BTS’ ARIRANG, the South Korean group’s return album after their nearly four-year hiatus, ended up at No. 1 on the Billboard 200 albums chart (dated April 11) for a second consecutive week, marking the group’s seventh No. 1 on the chart and its longest-running ever. It wasn’t the only record set. The LP’s lead focus track, “Swim,” also launched at No. 1 on the Billboard Hot 100, making BTS the first group to debut an album and song atop the Billboard 200 and Hot 100 simultaneously multiple times (the group achieved the feat in 2020 with Be and “Life Goes On”).

In fact, all 13 tracks on ARIRANG made it onto the Hot 100 (except for “No. 29,” the bell interlude). On the Billboard Global Excl. U.S. chart, BTS became the first act to claim the entire top 10 (and top 13).

Behind BTS’ comeback is Bang Si-Hyuk (aka Chairman Bang), the chairman and founder of HYBE, and the person who originally engineered BTS’ debut 13 years ago, assembling the band, writing and producing its music, and overseeing everything from its marketing to social media content.

That close connection with the group members endures seven albums later. Throughout their time doing mandatory military service in Korea, Bang remained in touch, meeting frequently with each of the members and keeping alive conversations of what the comeback album of Korea’s most fabled group could be.

“For me personally, it was a project I poured over a year and a half of my life and energy into,” says Chairman Bang, noting he began work on ARIRANG at the urging of BTS’ members around halfway through their military service. The pressure of working with such an iconic group, he adds, was “immense.”

“Carrying that trust from the members, I took on the role of producer – but in truth, this kind of work comes with a level of pressure that’s just as heavy for the producer as it is for the artists. Music, at its core, should be grounded in authenticity and artistry, and I believe that results are not the goal, but rather something that naturally follows. At the same time, as someone working in the popular music industry, it’s realistically never easy to stay completely detached from performance metrics, which ultimately reflect how the public responds.”

Two weeks into ARIRANG’s release, it’s clear the album — with its mix of pop, hip-hop and boldly Korean elements—has struck a universal chord, even as it strengthens the group’s ties to their country.

In his first interview with the media following ARIRANG’s release, Chairman Bang speaks about his role as chief producer for the album, the long road behind BTS’ return, the process of creating new songs and choreography and the deep, intentional meaning behind the album’s music.

A comeback after nearly four years is a big deal. Can you give us some insight into the planning?

While the members were fulfilling their military duties, we continued to advance the work that could be done at the company level. Since they were unable to actively participate in album production during that time, we focused on what we could prepare in advance — including sourcing songs and shaping the broader creative and brand direction. On a personal level, I made it a point to meet each member individually whenever they were on leave. We had many conversations about how they were feeling at the time and how their thoughts were evolving.

Before we even began sourcing songs for the album, the process of designing its overall structure and defining its musical vision really took shape during the pre-song camps we held in the U.S. In early 2025, before the members were discharged, Diplo was selected as the lead producer who would oversee the on-site process. In April and May, we held two pre-song camps in Los Angeles, where we developed around 100 prototype tracks.

In July, once all members had completed their military service, we set up a private monitoring room at a pension in Gyeonggi Province and held a full-day workshop. As we listened through the many prototype tracks created during the pre-song camps, we had in-depth discussions about what BTS can do now, what BTS should do now, and ultimately what only BTS can do.

So, what was the identity of the album?

The conclusion we reached was very clear. BTS 2.0 shouldn’t remain an extension of the past – it had to be a declaration that opens a new chapter.

To borrow my own phrasing from then, the musical essence of this album was a journey to find the answer to one question: “If the BTS that released their debut album 2 Cool 4 Skool had grown with that same identity—without the genre variations or outward expansions of the past 13 years—what kind of music would they have created to lead the current era?”

Once that vision became clear, we immediately began the full-scale song camp in Los Angeles with the members. The decision to head to the U.S. right away in July was intentional – I wanted to create an environment where the members could focus entirely on music. In reality, each member had made personal plans to take time for themselves after completing their service. But when I asked them – quite sincerely – they all agreed without hesitation, canceled their schedules and flew to the U.S. together. Anyone who has experienced military service or knows someone who has, would understand that this is by no means an easy decision – even for a group like BTS, the biggest band in the world. They are human, and they needed rest. And yet, the fact that they chose to show that level of commitment speaks volumes about how deeply they love music – and why they are who they are as BTS.

For the first two weeks, we deliberately set no strict guidelines. There’s also always a gap between what you imagine when you hear something, and what actually takes shape when it’s expressed through the so-called ‘magic touch.’ That process of narrowing the direction was essential. Only after those two weeks did we begin to sort through the material – identifying what worked and defining more concrete directions. And through that process, we were finally able to shape what had once been a vague vision into something concrete – into 200 to 300 fully realized pieces of music.

As a side note, the scale and energy of the song camp itself became something of a talking point within the U.S. music industry. From legendary producers to rising talents, a wide range of creators – each with a distinct musical identity suited to what we envisioned as BTS 2.0 – took part. One veteran producer even told me, “I haven’t seen a songwriter camp of this mammoth scale since the 2000s.” Large-scale camps like this are no longer common in the U.S., and there were many who wanted to be part of BTS’ comeback. Some well-known producers who hadn’t even been invited reached out directly to me, as well as to HYBE and BIGHIT MUSIC staff, asking if they could participate.

Can you describe the first time you sat down again with all of them? How did that feel and what did they definitely want to do? 

Old friends often feel as though no time has passed, even after years apart – as if you had just seen each other yesterday. That was exactly how it felt when I reunited with the members. After their discharge, we had a workshop in Korea, and then all came together again for the song camp in Los Angeles. And yet, that first day – despite everything it represented – was, in a way, almost surprisingly ordinary.

We simply exchanged brief, understated greetings—“Hi,” “Oh, you’re here”—and then sat down at the table and got straight to work. Watching everyone immerse themselves in the music without any particular ceremony, I realized, “We’re really starting again.”

What they wanted was clear. Not an extension of a “boy band” resting on past achievements, but a return to their roots—to prove, through music, a question that only BTS can pose at this moment.

Another moment that stands out to me is a more recent one – about a month before the album’s release. I had a casual dinner with RM and Jung Kook, and we later went to Jung Kook’s place, where the other members ended up joining us spontaneously. There, we sat down together and listened through the entire ARIRANG album, which had already been completed, from start to finish, with full focus. We dimmed all the lights and kept only soft ambient lighting on, almost like our own private listening session. Half-jokingly, we said to each other, “This album is a masterpiece,” and ended up listening to it all the way through twice. During that time, we talked about how confident we felt about the album. Looking back, I think that confidence came from the fact that the members were able to fully express what they genuinely wanted to say, along with the musical identity they wanted to convey. In that sense, I believe this album, ARIRANG, truly reflects the direction the members themselves wanted to pursue.

What was the approach to the music itself? K-pop, like all music, has changed since BTS’ last album. How was this a challenge and an opportunity? 

With this album, both the members and I shared a clear and deliberate goal: to move beyond the long-standing “boy band” label – often shaped by deep-rooted biases in the Western music industry – and to firmly establish BTS as true artists.

In the past, many artists who began in boy bands attempted this transition by leaving their groups and pursuing solo careers. But there has never really been a case where a group maintained its identity while fully breaking those preconceptions and redefining itself within. To achieve this, we made a conscious decision: to deeply respect the genre and musical traditions we come from – but never remain confined by them.

At the same time, we wanted the lyrics and messaging to reflect, more honestly than before, how we see the world and what we feel in this very moment.

In many ways, this kind of work requires artists to reveal themselves completely – to lay bare not only their thoughts, but also their vulnerabilities. That’s why this album represents BTS as they are today – the seven members themselves, their candid expression of their inner selves.

Looking beyond the group itself, from an industry perspective, I hope that BTS’ new album can serve as a catalyst for proposing two meaningful shifts in the K-pop market.

First, I hope it expands the horizon of what an artist’s career can look like. BTS has already pushed beyond what is often referred to as the “seven-year barrier,” significantly extending the life span of a K-pop group. Today, many artists are sustaining careers that span well over a decade. But I wish this album goes beyond simply extending longevity in a physical sense. I hope it becomes a catalyst for a more meaningful transformation – one that encourages continuous artistic growth and reinvention.

Second, I hope it helps spark a shift in how albums are experienced and consumed – particularly through renewed attention to the vinyl (LP) format. Globally, vinyl consumption continues to grow, with the U.S. market alone seeing annual increases of around 20%. Yet in K-pop, the market still remains heavily centered around CDs. I believe it’s time to move beyond existing consumption models and embrace new growth drivers like vinyl – not only as a format, but as a way of engaging with music differently.

Streaming music allows for immediate access, but vinyl encourages a more intentional, long-term relationship with music – one where it is collected, preserved and experienced more deeply. Even with BTS’ latest album, despite a significant increase in vinyl production, certain editions have already sold out. If a group like BTS can help lead this shift, I believe it could bring fresh momentum and new energy to a K-pop industry that has long been centered around CD consumption.

How have the boys changed? What was the biggest change you’ve seen in their attitudes to the music business and the music itself? 

The [work] dynamic remained the same: I would listen to the members’ ideas and help shape them into a clearer direction, and they would then bring those ideas to life in the music with their own distinct color. When I suggested revisions, we would discuss them together and refine the work collaboratively. As before, I would exchange lyrics with RM in real time through messaging, making adjustments as we went. We also continued the practice of gathering ahead of sessions with external producers, spending hours listening through what we had worked on and aligning on direction.

What has changed is the members’ capabilities — or more precisely, how much they have grown. I still remember the first time I heard “Into the Sun,” a track that V worked on. In the past, V had not been as heavily involved in songwriting or in contributing multiple tracks to BTS albums, but this track stood out as an exceptional piece of work. This kind of growth was evident across all the members.

As the members have grown as artists, the process naturally became more artist-led. I was intentional about stepping in only when it was necessary. In fact, there were moments when they would come to me when they felt stuck, asking for guidance or a breakthrough. My role in this album was largely to help shape the broader direction and weigh in on a few key decisions.

BTS is more than just a pop band: they’re a national treasure. How did you navigate the pressure of making their comeback a success? 

As I mentioned earlier, the weight I felt was immense, given the historical significance of BTS as a group and the fact that this was their return after four years. And yet, alongside that sense of pressure, there was also a strangely strong conviction – that this would be a defining album, and that the results would be exceptional. Even when the members, during their military service, would open up about their uncertainties and concerns, I found myself saying something quite calmly to them: “You might be unsure about yourselves, but I’m certain that we will make it through.”

Looking back, I think that confidence came from a deep trust in BTS as artists, and from an experiential belief that if we pushed ourselves fully through the process together, we would inevitably find the answers along the way.

Because of that, compared to the overwhelming pressure at the beginning, the actual 18 months of production felt, in a way, surprisingly calm. Of course, every day came with its own set of challenges, and the scale and complexity of the project were unlike anything we had experienced before. The day-to-day stress was real and constant. But somewhere deep inside, my state of mind remained clear and steady – almost like the surface of a quiet lake. It was, in many ways, an ironic yet remarkable period – one in which I was able to maintain a sense of inner composure even amid unprecedented turbulence.

What risks did you take? 

The risks we took in the actual production process were significant. The biggest question was whether the audience would truly accept the kind of transformation we envisioned with “BTS 2.0.” To make that shift possible, I made two deliberate decisions to move away from what had previously been proven formulas.

The first was a shift in visual language. We moved away entirely from the traditional K-pop approach of presenting artists in their most polished, stylized, and visually elevated form. Instead, we chose to stay true to the message of the album – focusing less on external spectacle and more on capturing the members as they are, as people, and the kind of beauty that comes from that authenticity.

The second was a decision that fundamentally reshaped the role of performance. The greatest risk in this project was whether the public would accept the bold shift we defined as BTS 2.0. In particular, when it came to choreography, two contrasting forms of risk-taking were pursued simultaneously.

First, it was necessary to completely set aside the existing formula for success. As we approached the later stages of the process, the choreography had still not been finalized, and the members, feeling exhausted, came to me and voiced their disappointment, asking why they were being left without clear direction.
Up to that point, I had been intentionally holding back, wanting to respect their vision in areas beyond the music itself. But after that conversation, I stepped in directly and made the decision to reset everything – to discard all existing choreography drafts.

In particular, for tracks like “Swim” and “Hooligan,” the choreography was revised to such a minimal level that it almost felt as though there was none. The members questioned this approach, asking whether it truly reflected BTS.

I responded by saying, “You already possess the kind of aura that can command a stage just by existing. For artists like you, standing still can be more than enough. The kind of intense choreography you’ve done in the past can, at times, overshadow the music. Simply following the methods that the next generation has adopted – methods that you yourselves established – does not align with the weight and stature you now carry. If you’ve chosen to open a new chapter, then you need to present a new kind of performance – one that allows the music itself to be heard.”

It took nearly two weeks of trying both approaches – repeating, comparing, feeling the difference – before the members began to fully understand.

At the same time, we also needed to establish a new standard that could meet the expectations of fans who associate BTS with powerful, tightly synchronized choreography. I did not believe we could simply repeat the K-pop style of precision choreography that BTS had, in many ways, helped define. Instead, what we needed was a performance that could declare, “This is the level of BTS,” while opening a new horizon for K-pop choreography.

In fact, some of the vocal members initially opposed including the track, saying they were not confident they could fully deliver it. However, I felt strongly that “2.0” had to be included. Rather than relying on the explosive, outward energy of our previous style, this track was built on a more controlled, internal intensity—one that condenses energy while precisely carrying BTS’ heritage—and was therefore essential to the album.

What is the importance of “Arirang” in Korea, and why did you suggest this be the title of the album? 

In Korea, “Arirang” is far more than a traditional folk song. It carries a tender, bittersweet sense of sorrow rooted in parting and longing, while at the same time transforming that emotion into energy and heung—symbolizing the resilience and vitality with which Koreans overcome hardship. It is, in many ways, a “living legacy”—something that is continuously reshaped and reinterpreted depending on the person who sings it. I believed that this emotional framework was the most precise and powerful vessel through which to express the inner landscape of BTS as they are today. That is why I proposed Arirang as the central concept of this album.

As I spoke at length with the members throughout the process, I was reminded that despite their position as global icons, they remain, at their core, young men still grappling deeply with questions of identity. To borrow RM’s expression, they were “country boys from Korea,” navigating an unfamiliar global stage—experiencing a sense of confusion along the way, while also coming to carry the “weight of the spotlight” and a profound sense of responsibility, regardless of their own intentions. It was, in many ways, immense. I believed that the core of this project was to most authentically reveal the human struggles—and the “fractured self”—that lie beneath their heroic image.

Around that time, I came across a historical account from 1896 of seven young Korean men, facing unfamiliar language and cultural barriers on American soil, who left behind what is considered the first recorded Korean song—”Arirang.” The image of them proving their existence through music in a foreign land over 130 years ago bore a striking resemblance to the situation our members now face—returning from military service in 2025 and stepping back onto the global stage to open a new chapter as BTS 2.0. It did not feel like a coincidence, but rather a sense of a shared, enduring destiny—one that can be understood through the lens of the diaspora.

The “Arirang” we focused on is by no means a sorrow that is static or subdued. As is characteristic of Korean folk music, we chose to focus on its resilience – the way it transforms the pain of loss into a dynamic, living rhythm. We believe that, as artists, the act of openly revealing one’s vulnerabilities and finding the strength to move forward within that fragility is what defines true “BTS-ness.”

Throughout this process, what I consistently emphasized to everyone involved was that “Arirang” should never be treated as something superficial or one-dimensional, nor reduced to a shallow slogan such as “including ‘Arirang’ makes it somehow Korean” or “the most Korean is the most global.”

In the end, Arirang became the clearest compass – one that both reflects on the 13-year journey BTS has taken and points toward the era of “A Love Beyond,” a love that transcends borders and generations. This song is no longer a simple reinterpretation of tradition, but a living expression of BTS themselves – continuously evolving and moving the world in this very moment.

As a Korean, how did you feel listening to thousands sing “Arirang” together with BTS on “Body to Body,” which is officially a global hit? 

Even when BTS performed another global hit, “MIC Drop,” I remember being deeply moved by the moment when fans from all over the world — speaking different languages — sang parts of the song in Korean in perfect unison. Seeing that for the first time was incredibly powerful. With “Body to Body,” however, the experience felt even more profound and layered.

BTS may not have intended it, but in Korea, they are often regarded as something akin to national representatives. Of course, in the beginning, there were various discussions and differing opinions among the members and the team about incorporating a distinctly Korean folk element like “Arirang” into the song. As a producer, however, my perspective was that, as an artist, choosing to forgo something that could create such a powerful emotional impact — for both internal and external reasons — might ultimately be something we would come to regret. I did not want BTS to miss the opportunity to create a moment that could leave a lasting impression on both fans and the wider public. In the end, we were able to reach a shared understanding with the members, and together, we were able to witness what has now become an iconic moment.

In a later meeting, the members shared with a laugh, “At first, we were concerned it might come across as ‘overly nationalistic marketing.’ But after playing it for people around us, every Korean we spoke to said they felt chills and were deeply moved when ‘Arirang’ came in. It seems you were right again this time.” 

The Netflix concert was shot at Gwanghwamun Square. I understand this was your idea. What is the significance of Gwanghwamun and why film there? 

Although this has already been widely discussed, I believe that the first stage marking BTS’ new chapter had to take place in a location that is distinctly Korean. As news of their comeback began to circulate, we received proposals from several major cities around the world to host the first performance. However, I felt very strongly that for an artist who began in Korea and grew into a global act, such an important moment should not begin overseas.

[Gwanghwamun Square] proved to be the most fitting choice. As many have noted, seeing BTS return in their most distinctly Korean form, standing together in one of the most symbolic locations in Korea, became a powerful visual representation of the album’s message.

In particular, the stage itself was designed with minimal elements, featuring only a large rectangular structure without elaborate decoration. With Gwanghwamun behind it and BTS performing in front, the scene felt almost like a “portal” connecting the past and the present, which I found especially striking. Both historic and contemporary at the same time, it was a truly remarkable stage, and I would like to once again express my gratitude to our partner, Netflix, for helping bring it to life.

Another beautiful Korean touch was the inclusion of the “Emille” of the Sacred Bell of Great King Seongdeok as part of the album on “No. 29,” another idea of yours. What is the significance of the Sacred Bell in Korean culture and what is its purpose in this album?

If you listen to the album, you’ll notice a clear contrast between its first and second halves. The opening section carries a sense of grandeur — almost as if announcing the “return of a king” — reflecting BTS coming back after nearly four years. In contrast, the latter half presents a more restrained and introspective tone, capturing the honest emotions and inner struggles of young individuals carrying the weight of that crown. Bridging these two contrasting moods was something I thought about carefully. I felt that introducing the sound of the bell could create a kind of meditative passage, allowing listeners to naturally transition into the second half of the album. While it is common for albums to include an interlude to shift the mood, these are typically composed as separate instrumental tracks. In this case, however, using only the sound of the bell — without any additional musical elements — was a new approach for us.

This idea began when I visited the National Museum of Korea last year, where Director Yoo Hong-jun personally introduced me to the sound of the Sacred Bell of Great King Seongdeok. He kindly gave me a private tour of the museum and told me, “If you make music, this is something you have to hear,” before guiding me to a dedicated exhibition space for the bell. I spent quite a long time there, sitting and listening to the sound, while also learning about its history and significance. He explained how remarkable both the craftsmanship and the acoustic qualities were, especially considering the period in which it was created. It was at that moment that I felt this sound should be used as an interlude in the album.

Traditionally, East Asian bells are designed to produce a deep, sustained resonance, and the Sacred Bell of Great King Seongdeok is often regarded as a pinnacle of that craftsmanship. The bell is designed so that its sound resonates in a continuous, almost unbroken cycle—lingering as if it might fade, yet never quite disappearing. This phenomenon is known as “maengnori.” In a similar way, I wanted this album to carry the hope that BTS’ music would resonate with a lasting echo over time. At the same time, I thought this track would naturally spark curiosity among listeners, regardless of where they are from. In particular, I hoped that international listeners, drawn by that curiosity, might come to explore its meaning and history, and in doing so, gain a deeper understanding of Korean cultural heritage.

The last several years have seen a resurgence of national pride in pop music. Great examples include Bad Bunny and his DeBÍ TiRAR MáS FOToS, an eminently Puerto Rican album. Is it now time for Korea to have special musical ambassadors with BTS and Arirang? 

Through this album, I believe BTS will become an icon — not simply in the sense of representing Korea, but as universal pop artists and an iconic presence in their own right. When Netflix promoted BTS’ comeback live broadcast, they used the phrase “THE WORLD’S BIGGEST BAND.” I see that not as a tagline, but as a reflection of reality.

This is an expression I often use internally, but I believe BTS is becoming something like a destination. While it is true that they have reached this point through the strength of their fandom, they are now moving beyond fandom— emerging as an act that is broadly recognized and embraced by the general public on a global scale. In the same way that people want to visit Disneyland once it opens or feel compelled to watch a new Marvel film when it is released, BTS is becoming an artist that people are naturally drawn to experience. In other words, they are expanding beyond the boundaries of a concentrated fandom, evolving into an act that can also engage and attract a much wider audience.

I am confident that the presence of an artist like BTS will also contribute to expanding the market and increasing overall interest in the broader K-pop scene. Every genre ultimately needs transformative artists who can represent and redefine it. It is through those artists — and the moments they create — that the boundaries of a genre are pushed outward, drawing in audiences beyond its existing base. BTS has played that role within K-pop, and I hope that their return, after some time, will help drive new momentum for the Korean music industry as a whole.

After nearly half a decade in development, the Michael Jackson biopic Michael is just weeks away from moonwalking onto screens around the world. To celebrate, Lionsgate dropped the final trailer for the anticipated movie that stars the late self-proclaimed King of Pop’s real-life nephew, Jaafar Jackson, in the titular role on Wednesday morning (April 8).

The latest sneak peek at the movie opens with Jackson saying, “I’ve just got all these songs in my head,” as he stares at a cork board in the studio featured sketches, snippets of lyrics and index cards featuring the titles of some of the legendary Thriller songs that would make the former Jackson 5 member a solo mega-star, including “Wanna Be Startin’ Somethin’,” “Billie Jean,” “P.Y.T.,” “Human Nature” and the title track.

“I just gotta get them out,” a smiling Jackson says as the strains of one of the album’s two No. 1 Billboard Hot 100 hits, “Beat It,” plays in the background. Then, the iconic, chill-inducing opening Synclavier phased gong sound bubbles up as we see Jackson slip on one of his signature spangled silver gloves.

Reprising much of the same footage from earlier trailers, the new preview shows Jackson on a massive stage for one of his solo shows, as well as performing with his siblings in the Jacksons and recording tracks for his breakthrough 1979 fifth solo album, Off the Wall, with producer Quincy Jones (Kendrick Sampson). There is, naturally, also a shot of the singer chilling with his pet chimp, Bubbles.

“This is what I was put on earth to do,” Jackson says in his high-toned speaking voice to the strains of “Wanna Be Startin’ Somethin’.” The clip ends with Jackson doing his famous moonwalk dance to “Billie Jean” on the 1983 Motown 25: Yesterday, Today, Forever TV special and cradling his armload of eight Grammys at the 1984 awards.

The $155 million film is due out on April 24, with a cast that also includes Nia Long as mother Katherine Jackson, Larenz Tate as Motown founder Berry Gordy, Juliano Valdi as a young MJ, Laura Harrier as Jackson 5 dresser Suzanne de Passe, Kat Graham as Diana Ross, Jessica Sula as sister La Toya Jackson, Liv Symone as Gladys Knight and Kevin Shinick as Dick Clark.

The movie directed by Antoine Fuqua (Stans, Bullet Train) will hit a limited number of screens for early-access viewings in premium formats on April 22, two days ahead of its wide release that Friday.

Watch the final Michael trailer below.

A day after teasing the track on social media, LISA and Anyma have released their debut collaboration, “Bad Angel.” The song is a TK! And a TK!! Stream it below.

The track comes ahead of Anyma’s performance on the Coachella mainstage this Friday (April 10). This show will mark the debut of his new production, ÆDEN. First teased on the artist’s Instagram in February, ÆDEN is the producer’s first new show since The End of Genesys, a lauded production he built for and debuted at Sphere in Las Vegas during a historic residency that made him the first electronic to headline the venue.

ÆDEN will go on a world tour following Coachella, with dates in Asia, Europe and North America from May through December. Additionally, Anyma will also be returning to Ibiza’s [UNVRS] this summer for his second annual residency at the island’s mega-club. The artist is no stranger to collaborating with pop royalty, with his last album, 2025’s The End of Genesys, featuring collaborations with Grimes, Ellie Goulding and more.

Anyma performs on the Coachella mainstage starting at midnight at April 10 and April 17.

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After ending in 2025, the impact of The Handmaid’s Tale is still palpable.

Now lead director Mike Barker is expanding on the story that drew in audiences with The Testaments, a new show that serves as a sequel to The Handmaid’s Tale. This new series will premiere on April 8, and is based on Margaret Atwood’s 2019 book of the same name, which takes place 15 years after the happenings of the original novel and show. Following the premiere, episodes will air weekly.

For a quick refresher on the happenings of The Handmaid’s Tale, all you need to know is that a totalitarian Christian fundamentalist regime called the Republic of Gilead overthrew the U.S. government and took it upon itself to restrict women’s rights. Under this dystopian rulership, fertile women known as Handmaids were forced into sexual servitude to bear children for the elite. The sequel is narrated by three women: Aunt Lydia and two young women, Agnes and Daisy. The story follows these women’s first-person accounts of the downfall of the Gilead regime. Aunt Lydia is played by Ann Dowd, Agnes is played by Chase Infiniti and Daisy is played by Lucy Halliday.

Below, find out where you can watch the new series online.

Where to Watch The Testaments Online

The best way to catch the new sequel is via Disney+ and Hulu.

While you could subscribe to either or streaming platforms, the most cost-effective way to watch is via the Disney+ and Hulu bundle. A standalone Disney+ subscription will run users $12 a month with ads, while a standalone subscription to Hulu also runs users $12 a month with ads. If you choose not to bundle, you’ll be paying up to $24 with those pesky ads included. The bundle with ads will run users $12.99 a month, while the no-ad plan costs $19.99 a month. 

With your subscription, you’ll gain access to both Disney+ and Hulu’s extensive library of shows and films for the price of one — that includes The Testaments. Disney+ features content from Disney, Pixar, Marvel, Star Wars and National Geographic, among others, while Hulu also has Hulu Originals along with its library of media. The new series is just one of many engaging shows and films that you can stream with the bundle. There’s Ryan Murphy’s The Beauty and the Jared Leto-led film Tron: Ares, along with returning hits like The Pitt, Tell Me Lies, The Bear, Shōgun, Only Murders in the Building and, of course, The Handmaid’s Tale.

Watch the trailer for The Testaments below: