMC scrubs, Iverson’s career is moving at breakneck speed. He’s preparing to lead as Cassio in the Shakespeare Theater Company’s (STC) Spring 2026 production of Othello, a character he believes mirrors Ogilvie’s own path. The actor is also returning to The Gilded Age for Season 4 with an expanded role. His growth from a "terrified" co-star with four lines to a series lead is a journey he describes with profound humility. He references a lesson from his grad school professor, Tamilla Woodard: some people enter new chapters to "take things on," while others enter them to "let things go."

"That's exactly where I see Ogilvie being," Iverson says. “When the garden is full, you must till it and change over, turn over the soil in order to plant new seeds. I think Ogilvie is planting new seeds at the cost of taking out all the weedage that's been there for a long time.”

With Season 2 of The Pitt coming to an end next week, he isn't asking viewers to love Ogilvie. He does, however, ask them to watch him rebuild, “I so wish that I could share my lived experience of him with everybody, so that they could see all of this beauty that I feel he has.”

"Whatever your experience of him is, it's justified," Iverson concludes. "But I would hope that as he moves towards greater empathy, maybe we all could do the same with him."

Hypebeast: Many viewers see Ogilvie as this season's anti-hero. How do you handle the "Evil Whitaker" memes and the online discourse?

I think any comparison to Garen Howell is a compliment in and of itself. Garen has sent me a couple of memes of us like, side by side, which is so fun.

I was looking at the discourse originally, and then I was like, "Oh, I don't think this is for me. For my own mental well being, I need to try and take a step back from it." It gets unhealthy. I've done that to varying degrees of success, but every time a big Ogilvie episode happens, I'm sort of sitting there like, “What are they saying?” and I'll peek.

I did peek after Episode 11. I think the needle is moving.

Touching on Episode 11, it felt like a massive turning point for Ogilvie. Why was it crucial for that park scene to take place outside of the ED?

The pressures of the ED feel like an arena to Ogilvie. And when he's in the arena, he wants to perform well. Going outside with McKay is a beautiful metaphor of leaving the idea of what you think you want in order to go and do the thing you need. I think that that's the metaphorical aspect of physically leaving the hospital.

How would you say this hour impacts him for the rest of his time in the ED?

I think this is the furthest point so far today where Ogilvie has taken risk in a way that has inadvertently crushed the person that he was when he first came in. It's the furthest point thus far where he has stuck out his chin and has been willing to learn and attempt something new. I don't think it's a coincidence that as this stuff with Howard and Kiki in the park are happening, he also develops the only real relationship with a patient that he makes today. And then for that to go south so suddenly, when he was so sure he was doing so well, I think is a fall from grace, right? It's like sticking your chin out and getting the biggest punch. He’s learning that that’s not atypical. That's what this job is.

You’ve wrapped Season 2 of The Pitt, and now you’re going into Season 4 of The Gilded Age and playing Cassio in Othello. How are you processing this momentum?

I feel so humbled and shocked and grateful. I never would have been able to predict anything like this in my life, and I know that it's just a step along the way, but I feel that way with Othello and STC too. I was doing a play there right when I got The Pitt, and I had to leave that show mid-run. I thought it would forever soil my relationship with this theater, but they've asked for me to come back. The continued returning to these places feel like a beautiful theme that I'll never be able to fully deserve, because how could anyone earn more time in the presence of geniuses? That’s sort of what all of this feels like — just continual blessing.

Let’s talk about Cassio. Do you see any parallels between Cassio’s downfall and Ogilvie’s trajectory?

Oh, I love this question. It’s so juicy. Let me think.

Yes, but what are they? I think that Cassio is a victim of circumstance, right? Ultimately, he’s unprepared for the events of the play. I think he's set up to be one way in the world, and the world treats him as another. There's an overlap there with Ogilvie that I can't nail down exactly yet, because we haven't started rehearsals for Othello, but I do think that Ogilvie projects his life going one way, and is surprised the more he learns about the realities of the world. There's a similar fall between these two characters in that way.

Looking forward to The Pitt Season 3, do you hope that the writers are going to make Ogilvie more likeable, not just to the viewers, but to the rest of his colleagues as well? Or are you happy having him as the resident anti-hero?

It's really tough. If I were to be so lucky for the writers to allow Ogilvie to return, and I do have to say, whatever they think is best for the story is imperative.

It would actually be really upsetting if Ogilvie didn’t come back.

Selfishly, I would love it, because I love those people. I felt like I was in the company of the most wonderful artists in the world, and I'm in awe of them.

I think it's an interesting story either way, right? There’s something really unique about the idea of a doctor whose dream is sort of killed through the course of the day — their idea of what their life would be like as a doctor, and then they have to rebuild it in this new way as they've learned these lessons throughout the day. There's value in having somebody who shakes things up. I guess it would just be whatever serves the story we want to tell most. And I would feel so fortunate to be able to be a part of that.

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Name: Nike Air Max 95 Big Bubble "Royal Blue"
Colorway: White/Black-Reflect Silver-Royal Blue
SKU: IU7544-100
MSRP: $190 USD
Release Date: Summer 2026
Where to Buy: Nike

Nike is proving that sometimes the best sneaker designs don't need to scream for attention. Continuing the momentum of its updated retro running lineup, the sportswear giant has officially unveiled the Nike Air Max 95 Big Bubble in a sharp, easy-to-wear "Royal Blue" colorway. Retaining the core DNA of what makes the model an undisputed classic, the new iteration delivers a clean, perfectly balanced aesthetic that is primed for everyday rotation.

The upper of the "Royal Blue" edition sticks strictly to the familiar, anatomically inspired layered setup that has carried the silhouette for decades. A breathable white mesh builds the foundation, allowing the iconic side panels to take center stage. The model utilizes a signature gradient fade, transitioning smoothly through Reflect Silver, Royal Blue, and black as it moves downward toward the sole.

Providing a heavy anchor for the crisp upper, stark black overtakes both the durable mudguard and the chunky midsole. The dark lower half provides the perfect juxtaposition to make the Royal Blue accents pop along the lowest side stripe, the embroidered heel Swoosh, the insoles, and the exposed, oversized Big Bubble Air units. To finish off the design and inject a subtle final hit of energy, bright yellow accents are strategically placed on the tongue branding and heel details.

The Nike Air Max 95 Big Bubble "Royal Blue" is expected to arrive during the Summer 2026 season.

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Summary

• South Korean streetwear brand thisisneverthat partners with the Grateful Dead for a new Spring/Summer 2026 collection
• The upcoming apparel range features an assortment of jackets, tops, and pants adorned with the band's iconography
• The collaborative capsule is officially scheduled to drop on April 10

South Korean streetwear imprint thisisneverthat continues its collaborative momentum by teaming up with the legendary American rock band Grateful Dead for a new Spring/Summer 2026 collection. Bridging the gap between contemporary Asian streetwear and heritage rock-and-roll culture, the upcoming apparel capsule translates the band's defining aesthetic into a modern, ready-to-wear format.

Keeping the focus firmly on the music legends' historic visual identity, the collection centers around the band's iconic logos and graphic motifs. The capsule offers a comprehensive wardrobe update, delivering a range of staple garments that include outerwear jackets, casual tops, and complementary pants.

By applying the Grateful Dead's signature iconography across an array of everyday silhouettes, the South Korean brand successfully blends its own relaxed design language with a heavy dose of musical nostalgia. Rather than overcomplicating the garments, the design approach relies on bold printed graphics to serve as the focal point of each piece, ensuring the band's visual legacy takes center stage throughout the entirety of the Spring/Summer 2026 lineup.

The Grateful Dead x thisisneverthat SS26 collection drops April 10 via the thisisneverthat webstore.

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Summary

• BTS has officially released a new live performance video for “SWIM” featuring all members wearing JiyongKim
• The full group styling is constructed directly around varied pieces from the JiyongKim collection
• A diverse assortment of garments are uniquely styled to match each member's personal individuality

Global icons BTS have officially released a live performance video for “SWIM,” with all members seen wearing garments exclusively from JiyongKim. Highlighting the label's highly distinctive design language, the full styling is built around pieces from the JiyongKim collection, naturally showcasing the brand’s signature sun-bleached textures and draped silhouettes throughout the entire visual.

The aesthetic direction of the performance heavily relies on the core design tenets of the JiyongKim apparel lineup. A diverse range of items takes center stage, including the designer's defining sun-bleached garments alongside complex pieces featuring sculptural silhouettes that are created through intricate draping techniques. Moving away from standardized stage uniforms, the garments are deliberately styled to suit each member’s unique individuality. This curated approach allows the collection's varied pieces to come together cohesively, effectively creating distinct moods for each specific look while maintaining a unified visual identity across the group.

"SWIM" served as the lead single off BTS' latest studio effort ARIRANG, which is currently spending its second week atop the Billboard 200.

Watch BTS' live performance of "SWIM" below.

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Name: Nike Air Force 1 Low Cow Print “Field Brown”
Colorway: Field Brown/Gum Medium Brown-Sail
SKU: IO0442-200
MSRP: $135 USD
Release Date: Spring 2026

Nike continues to expand its bold animal-inspired footwear lineup with the upcoming release of the Nike Air Force 1 Low "Cow Print" in "Field Brown." Serving as a secondary option to a previously revealed black iteration, this latest release taps into the trending patterned aesthetic while maintaining the recognizable lines of the heritage silhouette.

Rather than taking a subtle approach, the design utilizes a full hairy cow-print finish across the overlays, injecting a playful energy into the iconic shape. Field brown leather lands on the Swoosh and heel tab to anchor the louder print, creating a balanced visual profile that avoids overwhelming the overall construction.

Providing a clean foundation for the heavily textured upper, a sail leather base and matching midsole soften the look. The execution is rounded out by a classic gum medium brown outsole underneath, allowing the premium materials and standout patterns to remain the focal point.

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Summary

• San Francisco-founded workwear brand Ben Davis taps fashion curator Motofumi "POGGY" Kogi for a new collaborative capsule
• The latest nine-piece lineup features updated proportions, vintage-inspired denim, and traditional Japanese calligraphy details
• Produced entirely in Japan, the garments revive archival design elements like the red gorilla motif dot buttons from the 1970s

Ben Davis and Motofumi "POGGY" Kogi have officially unveiled their "Work in Many Forms" Signature Collection. Expanding on their initial collaboration from last October that celebrated the San Francisco-born label's 90th anniversary, this latest drop refines key pieces from the original lineup. The collection brings a fresh perspective to contemporary workwear by blending the brand's renowned toughness with POGGY's deep cultural sensibilities and premium Japanese craftsmanship.

Comprising nine distinct items, the expansive capsule offers a meticulously crafted wardrobe rooted in authentic utility. Standouts include a denim tailored jacket and matching wide pants, which form a work-material-based setup essential to POGGY's personal styling philosophy. This season, the setup has been updated with modern proportions and crafted from Japanese denim featuring beige weft yarns to achieve a distinctive deadstock-like texture. Other highlights feature a 1970s archive-inspired denim work vest, modernized for summer layering, and garments bearing custom artworks by Japanese calligraphy artist Ryo Uchiyama.

Produced entirely in Japan, the garments are elevated by precise historical details and finishing. For the first time in 25 years, the collection revives the brand's silver-tone dot buttons complete with the iconic red gorilla motif. Furthermore, a vintage "Printed Yellow Brand Name" label from the 1970s is utilized across all pieces, while specific items draw direct inspiration from a Japanese carpenter's naturally faded, 10-year-old work pants.

The Ben Davis "Work in Many Forms" collection drops April 10 via THE GROUND depot in Osaka, BENCH AT THE GREENE in Tokyo, and the official Ben Davis webstore.

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Summary

• Aimé Leon Dore officially introduces the fourth delivery of its Spring/Summer 2026 collection
• The seasonal assortment draws inspiration from a Mediterranean perspective to offer lightweight constructions and relaxed silhouettes
• Standout pieces include the Bouclé Open Knit Crewneck Sweater and a softly structured Double-Breasted Pinstripe Suit

Aimé Leon Dore has officially introduced its Spring/Summer 2026 Delivery 4. Continuing the current season with a highly focused assortment, the brand seamlessly blends modern design sensibilities with traditional influences. Informed by a distinct Mediterranean perspective, the latest wardrobe update leans heavily into lightweight construction and relaxed silhouettes to support a natural transition into peak spring and early summer.

A subdued palette of natural, muted tones grounds the collection, while refined textures play a central role throughout the garments. Premium knitwear and shirting anchor the fourth delivery, highlighted by key items like the Bouclé Open Knit Crewneck Sweater, the Merino Wool Eyelet Tee, and a diverse range of short-sleeve wovens. The brand's signature approach to sport-informed staples is also present with the return of the Knit Court Short. Elevating the offering, the brand introduces sophisticated tailoring through a softly structured Double-Breasted Pinstripe Suit.

To round out the seasonal drop, the New York imprint delivers a curated selection of breathable accessories and footwear. The accessories lineup features a Woven Leather Tote Bag and a Shoulder Bag, alongside a New York Yankees Linen Retro Fit Hat. Footwear transitions effortlessly into the warmer months with the introduction of Leather Raffia Mules and Loafers.

The Aimé Leon Dore Spring/Summer 2026 Delivery 4 drops April 9 at Aimé Leon Dore flagship stores and via the official webstore.

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Summary

• LeBron James is expanding his lifestyle footwear catalog with a luxurious new Nike Air Force 1 Low dubbed the "Marble" edition
• Recently teased by his longtime friend Frankie Walker, the premium sneaker boasts a white cracked-stone upper, elegant gold detailing, and a quilted inner lining
• While an official release date has not been announced yet, the athlete-driven silhouette is expected to drop later in 2026

LeBron James' reign over the footwear world continues to expand with an opulent new lifestyle release. The Los Angeles Lakers superstar and Nike are adding another standout chapter to his growing run of Air Force 1 designs. Recently teased online by LeBron's longtime friend Frankie Walker, the upcoming LeBron James x Nike Air Force 1 Low "Marble" brings a highly luxurious, premium feel to the classic silhouette, continuing the massive momentum surrounding athlete-driven Air Force 1 drops in 2026.

The sneaker immediately commands attention with its striking marble-inspired upper. Featuring a pristine white cracked-stone aesthetic, the design serves as a fitting nod to LeBron's monumental legacy, which has long been "cemented" among basketball's all-time greats. Elevating the royal theme, the shoe is accented with bold gold detailing on the tongue and heel. Subtle touches of blue on the tongue piping and lace tips provide a dynamic visual contrast, while a plush quilted inner lining rounds out the upscale, premium execution.

What truly separates LeBron's current Air Force 1 series from standard inline releases is the custom updated tooling. Rather than utilizing the traditional AF1 sole unit, the "Marble" edition features a distinct crown-shaped midsole. This unique design element seamlessly ties the lifestyle sneaker to James' broader Nike performance signature line, giving the timeless silhouette a much more personal and exclusive identity.

At the moment, official release details and pricing for the LeBron James x Nike Air Force 1 Low "Marble" have yet to be confirmed by the brand.

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Summary

• Allows creators to use their smartphone's high-quality rear cameras for vlogging with a 3.5-inch touchscreen viewfinder
• Connects via USB-C for low-latency mirroring and features a magnetic mounting system compatible with MagSafe

Insta360 is officially stepping up the vlogging game with the Snap, a portable external monitor that attaches magnetically to the back of a smartphone to serve as a dedicated display for rear-camera selfies. Geared toward content creators tired of compromising with subpar front-facing lenses, the accessory unlocks the full visual power of a phone’s primary sensors while keeping framing flawlessly dialed in.

The rig boasts a crisp 3.5-inch high-resolution touchscreen that seamlessly mirrors the mobile display. From there, users can tweak camera settings, scrub through menus, and hit record without fumbling the device. It establishes a hardwired USB-C connection to guarantee minimal latency while pulling power directly from the host phone, meaning there is zero need to lug around extra batteries.

Dropping in two configurations, the standard model is priced at $79.99 USD, while a leveled-up $89.99 USD edition integrates a built-in fill light equipped with adjustable brightness and color temperature controls. The magnetic mounting system is compatible with iPhone 15 and later, alongside Android phones that support DisplayPort Alt Mode over USB-C.

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Summary

• The moto g stylus (2026) debuts with a pressure-sensitive active pen and a 6.7-inch AMOLED display capable of 5,000 nits peak brightness
• Motorola re-enters the U.S. tablet market with the $250 moto pad, featuring an 11-inch 2.5K screen and 5G connectivity via T-Mobile
• Both devices integrate AI-powered tools such as Sketch to Image and Handwriting Calculator powered by Android 16 and Google Gemini

Motorola is officially turning up the heat in the mobile space with the launch of the moto g stylus (2026) and the moto pad (2026). Leaning heavily into cross-screen productivity and next-gen creative tools, the tech giant is looking to dominate both your workflow and your downtime. The new smartphone iteration elevates its signature active pen with tilt and pressure sensitivity, creating an ultra-natural digital sketching experience. Under the hood, it pairs a blistering 6.7-inch AMOLED display with serious durability, bragging IP68 and IP69 certifications alongside military-grade toughness.

Meanwhile, the brand is making a massive comeback to the domestic tablet game with an affordable yet premium 11-inch canvas. Driven by the MediaTek Dimensity 6300 5G chipset, the tablet is built for heavy media consumption and seamless study sessions. Both devices heavily push Motorola's Smart Connect ecosystem, a feature that effortlessly syncs your tasks across phone, tablet, and PC. You can cop the tablet direct or via T-Mobile.

Software-wise, Motorola isn't playing around. Fueled by Android 16 and Google Gemini, users get access to heavy-hitting AI capabilities. Tools like Sketch to Image transform basic doodles into polished artwork instantly. Slated for an April 2026 drop, these releases prove Motorola is dead set on keeping creatives and multitaskers locked into their rapidly expanding ecosystem.

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Name: adidas Predator Bowling, adidas Anfu Bowling, adidas Changle Bowling
Colorway: TBC
SKU: KI9951, KJ5176, KJ5142
MSRP: TBC
Release Date: April 17 (Japan)
Where to Buy: atmos Japan

The adidas Bowling Shoe Pack is officially bringing high-fashion aesthetics to the lanes with a fresh trio of reimagined silhouettes. First previewed on the runway during Shanghai Fashion Week last fall, the upcoming collection bridges the gap between classic sportswear and formal footwear, capitalizing on the current cultural resurgence of bowling.

Anchoring the delivery is the Anfu, which sports a timeless white leather base accented by deep burgundy suede and gold detailing, evoking a 1970s retro sports vibe. The Changle opts for a softer, spring-ready execution, combining brown leather with subtle pink hits and a premium dressy finish.

The standout of the lineup is arguably the Predator Bowling shoe. Borrowing unmistakable design language from the iconic soccer cleat, the silhouette arrives in luxurious black leather accented by bright red branding on the Three Stripes. Sitting atop a hybrid bowling-dress sole, the entire pack integrates functional slide soles to accommodate both competitive league play and off-lane styling.

Check out the release above. The adidas Bowling Shoe Pack drops April 17 via a raffle over at atmos Japan. Stay tuned for a possible Stateside release.

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Summary

• Radiohead is launching an audiovisual art installation titled Motion Picture House: KID A MNESIA
• The immersive experience will debut in a massive purpose-built subterranean bunker at Coachella 2026
• Following the festival premiere the exhibition will travel to Brooklyn, Chicago, Mexico City, and San Francisco

Radiohead has officially confirmed the impending arrival of its Motion Picture House: KID A MNESIA audiovisual installation, beginning with a massive debut at Coachella 2026. Initially envisioned as a real-world exhibition before transitioning into a digital format in 2021, the ambitious project will now invite fans into a tangible, immersive environment celebrating the band's landmark Kid A and Amnesiac albums.

For its festival premiere, Coachella has constructed a sprawling 17,000-square-foot subterranean bunker with 38-foot ceilings specifically to house the exhibit beneath the Empire Polo Fields. The core of the installation is a 75-minute large-format film directed by Sean Evans, which utilizes thousands of artistic fragments — including sketches, collages, and paintings — created by frontman Thom Yorke and longtime visual collaborator Stanley Donwood between 1999 and 2000.

Described by Yorke as a narrative "in which a Monster is trapped in a derelict museum of the lost & forgotten," the visual elements are paired with a custom six-point surround sound system blasting newly remixed audio from the original album multitracks. Following its initial run in the desert, the exhibition will embark on a limited North American tour. The touring setup will offer two-hour blocks, giving attendees 75 minutes for the main film and additional time to wander through adjacent galleries displaying full-scale artwork from the era.

The Motion Picture House: KID A MNESIA installation debuts at Coachella across both festival weekends, with subsequent tour stops running from May 2026 through February 2027. General admission tickets for the tour dates go on sale April 24, following a fan pre-registration period that closes on April 12.

Motion Picture House: KID A MNESIA Installation

May 6, 2026 - May 31, 2026
Brooklyn – Agger Fish Building

July 30, 2026 - August 23, 2026
Chicago – Cinespace Studio

October 27, 2026- November 15, 2026
Mexico City – La Maravilla Studios

January 14, 2027 - February 7, 2027
San Francisco – Palace of Fine Arts

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