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The NFL’s preseason curtain call just wrapped up, and boy, what a mess of storylines we’ve got brewing. Between quarterback controversies, roster drama, and contract standoffs that’d make a reality TV producer blush, the league’s final dress rehearsal didn’t disappoint.

Take Philadelphia, where things got weird in the most Eagles way possible. Sure, Jalen Hurts is sitting pretty at the top — no drama there — but it’s the backup situation that’s got everyone scratching their heads. Picture this: Dorian Thompson-Robinson, who’s been lighting it up all preseason, suddenly becomes a sideline ornament while rookie Kyle McCord plays every… single… snap of the finale.

Nick Sirianni tried selling us some story about having “enough film” on Thompson-Robinson. Right. And maybe the Easter Bunny’s calling plays this season too.

The Vikings’ quarterback situation, meanwhile, has sorted itself out with all the subtlety of a Minnesota winter storm. Max Brosmer — some undrafted kid who apparently didn’t get the memo about rookies needing time to adjust — has flat-out won the backup job behind J.J. McCarthy. His showing in Nashville? Pure backup quarterback poetry: smart decisions, crisp passes, and the kind of swagger you can’t teach.

Poor Brett Rypien might want to dust off that resume, though. After his showing, he’s probably hoping the practice squad has room for one more.

But the real soap opera’s playing out in Dallas (shocking, right?). Micah Parsons — you know, the guy who’s been terrorizing quarterbacks like they owe him money — is locked in this fascinating contract dance with Jerry Jones. The timing’s just *chef’s kiss* perfect, what with Jones parading around promoting that Netflix doc “America’s Team: The Gambler and His Cowboys” like it’s 2025’s answer to “The Last Dance.”

Here’s where it gets good: Parsons goes full silent treatment after the preseason finale, but Trevon Diggs steps in like the world’s most obvious unofficial spokesperson. Asked about Parsons’ Week 1 availability against the Eagles, Diggs drops this gem about how it’ll “depend on how his back is feeling.” Sure, and maybe that back pain’s somehow connected to his wallet — funny how that works.

The whole Cowboys situation reads like a masterclass in modern NFL politics. Jones keeps working the media circuit like a seasoned carnival barker, while Parsons’ silence speaks volumes in an era where most players can’t stay off Twitter for five minutes.

As teams sprint toward those final roster cuts, some of these stories’ll wrap up nice and neat. Others? They’ll probably spiral into the kind of chaos that makes the NFL such addictive theater. But that’s what makes preseason finales more than just glorified practice — they’re the preview trailer for the blockbuster that’s about to hit screens across America.

And if there’s one thing we’ve learned from watching this league? The drama’s just getting started.

In an era where luxury often feels mass-produced, two peculiar tales involving Rolls-Royce vehicles have captured Britain’s imagination this spring — and they couldn’t be more different. One’s submerged in an art deco swimming pool (yes, really), while another’s carrying a solid gold coffin through the streets of Manchester. Sometimes truth really is stranger than fiction.

Let’s start with that waterlogged Phantom. Plymouth’s historic Tinside Lido recently became the most unlikely of automotive showcases when Rolls-Royce decided to celebrate their flagship model’s centenary by… well, dropping it in the drink. Council leader Tudor Evans called it “pure Plymouth magic,” though one suspects the insurance adjusters might have used different terminology.

The art deco pool — a remnant of Britain’s more optimistic architectural past — served as an oddly perfect backdrop for this automotive aquatics display. Regular swimmers even got to share the water with the submerged luxury car, creating what must be one of 2025’s most surreal photo opportunities. (Wonder what the chlorine does to that Spirit of Ecstasy hood ornament?)

Meanwhile, up in Manchester, a Rolls-Royce of a different sort has been turning heads. Frank Thompson, a 69-year-old patriarch from the Traveller community, made his final journey in spectacular fashion — accompanied by what his family describes as a “six-figure solid gold coffin.” The procession, which wound through Manchester and Nottingham for a week, offered a striking reminder that luxury means different things to different people.

Thompson’s story reads like a particularly British version of the American Dream. Starting as a door-to-door driveway salesman, he built himself into a successful businessman through sheer determination and entrepreneurial spirit. “He taught so many of them to be business-minded,” shared a family friend, though you won’t find his methods in any MBA textbook.

Perhaps most telling was the friend’s insistence that Thompson “was never a flash man, believe it or not.” There’s something quintessentially British about that statement — the need to deflect from obvious displays of wealth, even when organizing a funeral procession that wouldn’t look out of place in ancient Egypt.

The gold coffin itself — specially ordered from abroad and requiring weeks to arrive — speaks volumes about how different communities express success and respect. While corporate Britain celebrates with avant-garde photoshoots in swimming pools, the Traveller community honors their dead with magnificent displays of achievement that would make the pharaohs blush.

Back in Plymouth, that waterlogged Phantom continues to draw curious onlookers. The city’s marketing team must be beside themselves — it’s not every day your local lido becomes a talking point for luxury car enthusiasts worldwide. Though one can’t help but wonder what Frank Thompson would have made of it all.

These parallel stories reveal how Rolls-Royce transcends its role as mere transportation. Whether it’s making waves (literally) in a Devon lido or leading a week-long funeral procession, the marque continues to capture imaginations and embody aspirations — albeit in increasingly unexpected ways. After all, who’d have thought a century-old car brand would end up both underwater and carrying solid gold into the great beyond?

Mind you, given Britain’s current cost-of-living crisis, there’s something almost refreshingly absurd about both displays. Yet they remind us that luxury, at its core, isn’t just about price tags — it’s about making statements that echo long after the moment has passed.

The music industry’s landscape keeps shifting in unexpected ways as we head into spring 2025. This week brings a bittersweet revelation for rock fans, while K-pop continues its remarkable evolution with a groundbreaking new venture.

Let’s address the elephant in the room — Deftones’ “Eros” isn’t happening. After years of speculation and hopeful whispers, frontman Chino Moreno finally laid the matter to rest in a surprisingly candid Guardian interview. The shelved album — recorded before bassist Chi Cheng’s devastating 2008 car accident — will remain exactly that: shelved.

“It will most likely never see the light of day,” Moreno admitted, his words carrying the weight of years of fan anticipation. Only one track, “Dallas,” ever approached completion. The unfinished project stands frozen in amber, a snapshot of a moment the band simply can’t — or won’t — revisit. Who could blame them? Some doors are better left closed.

But as one chapter ends, another bursts wide open. AppleTV+ is about to shake things up with “KPOPPED” (premiering August 29) — and honestly, whoever dreamed up this collaboration deserves a raise. Picture this: Megan Thee Stallion and Lionel Richie co-producing a series that brings together K-pop stars and global music icons. Sounds wild, right? That’s because it absolutely is.

The show’s lineup reads like someone threw a dart at the music industry’s biggest names while blindfolded — and somehow hit gold every time. BLACKSWAN harmonizing with Boyz II Men? ITZY trading moves with the Spice Girls? These aren’t just collaborations; they’re cultural conversations set to music.

Perhaps the most intriguing element is ATEEZ’s split performance concept. The eight-member powerhouse will divide forces between J Balvin and Kylie Minogue, showcasing the versatility that’s become K-pop’s calling card. (Though let’s be real — scheduling those rehearsals must’ve been a nightmare.)

The timing couldn’t be more perfect. K-pop’s already riding high — just look at Netflix’s “KPop Demon Hunters” dominating Billboard’s Hot 100. Their breakout track “Soda Pop” has been everywhere lately, from TikTok trends to grocery store speakers.

What sets “KPOPPED” apart isn’t just its star power, though. The show’s taken an refreshingly democratic approach to talent selection. Sure, you’ll see familiar faces, but emerging groups like KISS OF LIFE and Billie are getting their moment too. Raw talent speaks volumes, apparently — even without massive social media numbers backing it up.

The contrast between these stories — Deftones’ permanent pause and K-pop’s boundless expansion — feels particularly poignant. While one represents a moment forever preserved in amber, the other shows how musical boundaries keep dissolving, creating something entirely new. Sometimes the best art comes from knowing when to let go — and when to leap forward into uncharted territory.

The clash between artistic expression and festival management policies took an unexpected turn at Portsmouth’s Victorious Festival last Friday, when Irish folk band The Mary Wallopers found themselves abruptly silenced mid-performance — a moment that’s since sparked heated debates across social media and the music industry.

Picture this: barely 20 minutes into their set, the band unfurled a Palestinian flag and began leading the crowd in “Free Palestine” chants. What happened next sent shockwaves through the audience — their mics went dead, and security promptly escorted them offstage, leaving nothing but a chorus of disappointed boos echoing across the festival grounds.

The band didn’t stay quiet about it. “Just got cut off at Victorious Festival for having a Palestinian flag on the stage,” they posted on Instagram, their words carrying the weight of six years of performances without similar incident. “Free Palestine all day every day.”

Festival organizers, naturally, paint a different picture. Their carefully crafted statement points to a “long-standing policy of not allowing flags of any kind at the event.” But here’s where things get murky — they claim the plug wasn’t pulled solely because of the flag. Rather, they say, it was the band’s use of “a chant which is widely understood to have a discriminatory context” that forced their hand.

Northern Irish rap trio Kneecap jumped into the fray, backing their fellow musicians with characteristic directness: “Speak up against genocide in England and you’re treated like a criminal. Up the Mary Wallopers. Free Palestine.”

Let’s be real — this isn’t happening in a vacuum. Just look at what went down with punk duo Bob Vylan at Glastonbury a few months back. Their politically charged performance caused such a stir that the BBC yanked it from iPlayer, and Culture Secretary Lisa Nandy had to weigh in.

The Mary Wallopers aren’t exactly newcomers to advocacy. Last November, they headlined the “Gig for Gaza” aid concert, showing their commitment runs deeper than just one festival performance gone sideways.

Meanwhile, as Victorious Festival rolls on with mainstream acts like The Kaiser Chiefs and Vampire Weekend, there’s an elephant in the room that won’t go away. Where exactly should festivals draw the line between artistic freedom and maintaining their desired atmosphere? And doesn’t attempting to stay “neutral” sometimes end up taking a stance by default?

What started as a 20-minute set has morphed into something far bigger — a mirror reflecting our society’s ongoing struggle with free speech, artistic expression, and the thorny question of where entertainment ends and advocacy begins. In today’s hyperconnected world, perhaps there’s no such thing as “just a music festival” anymore.

Hollywood’s fall season just got a whole lot more interesting. Two major announcements have sent shockwaves through the entertainment industry, and they’re both absolute game-changers.

First up: AFI Fest’s brilliant coup. The festival’s nabbed “Springsteen: Deliver Me From Nowhere” for its opening night — a gritty dive into The Boss’s Nebraska album era starring Jeremy Allen White. (Yeah, that Jeremy Allen White. The one who’s been absolutely everywhere since “The Bear” dropped.) The screening’s set for October 22nd at Hollywood’s TCL Chinese Theatres, and honestly? Perfect choice.

AFI President Bob Gazzale couldn’t help gushing about the selection. “To open with Springsteen: Deliver Me From Nowhere honors the global impact of an American icon and the true artistry it takes to tell his tale.” Well said, Bob. Well said.

But wait — there’s more. Much more.

In what might be the most jaw-dropping comeback since… well, maybe ever… Daniel Day-Lewis is stepping out of retirement. The man who swore he was done after “Phantom Thread” in 2017 is returning for “Anemone,” and get this — he’s co-writing it with his son Ronan, who’s taking the director’s chair for the first time. Talk about keeping it in the family.

The “Anemone” trailer dropped Thursday, and holy smokes. Think “Succession” meets Greek tragedy, but with that signature Day-Lewis intensity that’s earned him three Oscar statues. Focus Features Chairman Peter Kujawski practically floated while announcing the partnership with both Day-Lewises. Can’t blame him, really.

Both films are hitting the festival circuit this fall — “Springsteen” making stops at Telluride before its AFI debut, while “Anemone” claims its spotlight at the New York Film Festival. With the 2025 awards season already looking particularly spicy, these additions just turned up the heat considerably.

Between White channeling Springsteen (c’mon, it’s basically perfect casting) and Day-Lewis sharing the screen with heavyweights like Sean Bean and Samantha Morton, autumn at the movies is shaping up to be something special. Really special.

Time to dust off those festival passes and start planning those screening schedules. Because this fall? It’s gonna be one for the history books.

In what might be the most surreal celebrity meltdown of 2025 so far, Lil Nas X traded his signature elaborate costumes for white underwear and boots during a bizarre early-morning rampage through Los Angeles. The incident — which feels more like a deleted scene from “The Hangover” than real life — has left fans and industry insiders wondering what went wrong with pop music’s usually calculated provocateur.

The “Industry Baby” hitmaker’s carefully crafted image came crashing down somewhere between wearing a traffic cone as headwear and allegedly charging at police officers on Ventura Boulevard. At around 4 AM, witnesses spotted the 26-year-old artist (real name Montero Lamar Hill) wandering the streets in his skivvies, muttering about heading to a party. Spoiler alert: The only party he attended was an impromptu gathering in a holding cell.

Things went from weird to worse when LAPD showed up around 5:50 AM. What could have been just another eccentric LA moment — lord knows we’ve seen plenty — took a serious turn. According to LAPD Officer Charles Miller, Hill allegedly decided to play chicken with the cops, leading to his arrest for battery on a police officer. He was subsequently hauled off to a local hospital for a possible overdose before being booked at Van Nuys Jail without bail.

The warning signs were there, plastered all over social media. Before his barefoot boulevard adventure, Hill’s Instagram had gone full cryptic-mode with posts showing a disheveled house and bizarre captions that read like rejected lyrics from a gothic poetry slam. “And just like that she’s back,” one post declared ominously, while another screamed, “OH NO sHES GONE MAD! CRAZY I TELL U!”

This mess hits different because Lil Nas X isn’t your typical scandal-prone celebrity. Since dropping “Old Town Road” and breaking the internet (and Billboard records), he’s been the master of manufactured controversy. Whether it was grinding on Satan in music videos or releasing “Satan Shoes” that had Nike clutching their pearls, his provocations always served a purpose — usually promoting new music or challenging social norms with razor-sharp wit.

The timing couldn’t be more concerning, considering Hill’s earlier health scare this year when he dealt with partial facial paralysis. He’s been surprisingly open about his substance use in the past, particularly his experimentation with psychedelics during the creation of “Montero” and his relationship with marijuana following his grandmother’s death. Back in 2020, he told Variety about feeling “more connected with the universe” — though Thursday’s traffic cone fashion statement suggests a less enlightened connection.

Look, the entertainment industry’s seen its share of public breakdowns, but there’s something particularly jarring about watching someone known for controlling their narrative so masterfully lose the plot this spectacularly. For an artist who built his brand on pushing boundaries while keeping his hand firmly on the steering wheel, this unscripted moment of vulnerability might be his toughest performance to date.

Perhaps it’s worth remembering that beneath the viral tweets and carefully choreographed controversies, these artists are dealing with very human struggles. The pressure to maintain a perfectly curated public image while constantly innovating in an industry that moves at the speed of social media — well, sometimes that pressure cooker’s bound to blow.

Sometimes the entertainment gods gift us with casting so perfect it feels like cosmic intervention. Take Netflix’s surprise hit “A Man on the Inside,” which returns this November with a second season that’s about to get considerably more interesting — and not just because it’s trading walkers for whiteboards.

The show’s masterstroke? Bringing aboard Ted Danson and Mary Steenburgen as potential romantic leads. Sure, they’ve been married for three decades in real life, but their on-screen chemistry in this academic thriller might not be quite what it seems. More on that particular twist later.

Let’s back up a bit. After solving last season’s retirement home whodunit (which, honestly, deserved way more Emmy attention than it got), Danson’s Charles finds himself knee-deep in collegiate intrigue at Wheeler College. The premise sounds like the setup to an academic joke — a retired detective walks into a tenure committee meeting — but creator Michael Schur hasn’t lost his touch for blending sharp wit with genuine heart.

The narrative this time around is deliciously messy. There’s blackmail, a controversial billionaire donor (Gary Cole, doing that thing he does so well), and Max Greenfield as a college president who’s either in way over his head or playing several moves ahead. The whole thing plays like someone dropped “Dead Poets Society” into a blender with “Knives Out” and hit puree.

But here’s where things get really interesting. Enter Steenburgen’s Mona, a music professor whose timing seems just a touch too convenient. The show’s marketing materials are teasing the possibility that she might be more femme fatale than potential soulmate — a clever play on audience expectations, given the actors’ real-world relationship.

The returning cast hasn’t been forgotten, thank goodness. Stephanie Beatriz’s Didi and Stephen McKinley Henderson’s Calbert are still very much in the mix, though their roles have evolved beyond the retirement community setting. And speaking of evolution, Mary Elizabeth Ellis gets meatier material this time around as Charles’ daughter Emily, whose storyline about “a long-ignored passion” promises to be more than just subplot fodder.

2025’s streaming landscape is absolutely glutted with mystery shows, but “A Man on the Inside” manages to stand out by refusing to play it safe. The addition of Jason Mantzoukas (whose particular brand of chaos energy feels perfectly suited to academia) and David Strathairn (bringing gravitas to… well, that would be telling) suggests the show is willing to push beyond its comfort zone.

For Danson and Steenburgen, this marks their fourth significant collaboration since that memorable arc on “Curb Your Enthusiasm.” Their real-world connection adds fascinating layers to their characters’ dynamic — particularly if those early episode hints about Mona’s true motives pan out the way some industry insiders are suggesting.

The eight-episode season drops November 20th, and early buzz suggests it’s managed that rarest of television feats: expanding its scope without losing its soul. In an era where too many shows mistake bigger for better, “A Man on the Inside” seems to understand that the best mysteries aren’t about the complexity of the plot, but the complications of the heart.

Whether Charles finds love, uncovers corruption, or (likely) both, one thing’s certain — this is shaping up to be one of fall’s most intriguing returns. Just don’t expect all those questions to have comfortable answers. After all, the best mysteries are the ones that keep us guessing long after the credits roll.

The entertainment world stood still yesterday morning as Lil Nas X’s latest headline-grabbing moment veered sharply from his usual calculated controversy into something far more concerning. The Grammy-winning artist, known for his masterful manipulation of media attention, found himself in a situation that even his most ardent skeptics couldn’t dismiss as mere publicity.

Dawn hadn’t yet broken over Studio City when the first bewildered calls reached LAPD dispatch. Montero Lamar Hill — the artist better known as Lil Nas X — was spotted wandering Ventura Boulevard in nothing but white underwear and cowboy boots. A surreal echo of his signature style, perhaps, but one that would soon spiral into something darker.

The scene that unfolded next feels ripped from a different reality altogether. TMZ footage shows the usually polished performer placing an orange traffic cone on his head, striking poses in the middle of the street, and calling out to onlookers about some nonexistent party. “Hey, don’t be late to the party tonight,” he tells the camera with an unsettling disconnect from the pre-dawn chaos surrounding him.

What began as an odd spectacle quickly escalated into something more serious. When police arrived around 6 a.m., the situation took an aggressive turn — shocking for an artist known more for pushing cultural boundaries than physical ones. According to law enforcement sources, Hill allegedly charged at officers and landed two punches to one officer’s face before being subdued and arrested.

The Valley Jail in Van Nuys isn’t exactly the sort of venue anyone expected to find Lil Nas X performing in. Yet there he sits, while speculation runs rampant about what led to this troubling incident. His subsequent hospitalization for a “possible overdose” adds another layer of concern to an already worrying situation.

Looking back at Hill’s recent social media activity offers some potentially telling breadcrumbs. His Instagram has been particularly chaotic lately, filled with cryptic posts about new music and an upcoming collaboration with Lil Jon. Just days before the incident, he posted what now reads like an eerie foreshadowing: “OH NO sHES GONE MAD! CRAZY I TELL U! 😭🙏🏾😈🫦🫶🏾❤️”

For an artist who’s built his career on carefully orchestrated controversy — from those infamous Satan shoes that had Nike reaching for their lawyers, to a pregnancy photoshoot announcing his debut album — this feels markedly different. There’s something raw and unscripted about this incident that sets it apart from his usual boundary-pushing antics.

The internet, predictably, remains divided. Some fans are convinced this is yet another stroke of marketing genius, while others express genuine concern for an artist who’s always seemed to have such careful control over his public image. But whether this proves to be an elaborate piece of performance art or a genuine cry for help, it’s a stark reminder that sometimes the line between provocative art and personal crisis isn’t always as clear as we’d like to think.

As the entertainment industry holds its collective breath waiting for more details, one thing’s certain — this incident will likely reshape conversations about mental health, substance use, and the pressure of maintaining a provocative public persona in an increasingly demanding digital age. Sometimes even the most carefully crafted masks can slip, revealing the very human struggles beneath the glitter and controversy.

The metal world lost one of its most innovative voices Wednesday night when former Mastodon guitarist Brent Hinds died in a tragic motorcycle accident in Atlanta. Hinds, 51, collided with a BMW SUV at an intersection in what police described as a failure-to-yield incident — a devastating end for a musician who helped revolutionize modern metal.

The timing couldn’t be more heartbreaking. Just months after his contentious split from Mastodon, Hinds was gearing up for an exciting new chapter with his project Fiend Without a Face, including a highly anticipated European tour scheduled for summer 2025. His recent departure from the band he helped build over 25 years had raised eyebrows in the metal community, especially after his raw, honest social media post claiming he was “kicked out of the band for embarrassing them for being who I am.”

Mastodon’s grief-stricken Instagram statement captured the profound sense of loss reverberating through the music community. “We are in a state of unfathomable sadness and grief… We are heartbroken, shocked, and still trying to process the loss of this creative force with whom we’ve shared so many triumphs, milestones, and the creation of music that has touched the hearts of so many.”

There’s a bitter poetry to Hinds’s final moments — he died doing something he loved, astride his Harley Davidson, embodying the same free spirit that defined his musical legacy. First responders found him unresponsive at the scene, where he was pronounced dead shortly afterward.

Back in 2000, when Hinds first joined forces with bassist Troy Sanders, guitarist Bill Kelliher, and drummer Brann Dailor in Atlanta, nobody could have predicted Mastodon’s meteoric rise. The band would go on to crash the Billboard 200 nine times, with albums like “The Hunter” (2011) and “Emperor of Sand” (2017) breaking into the top 10. Their creative peak? Maybe that Grammy win for Best Metal Performance in 2018 with “Sultan’s Curse” — though plenty of die-hard fans might argue their earlier work hit even harder.

What set Mastodon apart wasn’t just their commercial success — it was their ability to weave thunderous metal with progressive complexity and sludge rock intensity. Rolling Stone nailed it in their review of “The Hunter,” praising how the band “streamlined their molten thrash into a taut thwump that doesn’t pull back one bit on their natural complexity of innate weirdness.”

The Atlanta Police Department continues investigating the accident, though details remain sparse beyond the initial failure-to-yield report. Meanwhile, the metal community grapples with questions that’ll never be answered about Hinds’s departure from Mastodon and what might have been.

Hinds leaves behind more than just platinum records and a Grammy. His innovative approach to guitar work helped prove that metal could evolve without losing its soul — that a band could achieve mainstream recognition while keeping their artistic integrity intact. In the end, maybe that’s his greatest legacy: showing that metal’s boundaries were meant to be pushed, bent, and sometimes completely rewritten.

Stop the presses, darlings — “The Paper” is making headlines with a deliciously dramatic pivot that would make even the most seasoned media mavens clutch their pearls. Peacock’s hotly anticipated “Office” spin-off has just torn up its weekly release schedule faster than Miranda Priestly dismissing another hapless assistant. Instead of the traditional drip-feed approach, they’re serving up all ten episodes in one sumptuous feast on September 4th.

Well, well, well. How the turntables, indeed.

This fresh take on workplace comedy follows a documentary crew’s newfound obsession with the Toledo Truth Teller — a struggling newspaper that’s practically begging for its own reality show. At the helm stands Domhnall Gleeson (serving serious editor-in-chief realness as Ned Sampson), whose crusade to save print journalism feels about as quixotic as trying to make fetch happen. But honey, sometimes the impossible dreams are the ones worth chasing.

The casting? Absolutely divine. Oscar Nuñez — yes, that Oscar, our beloved numbers wizard from Dunder Mifflin — is crossing over like it’s sweeps week. His return as Oscar Martinez promises to sprinkle just enough familiar seasoning into this fresh media meal. One can’t help wondering if he’s traded those pristine Excel spreadsheets for digital analytics dashboards.

Speaking of star power, the ensemble cast sparkles brighter than a Real Housewife’s diamond collection. There’s the magnetic Sabrina Impacciatore (fresh from “White Lotus” drama), Chelsea Frei bringing that millennial media energy, and enough fresh faces to fill a Page Six column. Industry veterans Tracy Letts and Molly Ephraim are set to guest star — because darling, every newsroom needs its share of scene-stealers.

Behind the scenes? Pure comedy couture. Greg Daniels, the visionary who American-ized “The Office,” has partnered with “Nathan for You” mastermind Michael Koman. They’ve assembled a directing roster that includes Paul Lieberstein (oh Toby, you sweet, sad man) for episode four — which, let’s be honest, is like having Meryl Streep direct your community theater production.

The switch to all-at-once streaming feels perfectly 2025 — because who has the patience to wait for weekly episodes anymore? In this era of TikTok attention spans and streaming wars bloodier than “Succession” season finale, it’s adapt or die, sweetie.

Universal Television’s backing this venture with enough producing firepower to launch a thousand pilots. We’re talking Ricky Gervais, Stephen Merchant, Howard Klein, Ben Silverman, and Banijay Americas all cramming into the executive producer suite. That’s more talent than a Met Gala guest list, darling.

Will “The Paper” manage to capture lightning in a bottle twice? That’s the million-dollar question keeping network executives up at night. But with this much creative voltage running through its newsprint veins, it just might deliver the kind of workplace comedy that makes us forget about our own 9-to-5 drama — at least for ten glorious episodes.

Now that’s what you call a hot take, served fresh off the press.