Peacock’s upcoming thriller All Her Fault opens with a moment that could happen to anyone: a mother arrives to collect her son from a playdate, but neither the boy nor the friend’s mother is there. Released ahead of the show’s November premiere, the trailer turns an ordinary afternoon into a waking panic, and it’s deeply unsettling to watch.

Sarah Snook plays Marissa Irvine, a mother whose calm life disintegrates in a matter of hours. The trailer avoids melodrama, lingering instead on her disbelief, the unanswered calls, the growing silence, and the moment when confusion turns into suspicion. Snook, best known for Succession, delivers a performance that feels unnervingly real. There’s no screaming hysteria, just a controlled breakdown that viewers can’t look away from.

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Based on Andrea Mara’s best-selling novel, All Her Fault begins with one small act of trust that unravels everything around it. The missing child becomes the trigger for a broader web of secrets: neighbours who remember nothing, friends who suddenly act guarded, and a husband whose answers raise more questions than they settle.

The supporting cast includes Dakota Fanning, Jay Ellis and Michael Peña. They appear in short, loaded clips that hint at motives and half-truths. Rather than setting up a single villain, the trailer suggests a collective guilt that builds from quiet lies and shifting loyalties.

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Behind the scenes, writer and showrunner Megan Gallagher (Wolf, Suspicion) teams with Carnival Films to steer the adaptation. Their approach favours measured suspense over spectacle. Shot in Melbourne but designed to resemble small-town America, the series looks familiar yet faintly wrong, like something safe that’s just stopped being safe.

What makes the trailer genuinely chilling is what it refuses to give away. There’s no clear villain, no police saviour, and no tidy explanation. Instead, it leaves viewers in the same uncertain space as Marissa, where even the simplest truths start to feel unreliable. That restraint is rare in modern thrillers and gives the story its emotional weight.

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The show also resists the urge to dramatise grief. It treats loss as a slow erosion rather than an explosion. Relationships fracture quietly; trust disappears by degrees. The tension comes not from shocking twists but from the creeping realisation that every connection in Marissa’s life may already be compromised.

Snook anchors that tension throughout the trailer. Her expression changes incrementally, from polite confusion to realisation, then to the panic of someone whose world no longer adds up. The editing mirrors that descent, closing in on her until every sound and every look from another character feels suspect.

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Scheduled to premiere in November, All Her Fault is being positioned as one of Peacock’s major psychological releases of the year. Early reactions suggest it could join the ranks of recent character-driven thrillers that blend emotional realism with slow, precise storytelling.

If the series sustains the intensity hinted at in the trailer, All Her Fault might emerge as a standout. Not because of elaborate twists or dramatic flourishes, but because it understands something truer. The most frightening stories aren’t about strangers breaking in. They’re about the people you already know, and how quickly certainty can disappear when they stop telling the truth.

Coachella has announced its 2026 line-up, with Sabrina Carpenter, Justin Bieber and Karol G confirmed as headliners. Carpenter will take the Friday nights, Bieber headlines Saturdays, and Karol G will close out the festival on Sundays. The festival returns to the Empire Polo Club in Indio, California, across two weekends: 10–12 April and 17–19 April 2026.

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For Carpenter, this is a landmark moment in her career. Having transitioned from acting into music, she has built a catalogue of sharp pop singles that have dominated global charts. Her headline slot signals her arrival as one of pop’s central figures and is expected to draw some of the festival’s largest crowds.

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Karol G’s Sunday billing continues the growing visibility of Latin artists on the festival’s biggest stage. Following Bad Bunny’s headline set in 2023, her inclusion reflects the global reach of reggaeton and urbano, as well as Coachella’s ongoing commitment to diversity among its headline acts.

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Justin Bieber will lead Saturdays, marking his first Coachella headline slot. His set is positioned as one of the weekend’s main draws, underscoring his enduring status as one of the most recognisable names in pop.

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The wider line-up spans multiple genres and includes The Strokes, FKA Twigs, Disclosure, Davido, Laufey and Young Thug, among many others. As ever, Coachella continues to bring together global stars and emerging names across its packed schedule.

Coachella has built a reputation for reflecting shifts in global music. With Carpenter, Bieber and Karol G at the helm, the 2026 edition highlights the dominance of pop and Latin music on the world stage.

Taylor Swift has spent nearly two decades reinventing herself in front of the world, but her next act might be the boldest yet. With her upcoming album The Life of a Showgirl, due 3 October, the 14-time Grammy winner is stepping into the glitter and grit of show business, embracing the spectacle that has long been threaded through her music.

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For years, Swift’s tours have felt like theatre on a stadium scale: the elaborate staging, the couture-level costumes, and the way she holds a crowd in the palm of her hand. Now she’s turning that energy into a concept album that pulls back the curtain on fame itself. Written during her European tour last year, the record was shaped with trusted collaborators Max Martin and Shellback, blending razor-sharp pop hooks with lyrics that promise to be both sly and revealing.

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The inspiration runs deeper than rhinestones and feathers. Swift has always carried a trace of the showgirl, from her teenage country beginnings in glitter-trimmed gowns to the global star behind the record-breaking Eras Tour. The Life of a Showgirl doesn’t just capture the glamour; it asks what it costs to live inside it.

Visually, she’s all in. The album cover, created with legendary costume designer Bob Mackie, borrows from classic Las Vegas showgirl looks, rhinestones and plumes included. The design nods to camp and theatre, framing Swift as both the headliner and the storyteller.

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The tracklist hints at her flair for drama: songs like Elizabeth Taylor and The Fate of Ophelia suggest sweeping narratives woven into bold pop arrangements, while titles such as Ruin the Friendship point to the complicated emotions that keep her songwriting compelling.

Swift has always been a master of reinvention, but this time she’s leaning fully into the role of entertainer with a capital E. She isn’t just writing about the life of a showgirl; this album makes the case that she’s been one all along, shaping her own stage, her costumes, and her story with every new era. And if history is any guide, she’ll make the world watch every second.