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Political theater reached new heights of absurdity last week in Los Angeles’ Little Tokyo district. Picture this: Governor Gavin Newsom, standing inside the Japanese American National Museum, waxing poetic about California’s celebrated diversity — while outside, Border Patrol agents sporting tactical gear and rifles staged what looked like a scene from a heavy-handed political drama.

The optics couldn’t have been more perfect if they’d been scripted by a Hollywood writer.

“We are in Los Angeles. The most diverse city in the most diverse county in the most diverse state in the world’s most diverse democracy,” Newsom declared, apparently oblivious to the brewing tension beyond the museum walls. The governor’s words hung in the air with an almost painful irony as armed federal agents — more than a dozen of them — took up positions outside.

Let’s talk about timing. The event wasn’t exactly a secret gathering; it had been publicized widely. The museum’s location? Just one block from a federal detention center where immigration detainees are processed. Mayor Karen Bass didn’t dance around the subject: “There was no way this was a coincidence.”

Border Patrol Chief Gregory Bovino’s response felt like it was pulled straight from a political potboiler. “We’re here making Los Angeles a safer place, since we don’t have politicians who can do that. We do that ourselves.” The statement landed with all the subtlety of a sledgehammer — perfectly encapsulating the ongoing feud between federal immigration enforcement and California’s leadership.

Newsom — who’s spent the past few years positioning himself as the anti-Trump on immigration — shot back with characteristic flash: “It’s pretty sick and pathetic — everything you need to know about Donald Trump’s America.” Yet critics might point out that Newsom’s own record on crisis management has been… complicated.

While he’s built his brand as California’s diversity champion, his administration’s handling of various emergencies has raised eyebrows. Take his recent decision to divert resources to Puerto Rico ahead of a tropical storm — while California fire victims were still piecing their lives back together. Some see these moves through the lens of his rumored 2028 presidential aspirations (though in 2025, who isn’t eyeing the White House?).

The whole scene at the museum felt like a perfect metaphor for America’s current political moment. Federal agents, decked out in tactical gear, standing guard outside a museum dedicated to remembering historical injustices against Japanese Americans — you couldn’t make this stuff up if you tried.

Newsom’s proclamation that “We don’t tolerate our diversity. We celebrate our diversity” took on a different weight with those armed agents lurking outside. It crystallized something essential about our national identity crisis: two competing visions of America, squared off on a Los Angeles street corner, neither side blinking.

Sometimes reality really does write better drama than fiction.

Lottery fever hit different this week, serving up a peculiar mix of mass participation and individual fortune that only the games of chance can deliver. While most folks were busy checking their Powerball tickets, Iowa decided to go big — really big — with a scratch-off spectacle that’d make Vegas blush.

Picture this: thousands of eager fairgoers at the Iowa State Fair, armed with lottery tickets and coins, ready to scratch their way into the record books. The Iowa Lottery, marking its 40th trip around the sun, figured what better way to celebrate than by attempting to set a Guinness World Record for the most people scratching lottery tickets at once? (Because apparently, that’s a thing now.)

The timing couldn’t have been more fitting. Back in ’85, when Iowa first dipped its toes into the lottery waters, they kicked things off right here at the State Fair. Now, four decades later, they’re back where it all began — though the results of Thursday’s 5:15 PM mass-scratch extravaganza are still under wraps. Guess some things are worth waiting for.

Meanwhile, down in Baltimore, Lady Luck was playing favorites with a local who seems to have cracked the code on winning — twice. This lucky soul just pocketed $31,670 from Maryland’s Racetrax virtual horse racing game, hollering his virtual steed to victory like a seasoned railbird. “When I looked back up at the screen, my #12 horse was really gaining ground,” he recalled, probably still grinning ear to ear.

But here’s the kicker — this wasn’t his first rodeo with good fortune. Five or six years back, he’d gotten that same tingling sensation that led him to a hefty scratch-off win. Some folks just got it, y’know?

The lottery bug isn’t just an American thing, either. Over in Nagaland, India, they’ve been running a tight ship since ’72, with their state lottery dishing out chances at ₹1 crore three times daily. Different culture, same dreams — just priced at ₹6 a pop.

From mass scratch-offs in the heartland to lucky streaks in Charm City, the lottery keeps proving that hope doesn’t need deep pockets. That Baltimore winner turned $6 into a cool thirty-one grand and change — not too shabby for an afternoon at the races, virtual or otherwise.

Whether it’s thousands of Iowans creating their own scratch-off flash mob or a guy in Baltimore riding his lucky streak, the lottery’s still doing what it’s done best since day one: selling dreams, one ticket at a time. And sometimes — just sometimes — those dreams cash out.

Just when Hollywood seemed to be running low on genuine surprises, Brendan Fraser’s career renaissance takes another delightful turn. The beloved actor — fresh from his Oscar-winning triumph in “The Whale” — is poised to capture hearts once again in “Rental Family,” a nuanced comedy-drama that’s already creating quite the stir among festival insiders.

Snagging the coveted American Express Gala slot at this year’s BFI London Film Festival (marking its historic 69th run), “Rental Family” drops Fraser into the fascinatingly peculiar world of Japanese rental family services. Think less “Lost in Translation” and more “found in transformation” — if you’ll pardon the cheeky wordplay.

The premise? Absolutely divine. Fraser portrays an American performer navigating Tokyo’s rent-a-relative industry, a concept so uniquely Japanese it practically demands exploration. Director Hikari, riding high after “Beef” became last year’s streaming sensation, brings her characteristic touch to this cultural intersection. Having proved her mettle with “37 Seconds,” she’s clearly the perfect choice to helm this delicate balance of heart and cultural commentary.

The casting reads like a dream lineup for the post-pandemic global cinema renaissance. Emmy nominee Hira Takehiro (whose work in “Shogun” had everyone talking last fall) shares the screen with “Pachinko” standout Yamamoto Mari. Add Shannon Mahina Gorman and the incomparable Emoto Akira to the mix, and you’ve got yourself a proper international ensemble that would make any casting director weak in the knees.

BFI Festival Director Kristy Matheson’s enthusiasm feels perfectly justified. “Brendan Fraser is set to steal movie fans’ hearts once more,” she gushed — and honestly, after watching his career trajectory these past few years, who’d dare argue?

The film’s world premiere at TIFF promises to be one of those moments cinema buffs will be discussing well into 2026. Following that, it’s off to London’s Southbank Centre’s Royal Festival Hall on October 16th, where Fraser and Hikari will undoubtedly set social media ablaze. (Remember last month’s viral moment when Fraser surprised fans at a retrospective screening? Pure gold.)

Searchlight Pictures — showing their characteristic knack for timing — has locked in a January release for UK audiences. It’s rather fitting, really. What better way to kick off 2026 than with a story that promises to examine the curious ways we forge connections in our increasingly disconnected world?

In an era where superhero fatigue has finally set in (sorry, Marvel’s “Phase 6”), and audiences are craving something with a bit more substance, “Rental Family” feels like exactly what the doctor ordered. It’s that rare piece of cinema that dares to ask questions about authenticity and belonging while never forgetting to entertain.

Let’s face it — we could all use a reminder about the unexpected ways human connections form. And who better to guide us through that exploration than Fraser, whose own journey back to Hollywood’s embrace reads like a masterclass in redemption?

Hollywood’s latest power play has all the intrigue of a blockbuster thriller. NBCUniversal just pulled off what might be the entertainment coup of 2025, snagging perpetual rights to Robert Ludlum’s Bourne franchise after a deliciously dramatic bidding war that had seven major players practically throwing money at the negotiating table.

Talk about a high-stakes game of musical chairs. The Ludlum estate, managed by Captivate Entertainment, orchestrated what can only be described as entertainment’s version of a Sotheby’s bidding frenzy. Streaming giants circled like sharks in Louboutins, but darling, Universal wasn’t about to let their golden boy slip away — not after two decades of box office magic.

The deal (publishing rights notably excluded) ensures that cinema’s favorite amnesiac operative stays right where he’s been throwing punches since 2002. And oh, what profitable punches they’ve been. Five films have raked in a cool $1.64 billion globally — the kind of numbers that make studio executives weak in the knees.

Peter Cramer, Universal Pictures’ president, couldn’t contain his glee. “Since its debut in 2002, the iconic Bourne franchise has reshaped the spy genre with groundbreaking films that set new standards for cinematic action.” Well… he’s not wrong. The franchise traded in Bond’s martini-sipping sophistication for gritty hand-held camera work that left audiences reaching for Dramamine — in the best possible way, of course.

Let’s break down the legacy, shall we? Four Matt Damon-led thrillers that redefined action cinema: “The Bourne Identity,” “Supremacy,” “Ultimatum,” and “Jason Bourne.” Plus that Jeremy Renner experiment in “Legacy” that… well, points for trying, honey.

The deal keeps veteran producer Frank Marshall (Hollywood royalty, if we’re being honest) at the helm, alongside Captivate’s Jeffrey Weiner and Ben Smith. Weiner, wearing his dual hats as Chairman & CEO of Captivate Entertainment and executor of Ludlum’s estate, seemed positively giddy about keeping Bourne in the family: “We look forward to working with the Universal team to expand the franchise across their varied platforms.”

Speaking of expansion — and this is where it gets juicy — whispers are circulating about Ed Berger developing a fresh Bourne adventure. There’s even talk of Matt Damon potentially returning to his signature role. Joe Barton’s apparently penned a script, though it’s still marinating in development hell like last season’s couture waiting for its moment.

The franchise has already proven it can work harder than a personal trainer during awards season, spawning everything from video games to the “Bourne Stuntacular” at Universal Studios Orlando. Because apparently, we all secretly want to experience the thrill of international espionage between churro breaks.

This little chess move, masterfully brokered by WME (who rep literary heavyweights like Tom Clancy and George R.R. Martin), positions NBCUniversal perfectly for the streaming wars of 2025 and beyond. It’s a reminder that in Hollywood, like in espionage, the game never really ends — it just keeps getting more expensive.

Summer 2025 is proving that the so-called entertainment “dead zone” is anything but lifeless. From Miami’s steamy streets to Detroit’s revitalized corners, the cultural scene is serving up a feast that would make even the most jaded critic do a double-take.

The Who — yeah, those Who — are kicking off their (allegedly) final North American tour at Amerant Bank Arena. Pete Townshend and Roger Daltrey have ditched the orchestral window dressing from their last go-round in favor of something rawer, meaner, more essential. Smart move, really. Rock’s elder statesmen don’t need strings to prove their worth; they’ve got five decades of sonic rebellion in their DNA.

Down at Miami’s Kaseya Center, Cirque du Soleil’s “OVO” is turning the insect world into high art. Starting at $66.80 (because apparently, even artistic bugs need to pay rent), seven weekend performances promise the kind of spectacle that makes you forget you’re basically cheering for cockroaches in leotards. But that’s the magic of Cirque, isn’t it?

The local scene’s got its own buzz going. The Somethings — a funky little experiment featuring members of Fort Lauderdale favorites The Heavy Pets — are doing their thing at The Funky Biscuit in Boca. Sure beats another cover band doing “Sweet Home Alabama” for the millionth time.

Up in Metro Detroit, something fascinating’s brewing. City Institute’s launching these small business walking tours through Mount Clemens, Dearborn, Berkley, and Pontiac. Free guided tours starting August 16th — because sometimes the best stories are hiding right under our noses, between the corner store and that coffee shop you’ve passed a thousand times.

Speaking of Detroit institutions, The Looney Baker in Livonia just claimed the region’s donut crown. Ninety-three thousand votes later (in a city that takes its comfort food dead serious), and we’ve got ourselves a winner. Not bad for a place that’s been quietly perfecting their craft since before TikTok food trends were even a thing.

Back in Miami, Mama Tried’s doing something interesting with their espresso martini game. Their Tiramisu variation — fifteen bucks of Patrón Reposado, fresh espresso, and Baileys-infused cream cheese topping — is the kind of drink that makes you wonder why nobody thought of it sooner. Then again, that’s Miami in 2025: always pushing the envelope, even with the classics.

For those seeking substance with their style, PAMM’s screening of “The Creole Pig: Haiti’s Great Loss” transforms an environmental cautionary tale into something unexpectedly profound. Who knew a documentary about extinct pigs could say so much about economics, ecology, and everything in between?

From power chords to acrobatic insects, from artisanal donuts to walking tours, this weekend’s cultural buffet proves that summer entertainment isn’t just alive — it’s thriving. And maybe that’s the real story here: in an age of endless streaming and digital distraction, there’s still nothing quite like getting out there and experiencing something real, something immediate, something that reminds us why we love live entertainment in the first place.

Love in the Ring: Tyson Fury’s Third Wedding Takes an Unexpected Turn

Who says you can’t celebrate love more than once? Certainly not Tyson Fury, the heavyweight boxing champion whose latest romantic gesture proves that some matches are worth revisiting. The self-styled Gypsy King recently tied the knot with his longtime partner Paris for the third time – though this celebration came with an unexpected twist that would have knocked lesser couples off their feet.

Against the sun-drenched backdrop of southern France, the Furys renewed their vows in what should have been a picture-perfect ceremony. Paris, stunning at 35, chose an elegant white lace gown that would’ve made any fashion house proud. Meanwhile, Tyson – never one to follow convention – rocked a decidedly casual ensemble of cream shirt, white shorts, and sandals. Classic Fury, really.

Their seven children (yes, seven – talk about a heavyweight family) turned the intimate affair into something straight out of a modern fairy tale. The four princes – John James, Tyson II, Adonis Amaziah, and Rico – cleaned up nicely in matching suits, while daughters Venezuela, Valencia, and Athena matched their mother’s ethereal white theme.

But here’s where things get interesting. Just when you’d think the story was wrapping up with a neat bow, their private jet decided to throw a proper curveball. About 100 miles into their return flight, a wing malfunction forced an emergency turnaround. The usually unshakeable Fury – a man who’s stared down some of boxing’s scariest opponents – admitted to being “terrified.” There’s something oddly refreshing about a champion boxer confessing to being rattled by turbulence, isn’t it?

The timing of this third wedding raises some eyebrows, coming just months after Fury’s retirement announcement following his second loss to Oleksandr Usyk. Despite his promoter Frank Warren’s not-so-subtle hints about a comeback, Fury’s been adamant about hanging up his gloves. “Never,” he declared at Doncaster Racecourse, pointing to his graying beard as evidence that boxing belongs to younger men. Though given the sport’s history of comeback kings, perhaps we shouldn’t count him out just yet.

Their love story reads like a script Hollywood wouldn’t dare touch – too real, too raw. From teenage sweethearts to boxing royalty, the Furys have weathered storms that would’ve knocked out most relationships. Tyson’s brutal honesty about his struggles with depression and substance abuse between 2015 and 2018 adds a layer of vulnerability to their narrative. His admission to Gary Neville about being “far from the best husband” speaks volumes about their journey.

Paris, coming from a traditional Traveller background like Tyson, has shown the kind of resilience that would make any heavyweight proud. Their third wedding, despite its dramatic aerial finale, stands as a testament to something increasingly rare in our swipe-right era – the willingness to go the distance, even when the path gets rocky.

In an age where celebrity relationships often have the lifespan of a trending topic, the Furys’ story reminds us that sometimes the best matches are the ones that can take a hit and keep going. Now, as we head into 2025, they’ve given us a fresh chapter in their ongoing saga – complete with French romance, family joy, and just enough drama to keep things interesting. Who needs a scripted reality show when you’ve got the real thing?

Who’d have thought Denzel Washington would become 2025’s most unexpected rap battle champion? The Oscar-winning legend just proved he’s got bars — and managed to leave A$AP Rocky genuinely speechless in the process.

The unlikely showdown unfolds in Spike Lee’s latest masterpiece “Highest 2 Lowest,” where Washington’s portrayal of music executive David King delivers what might be the year’s most talked-about scene. Picture this: a 70-year-old Hollywood icon trading verses with one of hip-hop’s finest, and somehow coming out on top.

“I lost a rap battle to this man. And I’m a professional f—— rapper,” Rocky admits, still shaking his head months after filming wrapped. The moment feels particularly poignant given Rocky’s recent return to the spotlight following his legal victories and that headline-grabbing Super Bowl LVIX commercial.

Washington, sporting that signature grin that’s lit up screens for decades, casually drops knowledge about current artists that leaves even Rocky stunned. “How does this man know who Moneybagg Yo is?” the rapper marvels. Washington’s response? A cool “And I’m 70” — delivered with the same gravitas he brought to Malcolm X.

The scene transcends typical movie magic, largely because Washington’s rap credentials turn out to be surprisingly legitimate. During press interviews at Sundance last month, he couldn’t resist breaking into Nas’ “N.Y. State of Mind,” flowing with the ease of someone who’s had these lyrics living rent-free in their head since ’94. “I’ve been a closet rapper for 40 years,” he confesses, though he modestly adds, “But I’m using other people’s material. And I’ve been practicing.”

This fifth collaboration between Lee and Washington digs deeper than just an entertaining culture clash. It’s a meditation on how entertainment’s landscape keeps shifting — from vinyl to streams, from MTV to TikTok, from traditional talent to AI-generated content. Rocky offers a particularly sobering take on the industry’s direction: “The kids, they don’t want to be rappers anymore. They want to be streamers… They’d rather watch an 18-year-old with millions of viewers open up a bag of chips and tell you how good it is. These guys are the new rappers.”

Washington — ever the purist — pushes back against some of these changes, particularly regarding AI’s growing influence in the music industry. “People trying to sound like me don’t sound like me, to me,” he states, his words carrying extra weight in an era where deepfake vocals have become commonplace on streaming platforms.

The mutual respect between these artists shines through every frame. Rocky, who grew up watching Washington’s films, speaks about their collaboration with genuine reverence: “He gives you that confidence he walks around with. A lot of times, people tell me that I embody this self-confidence — I see it all in him.”

Perhaps what makes this cultural moment so captivating is its perfect timing. In an age where generational divides seem wider than ever, watching these two artists bridge the gap — while trading verses no less — feels like a rare gift. It’s a reminder that talent knows no age limit, and sometimes the most compelling stories come from the most unexpected places.

And Washington? He’s just getting started. Word has it he’s already been invited to feature on several upcoming tracks — though whether he’ll accept remains to be seen. After all, not everyone can say they’ve retired undefeated in the rap game.

In a delightfully unexpected twist that feels both nostalgic and revolutionary, Radiohead has pulled back the curtain on their latest offering — a collection that marries the raw energy of their live performances with the timeless gravitas of Shakespearean drama. “Hail to the Thief Live Recordings 2003-2009” emerged from the most unlikely of places: Thom Yorke’s recent deep dive into the world of classical theater.

The timing couldn’t be more perfect. As we navigate through 2025’s increasingly digital landscape, there’s something wonderfully authentic about these unearthed recordings. They capture Radiohead at their most visceral — a stark reminder of why they’ve remained such a compelling force in modern music.

“I barely recognised us,” Yorke admitted, his characteristic candor shining through. The frontman stumbled upon these archive recordings while working on a Hamlet adaptation with the Royal Shakespeare Company — a combination that sounds bizarre on paper yet somehow makes perfect sense in Radiohead’s universe.

Available now in digital format (with vinyl pressings dropping on Halloween), the collection spans performances from intimate Amsterdam venues to electric nights in Buenos Aires. Each recording feels like a time capsule, preserving moments when the band pushed beyond the confines of their studio perfection to discover something rawer, more immediate.

The vinyl release comes with its own quirks — independent stores get the red colorway, while die-hard fans can snag a cyan edition through the band’s W.A.S.T.E. store. Ben Baptie handled the mixing, with Matt Colton providing the master touch these recordings deserved.

Perhaps most fascinating is how these performances have found new relevance through Yorke’s recent theatrical ventures. His initial resistance to combining Radiohead’s music with Shakespeare (“it’s sacrosanct, it’s untouchable”) gradually gave way to inspiration. “The idea didn’t go away,” he shared with The Observer. “It planted a little seed in my head.”

Meanwhile, the band’s creative universe continues expanding in other directions. Their “This Is What You Get” exhibition at Oxford’s Ashmolean Museum showcases over 180 pieces of artwork by Yorke and Stanley Donwood — a testament to their enduring creative partnership. Though whispers of European residency shows persist, guitarist Jonny Greenwood’s frank statement that “there are no plans” for new material keeps expectations grounded.

What’s remarkable about these recordings isn’t just their historical significance — it’s how they continue to surprise even those who created them. In an age where everything feels meticulously curated, there’s something refreshingly honest about performances that capture a band simply doing what they do best.

The collection serves as a bridge between past and present, between rock rebellion and classical tradition. It’s a reminder that sometimes the most powerful artistic statements aren’t carefully constructed in studios — they’re born in those electric moments when musicians push beyond their comfort zones, discovering new territories in familiar landscapes.

Depeche Mode’s latest venture isn’t just another concert film — it’s a breathtaking cultural tapestry woven from gothic threads and vibrant Mexican traditions. Their new IMAX spectacular, “M,” arrives just as the entertainment industry grapples with redefining the concert film genre in 2025’s increasingly digital landscape.

Mexican filmmaker Fernando Frias has crafted something utterly mesmerizing here. Drawing from three sold-out shows at Mexico City’s Foro Sol stadium, where nearly 200,000 devotees gathered under starlit skies, “M” transcends the typical concert documentary format. Rather than merely capturing performance footage, it delves deep into the intersection of mortality, music, and Mexican cultural heritage.

Dave Gahan, ever the commanding presence, describes the project with characteristic depth: “At its core, our new film M is about the deep connection between music, culture, and people.” Those words carry extra weight now, don’t they? Especially in the wake of founding member Andy Fletcher’s passing in 2022 — a loss that’s shaped both the band’s recent trajectory and this film’s emotional core.

The theatrical release is nothing short of massive. Picture this: over 2,500 cinemas, spanning more than 60 countries, all pulsing with Depeche Mode’s electronic heartbeat. In an age where streaming platforms dominate, there’s something deliciously rebellious about this grand cinema event.

Speaking of perfect timing — the film arrives as the band wraps their monumental Memento Mori tour. Three million fans, 112 shows, and countless moments of pure electronic ecstasy later, Gahan and Gore have proven themselves masters of reinvention. They’ve managed what seemed impossible: evolving their sound and presence while honoring Fletcher’s memory.

“It’s fucking hard work to keep a band going for that long,” Gahan recently confessed, his candor cutting through the usual celebrity polish. The absence of Fletcher — their anchor, as Gahan puts it — has forced the band to navigate uncharted waters. Yet somehow, they’ve emerged stronger, their artistic vision sharper than ever.

Frias brings serious artistic credentials to this collaboration. Fresh from collecting accolades at Mexico’s Ariel Academy Awards for “I’m No Longer Here,” his distinctive visual style promises to elevate “M” beyond mere documentation. The film interweaves pulsating concert footage with rich cultural exploration, creating something that feels more like a cinematic event than a simple music documentary.

Mark those calendars, darlings — tickets drop September 17th, with the premiere set for October 28th. This isn’t just another night at the movies; it’s shaping up to be a cultural moment where Depeche Mode’s signature gothic flair meets Mexico’s profound traditions surrounding mortality and celebration.

In an entertainment landscape cluttered with cookie-cutter concert films, “M” stands apart — much like its creators have for four decades. It’s a reminder that true artists never stop pushing boundaries, even after all these years. Now that’s what you call staying power, darlings.

America’s twin obsessions with instant wealth and pop royalty collided spectacularly this Tuesday, serving up a delicious cocktail of astronomical numbers and entertainment headlines. While the Mega Millions jackpot teased would-be millionaires with a staggering $182 million prize, Beyoncé — ever the overachiever — quietly added another trophy to her already bursting cabinet.

The lottery’s eye-watering sum (which, let’s be honest, could barely cover the catering budget for Queen Bey’s next world tour) comes with a “modest” cash option of $82.1 million. Not that anyone’s counting, but those odds — roughly 1-in-292 million — make scoring a selfie with Blue Ivy seem downright achievable in comparison.

Meanwhile, in the parallel universe where talent trumps luck every time, Beyoncé snagged her first Emmy Award for costume design. The honor recognized her Netflix special “Beyoncé Bowl” — that Christmas Day spectacular that had everyone forgetting about Saint Nick faster than you can say “Santa who?” The 43-year-old phenomenon transformed December 25th into her own personal showcase, and honestly? Not a single soul complained.

That halftime extravaganza wasn’t just another notch in Beyoncé’s rhinestone-studded belt — it was a full-blown cultural reset. Between the debut performances from “Cowboy Carter” and guest appearances that felt more like carefully orchestrated coups, she reminded everyone why the word “queen” seems perpetually attached to her name. Post Malone showing up for “Levii’s Jeans” and Shaboozey joining for “Sweet Honey Buckiin’” felt less like collaborations and more like royal court appearances.

Back in the realm of mere mortals, this year’s Mega Millions has crowned just four jackpot winners. Virginia claimed the biggest prize — $348 million last June — while Ohio, Illinois, and some lucky soul in parts unknown also joined the millionaire’s club. The tickets remain available at the usual suspects: convenience stores, gas stations, and (because it’s 2025) through the Jackpocket app in select states.

For those still clutching their tickets and dreaming big, perhaps it’s worth noting that you’re more likely to become a professional athlete or get struck by lightning — twice — than hit that jackpot. Then again, someone’s got to win eventually… right?

As Tuesday night unfolds and Beyoncé potentially adds two more Emmy statues to her collection (because apparently excellence is just her default setting), millions of lottery players will be checking their numbers with trembling fingers. Some dreams come wrapped in designer costumes and Grammy gold, others in convenience store receipts — but hey, that’s just another Tuesday in America.