Nine Perfect Strangers Season 2 Episode 7 Preview: Release Date, Time & Where to Watch

Nine Perfect Strangers Season 2
Nine Perfect Strangers is back and Nicole Kidman returns as healing guru Masha. A new group of wellness seekers arrive at an Alpine resort seeking transformation, all whilst Masha faces past demons that threaten both her own and her guests' well-being.
If you've been keeping up with this enticing drama, you'll likely want to know the release date for the next episode.
Here is everything you need to know about Nine Perfect Strangers Season 2 episode 7, including its release date, time and where you can watch it.
Where Can I Watch Nine Perfect Strangers?
New episodes of Nine Perfect Strangers will be released exclusively on Hulu for viewers in the U.S. All episodes of season 1 are already available on the streaming service.
In the UK and internationally, this series is available to watch on Amazon Prime, where the entirety of season 1 is included with a Prime subscription. Episodes will drop slightly later than in the US though, with a slight delay between chapters, which we'll detail below!
Nine Perfect Strangers Season 2 Episode 7 Release Date
Nine Perfect Strangers Season 2 Episode 7 will release on Hulu on Wednesday 25th June at approximately 12am (ET). For those then watching internationally, it'll drop on Amazon at 11am (GMT) a day later, on Thursday 26th June.
Episode 7 is also scheduled to clock in at around 43 minutes long, and you can expect subtitles to release with the chapter dropping on streaming platforms.
How Many Episodes Will Nine Perfect Strangers Season 2 Have?
Nine Perfect Strangers Season 2 will have 8 episodes in total. With us now reverting back to a familiar 1 episode a week structure after the initial double-drop. With that in mind, we'll now have 1 more episode to go for this one!
Is There a Trailer for Nine Perfect Strangers Season 2?
Yes, there is! You can find a trailer for Nine Perfect Strangers Season 2 below:
What do you hope to see as the series progresses? What's been your favorite moment of Nine Perfect Strangers so far? Let us know in the comments below!

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Daily Mail​

28 minutes ago

• Daily Mail​

BREAKING NEWS Meghan Markle shares a new photo as she launches new products from her As Ever brand today (and promises fans, 'sweet things and delicious surprises')

Meghan Markle will today release a hotly-anticipated restock of items from her lifestyle brand two months after the first batch of products sold out within an hour. The Duchess of Sussex teased the launch with an Instagram post on her As Ever account at midnight Pacific Time (8am UK time) this morning, with a new photograph of her smiling on a garden swing with the simple caption: 'No more sleeps'. Meghan had promised some 'delicious surprises' after describing the April launch of her As Ever products including jam and herbal tea as 'absolutely extraordinary'. In an Instagram post on June 16, the California-based Duchess wrote: 'Oh yes, honey… sweet things await. Mark your calendars for June 20 at 8am PT – we're bringing back your favorites, plus some delicious surprises you won't want to miss!' Pacific Time is eight hours ahead of BST, meaning the launch will be at 4pm UK time. In a newsletter issued on June 16, the former Suits actress also wrote: 'First off, a sincere thank you for making the debut of As Ever absolutely extraordinary. 'We had a feeling there would be excitement, but to see everything sell out in less than an hour was an amazing surprise. We are pleased to share that on June 20th, we're going live with the products you love – plus, some new delicious surprises.' The latest email was noticeably different to Meghan's first As Ever message, which was a long piece full of inspirational quotes and personal anecdotes. Sarah Schmidt, celebrity publicist and president of PR firm Interdependence, told MailOnline on Wednesday: 'Meghan's first As Ever newsletter was poetic and intimate. 'It positioned the brand as an extension of her personal rituals and values, written in the voice of someone building a lifestyle, not just selling a product. 'The latest email, by contrast, is pure transaction: short, strategic and sales-focused. And that pivot is telling.' She explained that the audience is now witnessing a 'shift' in Meghan from a 'founder-as-storyteller' to 'founder-as-operator.' Ms Schmidt added: 'It suggests a brand moving from emotional origin story into operational scale. However, when key team members exit and the tone tightens, audiences can feel that. 'If the first email said, 'Come into my garden,' the second says, 'Get ready to shop.' Neither is wrong, but the dissonance creates questions. Not just about Meghan's role but about the heart and soul of the brand.' Earlier this month Meghan said she had decided to 'just pause' restocking her brand, saying she wanted to wait until it is 'completely stable and we have everything we need'. She also spoke of the difficulties of building her firm and 'how many tears' she has shed behind the scenes on a bonus episode of her Confessions of a Female Founder podcast featuring Beyonce's mother Tina Knowles. Meghan had suggested the 'scarcity mentality at the beginning might be a hook for people', comparing it to 'a sneaker drop'. But she feared it might be 'annoying' for customers, adding: 'I don't want you to eat that jam once every six months. I want that to be on your shelf all the time.' Meghan said: 'So for me at the moment, with As Ever, it was great. We planned for a year we get and then everything sells out in 45 minutes. 'Yes, amazing, great news. Then what do you do? And then you say 'Ok, we planned as best as we could. Are we going to replenish and sell out again in an hour? Or is that annoying as a customer? 'I'm looking at it saying 'Just pause. That happened. Let's wait until we are completely stable and we have everything we need'.' She added how people 'see all the flashy stuff and they see the product. But that end game… those behind the scenes moments, how many tears I've shed'. Meanwhile, this week the Duchess denied that her personal Instagram account, where she shares behind the scenes footage of family life, is a tool to promote her business. Meghan said returning to social media at the start of the year was 'a great way to get my voice back', and she uses it for 'authentic' sharing such as her twerking video. She added: 'It's my space and my channel for joy.' The former Suits actress went back on Instagram in January, first with footage of her running around a beach and writing 2025 in the sand, and then a montage from her Netflix show With Love, Meghan. The Duchess has since made numerous posts about As Ever, mentioning her As Ever Instagram account, but has also released photos and videos of the Sussexes' life with their children Prince Archie and Princess Lilibet. On Lili's fourth birthday last week, Meghan shared footage of herself twerking in a labour room while heavily pregnant with her daughter. On the Aspire with Emma Grede podcast, entrepreneur Grede asked Meghan about her return to social media, saying: 'Are you thinking about it in the way that so many of us do as also a business tool?' Meghan replied: 'Not for my personal account, no.' Grede challenged her, asking: 'Really?' Meghan said: 'For my personal account? …No.' Grede told her: 'Well that's the one we're all following.' Meghan replied and laughed: 'Well good…as long as you're following As Ever too. No, I think for me it was great way to get my voice back… It's my space and my channel for joy – that is the intention of my handle.' Meghan's personal account @Meghan has 3.8 million followers. Her @aseverofficial account has 847,000 followers, and is linked into her @Meghan bio, as is her ShopMy collection.

The Independent

41 minutes ago

• The Independent

CARVILL'S NOTES: Trash Talk, a Circus Tent, and a Another Golden Generation?

A word of warning: I tend to use stars (*) to replace profanity when I write. Some paragraphs of this particular column will, as a result, resemble the pages of an astronomy textbook. Of all the gruesome, unnecessary things that happen when you spend your life writing and covering boxing – the late nights, bad arena food, the blood-infused sweat or spittle drop that occasionally flies out of the ring to land on your notes – perhaps the most-tiresome aspect of it all is the name-calling and trash-talking that seemingly precedes every major contest. Catch all the latest boxing action on DAZN Trash talking has been part of boxing for decades and when it is not exasperating, it can be genuinely hurtful. By 1975, four years into their rivalry, Muhammad Ali had broken the soul of Joe Frazier apart by calling him a 'gorilla' and an 'Uncle Tom'. Frazier, for his part, never got past it. It is apparently not enough that two men will fight; they should also, for the purposes of putting bums on seats or drawing eyeballs to a screen, hate each other. I was reminded of that last week when reading about the pre-fight press conference (along with a pre-fight fight) between Richardson Hitchins and George Kambosos Jr. The pair had been sparring verbally for some days. On top of the Empire State Building during a face off and a photo opportunity, Kambosos pointed at Hitchins and said, 'Your breath stinks, bro. Your breath stinks. Your breath stinks.' 'I can't talk with this guy. This guy's breath stinks,' Kambosos said a few moments later. A few seconds after that, Kambosos pointed to his crotch and, referring to a proposed $50,000 bet, said, 'You can shake on that, too.' Hitchins was not one to be outdone. After stating that he had never been down in boxing, he said, 'You ****ing pussy. You ****ing *****. I'm going to show that. I'm going to show you, *****.' It was much the same last month when Darren Till called out Carl Froch following the former's win over Darren Stewart. Responding to repeated barbs, Froch said of Till's knockout by Masvidal: 'He's been absolutely ****ing ironed out by Jorge Masvidal with half a punch that's clipped him on the chin.' Froch went on, fantasising what would happen if the pair were to meet. 'It would be an absolute ****ing wipeout, game over,' he said. 'The problem is for Darren Till is that I've been retired for eleven years. I'm not interested. I don't want to fight any more. Don't call my name out to give yourself credence. Listen, if the money was there and it was big enough, I'd certainly take a look at it. But for now, Darren, one—you'd get ****ing demolished, and two—there's no real bunce in it. Just pipe down about the Cobra's name.' Till went on to offer his reply, also through Twitter. He wrote, 'Can't wait to snap that fat big ****ing disgusting nose soon.' It is now understood that fight terms for Froch-Till will soon be finalised, although they stipulate that any bout will take place behind the bins, but not the one by where the teachers' room is. There will also be a rematch clause, but one that states that the loser gets to have his dad beat up the other one's dad. Fighters engage in trash talk because it is not rocket science that animosity sells fights. But it is also lazy to throw cheap venom at your opponent. Ultimately, it cheapens everybody. But does it not get tiresome after a while? How much can the public be expected to believe that so many people hate each other so much? That is the other thing that such talk is: cheap and unbelievable. Because what will happen is that the fighters will trash talk, the fight will take place, and afterwards they will stand next to each other, admit that each always admired the other, and that the bad blood was merely there to hype a fight. It will all be as tiresome and predictable as a Marvel movie. So here is an idea – the next time a fight looms into action, the pleasantries should not be saved for after, but for before. The fighters should be nice to each other before the bell rings, talking about how much they respect the other's skills and their will to win. Then they should fight. And, only after that, should they then move to hate each other. If it only does one thing, it will set up the rematch quite nicely. And on that note: A few weekends ago, I was in Hamburg to commentate the European heavyweight championship between Labinot Xhoxhaj and Mourad Aliev. My commentary gigs are fun and I do it for my love of the sport, saying, 'Hey, I'm just glad to be part of the circus.' Except that the match, which was shown on DAZN, was literally held within a circus tent. Next time, I'm going to wish I was part of a party on a beach somewhere, sipping a non-alcoholic cocktail. The UK boxer James Cook died recently, aged 66. By all accounts, he was not just a good fighter, but also the most decent of men. Cook, 25-10 (14), held the British and European super-middleweight titles in a career that went from 1982 to 1994. He defeated along the way the likes of Michael Watson, Errol Christie, and Mark Kaylor. He also took on Herol Graham and Graciano Rocchigiani. After his retirement from the ring, Cook turned his ship towards working with his local community in Hackney, London, and was eventually awarded an MBE in 2007 for these services. His memory, certainly, will be a blessing to all who knew him. As the current generation of heavyweight champions and contenders – Usyk, Fury, Dubois, Wilder, Whyte – gets older, the next few years will see more and more of them retire, with another generation – Dubois, Wardley, Itauma, Torres, Hrgovic, Kabayel – beginning to come through. Does this mean that we could end up with not one golden generation of heavyweights, but two successive ones? Interesting. Watch the very best boxing with a DAZN subscription DAZN is the home of combat sports, broadcasting over 185 fights a year from the world's best promoters, including Matchroom, Queensberry, Golden Boy, Misfits, PFL, BKFC, GLORY and more. An Annual Saver subscription is a one-off cost of £119.99 / $224.99 (for 12 months access), that's just 64p / $1.21 per fight. There is also a Monthly Flex Pass option (cancel any time) at £24.99 / $29.99 per month. A subscription includes weekly magazine shows, comprehensive fight library, exclusive interviews, behind-the-scenes documentaries, and podcasts and vodcasts.

The Guardian

42 minutes ago

• The Guardian

Arson, sex shops, livestreamed funerals: Wednesday's Karly Hartzman on the wild stories in her southern gothic rock

To step into Karly Hartzman's home is to see the contents of her brain shaken out. There is a fireplace mantel covered in dolls and figurines; a wooden rack filled with cassette tapes; an old doll's house filled to the brim with fabric scraps; a few overflowing bookshelves. As the 28-year-old leader of the indie-rock band Wednesday greets me at the door, she realises a few new additions have just landed through the letterbox, some books about the history of hardcore and punk: she has been listening to both a lot and is eager to educate herself. Hartzman is a collector by nature, a habit that is also at the heart of her songwriting. Equally inspired by the southern rockers Drive-By Truckers and the shoegaze greats Swirlies, Wednesday's sound combines heartfelt twang with walls of pummelling sound. Hartzman's lyrics are highly narrative, inflected with striking, gnarly details. Listen to the band's breakthrough album, 2023's Rat Saw God, and you will hear about urine-coloured soda, roadside sex shops, accidental arson and teens getting high on Benadryl. The band's forthcoming sixth album, Bleeds, refines their sound, never letting the raw noise overshadow Hartzman's knack for melody and unique stories. 'This is what we've been working towards this whole time,' she says. She calls the band's singular sound an 'unavoidable' result of the members' individual tastes. By now, she says: 'We know what a Wednesday record sounds like, and then we make it.' Although Pitchfork declared Wednesday 'one of the best indie-rock bands around', Hartzman keeps a low profile in her home town, the small North Carolina city of Greensboro. She recently moved back from nearby Asheville, where she lived on a bucolic property known as Haw Creek that was home to various local musicians. In person, Hartzman is thoughtful, expressive and more reserved than you might expect from her riotous performances. As we drive around Greensboro, she points out her teenage haunts, such as the cafe she used to frequent when she skipped school. As a kid, she resented being told what to do, but never let that get in the way of an education. 'I was very methodical,' she says about cutting class. 'I was writing and reading and doing work – I was doing my own school, on my terms.' She credits her taste in music to a few crucial sources: her parents, who played Counting Crows and the singer-songwriter Edwin McCain around the house; her older sister, who got her into Warped tour punk (Paramore were an early favourite); and a longtime friend who introduced her to shoegaze and post-hardcore bands such as My Bloody Valentine and Unwound. When she started college, Hartzman admired her friends who played in bands, but she wasn't interested in taking music lessons. Then she saw the band Palberta – a playful indie-rock trio whose members traded instruments every few songs – and felt inspired by the messy, uncomplicated style of playing the three women shared. 'They were doing something that sounded awesome and very easy,' she says. 'After that show, I bought my friend's guitar off him.' Hartzman's earliest recordings were solo; she got a formal band together only when her sister asked her to perform at her birthday party. From there, Wednesday rotated through a few members before settling into a stable lineup: Xandy Chelmis on steel guitar, Ethan Baechtold on bass and piano, Alan Miller on drums and MJ Lenderman on guitar. They started playing house shows and tiny spots with friends' bands and folks they met in local DIY scenes. Wednesday's shows could be raucous, rowdy affairs, but their home lives centred around the quietude of Haw Creek, surrounded by streams and open fields – the kind of place where they could go fishing in the morning, then practice in the living room later on. 'We lived on acres of land,' she says. 'Nothing will ever beat that.' Hartzman lived at Haw Creek with Lenderman who, alongside his work in Wednesday, found meteoric success last year for his fourth solo album, Manning Fireworks. He and Hartzman started dating before Lenderman joined Wednesday – Hartzman was a fan of his music, playing it over the speakers at the coffee shop where she worked before they met. After six years together, they broke up amicably in 2024. Hartzman chalks it up to the usual big-picture differences that emerge in adulthood. In your early 20s, she says: 'You're just like: 'Oh, I like this person, I'll date them.' But then, when you're 28, you have to be like: 'Does this person have the same intentions in life?'' Hartzman was interested in marriage and kids; Lenderman was not quite on the same page, she says. But, from the beginning, 'I've known, even if we're not romantic for ever, we're creative collaborators for ever'. Lenderman will be on future records; while he won't perform on their next tour, Hartzman insists it's nothing personal; between Wednesday and his solo career, his touring schedule has been relentless and 'he needs a break'. The songs on Bleeds were written before the breakup, although some of them hint at the deteriorating relationship. The Way Love Goes started as an apology for not being fully present. 'When I wrote it, I was like: 'But I'm gonna fight for this,'' she says. 'Of course, by the time we recorded it, that was not the situation.' Wasp, meanwhile, describes the bitter self-recrimination she felt towards the relationship's end. 'My body just kind of gave up on me,' she says. 'I was really dissociated because I didn't want to break up, but I was having to accept that we needed to.' Bleeds is haunted by images of loss and violence: a washed-up body, a livestreamed funeral, a car crash, a knife fight. Hartzman doesn't see it necessarily as a dark record; she sees it as chasing good stories and telling the truth. 'Death is around at every point,' she says. 'If you don't acknowledge that, you're lying.' She is drawn to mixing the cartoonish and the creepy: 'I think that's just a southern gothic attitude,' she says, describing her taste as 'a little bit scary, but there's a heart of gold underneath'. Much of Hartzman's songwriting draws on her memories of youthful debauchery, like sneaking out late then teaching Sunday school. She is also a keen collector of stories, keeping an eye out for strange characters and unbelievable happenings. 'If someone has a story where they're, like: 'Oh my God, this was so embarrassing,' or: 'This is kind of a secret,'' her ears prick up. (She always asks for permission and changes names and identifying details to protect the innocent.) From Bleeds, the drowning victim on Wound Up Here (By Holdin' On) comes from a friend's story from his days as a rafting guide in West Virginia; Carolina Murder Suicide was inspired by a true-crime podcast. But Hartzman's songs still feel intimate, told in first person through a singular lens, treating their subjects with compassion. Rat Saw God took the band to new heights, landing on many publications' year-end lists. But as she looks towards the release of Bleeds, Hartzman is committed to keeping her personal life steady. It helps that while 'the shows have changed a lot' – getting bigger and bigger – 'my life at home has been so consistent'. This year, she ditched her smartphone, got off social media and built herself a charmingly retro, Y2K-style personal website. The apps were zapping her focus; then, a profile of Lenderman was published with details of their breakup. 'People were putting their own two cents on that shit,' she says with an eye roll. 'I was like: oh, it would feel so good to get off that.' She has changed how she listens to music, too, jettisoning the algorithm to favour recommendations from friends and blogs. 'It's been so rewarding.' On her site, she shares monthly journal entries and roundups of the music and media she is enjoying. She answers reader-submitted questions about everything from learning guitar to her relationship with religion. She also has a PO box where listeners can send letters; she replies to as many as she can. It's important for her to be in touch with the people who love her music, she says, and she wants to give them something special. But this method represents, for her, a 'closeness on my own terms' – a way of preventing the always-on burnout faced by many musicians on the rise. Her ability to tune out industry pressure surprises even those closest to her. Lenderman 'is always wondering: 'How do you not feel that kind of pressure of expectation?'' she says. 'But my need to write is so important to me, more than any reception.' As well as making her own merch from customised thrift store T-shirts, in her precious downtime, Hartzman has been writing and spending time with local friends – they are fond of a laundromat-cum-bar called Suds & Duds. She has never lived outside North Carolina – and doesn't plan to. 'I love it,' she says. 'It feels like home to me. And that feeling is addicting.' Folks here know her face because they watched her grow up, or grew up alongside her, not because her band recently played The Late Show (although she did get recognised recently by a Wednesday listener at her grandmother's retirement home). Most of what happens in her songs 'could happen anywhere', she says. 'I'm not trying to say, necessarily, that I had a different upbringing or lifestyle than most teenagers.' But she is telling her story truthfully – 'and, in reality, it happened here'. Hartzman understands why other artists might move to a major city to find artistic success, but she is glad to be rooted in such a distinctive place. 'I don't like the feeling of: 'I'm in the cultural centre of the universe and what I do here will pervade the rest of culture,'' she says with a shrug. 'I like the idea of coming in from the edge.' Bleeds is released via Dead Oceans on 19 September