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In a move that perfectly captures the spirit of artistic authenticity, Adrianne Lenker has unveiled plans for an ambitious live album that might just redefine what we expect from concert recordings. The Big Thief frontwoman’s Live at Revolution Hall, dropping this spring through 4AD and Remote Control, bottles lightning from three remarkable nights of her 2024 solo tour.

Here’s the kicker — this isn’t your typical live album. Spanning an impressive 43 tracks, it’s practically a musical autobiography. The collection weaves together crowd favorites and hidden treasures, plus — and this is where things get really interesting — five brand-new songs that haven’t seen the light of day until now. Among these fresh offerings, “happiness” stands out as a particularly poignant piece, showcasing Lenker’s knack for turning raw emotion into something approaching poetry.

The whole thing came together at Portland’s Revolution Hall, where Lenker found herself in exceptional company. Nick Hakim’s piano work and Josefin Runsteen’s violin add rich layers to the performances, while longtime collaborator Andrew Sarlo worked his magic behind the boards. Sarlo’s been there since the early days, shaping both Lenker’s solo sound and Big Thief’s signature style.

“This live album is another generous offering from Adrianne,” Sarlo notes, hinting at the project’s intimate nature. The recording approach feels decidedly old-school — all reel-to-reel and cassette tape, clocking in at about two hours. It’s almost like they’re challenging our modern expectations of what live albums can be.

The timing couldn’t be better. Lenker’s been riding high lately — her latest solo effort, Bright Future, not only cracked the top 5 on the Heatseekers Albums chart but earned her first Grammy nod in the folk album category. Not too shabby for someone who’s always seemed more interested in artistic truth than industry accolades.

Speaking of Big Thief — the band’s been weathering some changes. Last summer saw bassist Max Oleartchik step away for what they’re calling “interpersonal reasons.” But they haven’t missed a beat, recently dropping the Passional Relations EP to help with L.A. wildfire relief efforts.

Sarlo’s got some advice for listeners that feels spot-on: “Consider closing your eyes, getting cozy, and listening as if you are watching a film!” It’s less about capturing perfect performances and more about creating something that feels real — like you’re right there in the room.

With Big Thief gearing up to hit the road again this fall, Live at Revolution Hall arrives at just the right moment. It’s a bridge between Lenker’s solo wanderings and her band work, reminding us that sometimes the most magical musical moments happen when the tape’s rolling and the walls between artist and audience come tumbling down.

Rock ‘n’ roll has a way of coming full circle. Sometimes it takes a quarter century, but the good stuff always finds its way home.

Back in the sweltering autumn of 1999, something extraordinary was cooking at the Greek Theatre in Los Angeles. The Black Crowes – those swagger-soaked Southern rock rebels – were sharing the stage with Led Zeppelin guitar god Jimmy Page. The resulting tour blazed through America like wildfire, but when the live album dropped in 2000, something felt… off. Missing. Incomplete.

Fast forward to 2025, and that nagging sense of musical incompleteness has finally been put to rest. The newly expanded “Jimmy Page & The Black Crowes: Live at the Greek” doesn’t just fill in the gaps – it delivers the whole enchilada, serving up 36 tracks of pure rock alchemy.

“I wasn’t surprised by how inept that decision was,” Chris Robinson recently mused about the original album’s bizarre omission of Black Crowes material. Legal red tape had tied their hands back then, forcing them to release what amounted to a half-finished masterpiece. Like serving a gourmet meal without the main course, really.

The story behind those missing tracks reads like a classic rock tragedy. Page – yeah, that Jimmy Page – found himself in the awkward position of watching some of the tour’s finest moments get locked away in the vault. “I felt really bad about that,” he admits, his voice carrying a hint of long-held regret. “They extended this hand of friendship… and I knew the versions we did of their songs were really good.”

But here’s where things get interesting. The expanded edition doesn’t just tack on a few bonus tracks and call it a day. No, this is more like discovering a lost chapter of rock history. Black Crowes classics like “Hard to Handle” and “She Talks to Angels” finally get their moment to shine alongside Zeppelin monuments “Celebration Day” and “Whole Lotta Love.” And man, does it work.

Rich Robinson’s take on Page’s contribution to “She Talks to Angels” says it all – the Led Zeppelin architect took their signature tune “to a totally different direction and a new level.” That’s what happens when you get legends playing in the sandbox together.

The real treasure trove? Sixteen previously unreleased tracks, including five soundcheck recordings and this raw, beautiful thing they’ve simply labeled “Jams” – just Page and Rich Robinson letting creativity flow like good bourbon. In today’s overproduced musical landscape, it’s refreshing as hell.

Page himself seems almost giddy when discussing the project. “In the Zeppelin days, I’d always get really nervous about recording,” he confesses. “But with this? None of that anxiety. We were on a wave.” Coming from rock’s most notorious perfectionist, that’s saying something.

The timing couldn’t be sweeter for The Black Crowes, who’ve been riding high lately with a Grammy nod for “Happiness Bastards.” But there’s something special about these unearthed recordings that transcends awards and accolades. They capture lightning in a bottle – that rare moment when rock royalty and Southern rock revolutionaries found common ground and magic happened.

Chris Robinson, ever the philosopher, puts it perfectly: “Things happen when they’re supposed to happen because they’re supposed to happen.” Maybe he’s right. Maybe 2025 is exactly when we needed this reminder that real rock ‘n’ roll – the kind that makes your soul shake – never really goes out of style.

This isn’t just some deluxe reissue cash grab. It’s the final piece of a puzzle that’s been missing for far too long. Under those California stars back in ’99, something special went down at the Greek. And now, finally, we get to hear the whole damn thing.

Hollywood’s always had a peculiar relationship with its own history. Just ask Chris Columbus, who’s currently wrestling with his Trump-sized regrets from “Home Alone 2,” while Kevin Costner — that silver-foxed champion of the American frontier — charges headlong into the past with characteristic gusto.

The timing couldn’t be more intriguing. As Columbus mutters about his “albatross” of a Trump cameo (honestly, who hasn’t had regrettable casting decisions?), Costner’s saddling up for what might be his most ambitious ride yet. At 70, he’s not just dipping his toe into historical waters — he’s diving in headfirst with an eight-part docuseries that promises to strip away decades of Hollywood’s rose-tinted frontier mythology.

“These stories will captivate us — and shock us,” Costner promises. Coming from the man who gave us “Dances with Wolves,” that’s saying something.

The HISTORY channel’s latest venture (premiering May 26, 2025) isn’t your typical sepia-washed nostalgia trip. Set against a haunting rendition of “America the Beautiful” — because subtlety is so last century — the series dares to excavate the brutal truths beneath our collective frontier fantasies.

Distinguished historian Doris Kearns Goodwin (whose involvement alone speaks volumes) frames the series within that ever-elusive American dream: “The West is a place where anything is possible.” Yet this isn’t just another tale of triumph and manifest destiny — it’s about the steep price paid for that possibility.

From Lewis and Clark’s epic trek with Sacagawea to the blood-soaked dance between lawmen and outlaws, the series promises to deliver. “American forces have a sense of superiority. The Native Americans are going to prove them deadly wrong,” warns author Yohuru Williams. Well, there goes the sanitized version grandpa used to tell.

What’s particularly fascinating — besides watching Costner somehow manage to look more distinguished with each passing year — is how the series mirrors our current national soul-searching. While we’re busy debating identity and justice in 2025, the show reminds us these struggles are practically written into our DNA. When one expert notes that “California’s reputation for banditry is a big problem,” it feels uncomfortably relevant to today’s headlines.

The network’s decision to air back-to-back episodes on premiere night suggests they know they’ve struck gold. It’s set to be what historian Peter Stark calls “a defining moment in the history of America” — though perhaps he’s being a tad dramatic. (Then again, when isn’t history dramatic?)

While some in Hollywood scramble to distance themselves from past choices, Costner’s embracing the messy complexity of American history. From pioneer women’s untold stories to abolitionists’ crusades, “Kevin Costner’s The West” paints a portrait that’s refreshingly honest about both our triumphs and our failures.

Let’s face it — if anyone can lead us through this historical reckoning, it’s Costner. Whether this turns out to be the deep dive into our collective past we’ve been waiting for or just another Hollywood interpretation remains to be seen. But darlings, when has a little uncertainty ever stopped us from enjoying the ride?

Talk about perfect timing. Just as Coachella 2025’s fashion landscape pivots away from its trademark excess, Beyoncé drops her latest Levi’s collaboration — “Chapter 3: Refrigerator” — like she knew exactly what we needed before we did. (Let’s be honest, she probably did.)

The collection landed on Instagram with Beyoncé’s trademark calculated precision, though this time there’s something refreshingly stripped-down about the whole affair. Gone are the days of festival-goers drowning in sequins and crochet fantasies. Instead, Queen Bey’s serving up denim basics that somehow manage to feel both revolutionary and like that favorite pair of jeans you’ve had forever.

This third chapter follows the viral success of her previous campaigns — remember that deliciously retro “Launderette” spot? Or that absolutely electric “Pool Hall” moment with Timothy Olyphant that had social media in a chokehold for weeks? Each drop has been building anticipation for what’s shaping up to be the tour of the year: “Cowboy Carter and the Rodeo Chitlin’ Circuit Tour.”

The collection’s standout piece? Those much-buzzed-about denim shorts that showed up just as Coachella’s first weekend witnessed something of a fashion revolution. The festival grounds looked markedly different this year — no flower crowns in sight. Instead, celebrities like Jodie Turner-Smith and Becky G showed up in micro-shorts that would make even the most confident wearer do a double-take.

On stage, things got even more interesting. Megan Thee Stallion, Victoria Monét, and Ciara pushed the boundaries of what might generously be called “shorts” — though some fashion critics have suggested they’re verging into different territory entirely. Even Blackpink’s Jennie and Lisa traded their elaborate costumes for pared-down denim looks that seemed to echo Beyoncé’s new aesthetic.

The 35-time Grammy winner’s Instagram reveal was characteristically understated — just “Levii’s Ch. 3” captioning a shot of her in a chambray shirt tucked into those conversation-starting shorts, paired with a crisp white tank. Simple? Sure. Basic? Hardly. These pieces pack the kind of versatility that takes you from grocery store to gram-worthy moment without missing a beat.

But there’s more to this collection than those headline-grabbing shorts. The full range includes fitted vests, trench coats with unexpected details, reimagined trucker jackets, and the kind of perfectly slouchy jeans that somehow make everyone look like they’ve got their life together. It’s practical fashion that doesn’t sacrifice style — a balance Beyoncé’s been perfecting since her Destiny’s Child days.

With her stadium tour kicking off April 28 in Los Angeles (and those newly added Vegas dates already causing ticket-buying chaos), the collection arrives right when fans are planning their tour looks. The country-western aesthetics of “Cowboy Carter” find their perfect match in these pieces — though nobody’s expecting rhinestone-free zones at the shows.

Looking at the broader picture of festival fashion’s evolution, this collection feels less like Beyoncé following trends and more like her usual moves: setting them, defining them, then moving on before anyone else catches up. As Coachella’s second weekend approaches, expect these pieces to multiply across the festival grounds faster than those AI-generated festival photos on your timeline.

Sometimes the loudest fashion statements come wrapped in the quietest packages. Leave it to Beyoncé to remind us of that — again.

Broadway’s about to witness something extraordinary — a homecoming that feels almost mythical. Leslie Odom Jr., the performer who first breathed electric life into Aaron Burr, is returning to the Richard Rodgers Theatre this fall. From September through late November 2025, he’ll once again don that meticulously crafted 18th-century coat and step into the role that changed everything.

Theater folks still talk about that July evening in 2016 when Odom took his final bow alongside Lin-Manuel Miranda. After roughly 500 performances, you’d think the role might have grown stale — but that’s not how great art works, is it?

“It still had revelation for me,” Odom reflects, his words carrying the weight of someone who’s lived a thousand lives since leaving the show. “Still gave me reason to look deeper, focus harder.” There’s something beautifully human about that admission — the recognition that even after hundreds of performances, art still has secrets to reveal.

The years since Hamilton haven’t exactly been quiet ones for Odom. He’s been everywhere — trading barbs with Daniel Craig in “Glass Onion,” bringing Sam Cooke to vivid life in “One Night in Miami,” even lending his voice to “Central Park.” His recent turn in “Purlie Victorious” snagged him another Tony nod, proving that lightning can indeed strike twice on Broadway.

But Hamilton? That’s different. That’s lightning in a bottle, caught and preserved in the amber of theatrical history. The show that dared to tell America’s origin story through a contemporary lens — complete with its revolutionary casting choices and that pulse-quickening hip-hop score — hasn’t lost an ounce of its power. Maybe it’s gained some. That line about immigrants getting the job done? In 2025’s political climate, it hits different.

Odom’s not taking any chances with his return, though. He’s diving back into Ron Chernow’s doorstop of a biography — y’know, the one that sparked Miranda’s creative inferno in the first place. Smart move. Because while audiences might remember every inflection of his Tony-winning performance, Odom’s searching for something new.

“I want them to see something exciting and alive,” he says. Simple words that carry the weight of theatrical truth: every performance is a new creation, born in the moment it’s witnessed.

The original Hamilton cast — Daveed Diggs, Renée Elise Goldsberry, and the rest — they were something else. Miranda wasn’t wrong when he called them the “’28 Yankees of actors.” That comparison’s got legs, especially now that we’re watching the next generation of performers tackle these roles.

For the die-hards (and who isn’t, really?), Odom’s return means another chance to experience those show-stopping numbers in their natural habitat. “Wait for It,” “Dear Theodosia,” “The Room Where It Happens” — sure, they’ve become concert staples, but there’s something different about hearing them where they were born, right there on the Richard Rodgers stage.

Funny thing about theater — it’s always chasing that impossible dream of making lightning strike twice. But sometimes, just sometimes, it actually happens. Come September, we’ll all be in the room where it happens, watching history repeat itself in the most extraordinary way possible.

Just when Hollywood seemed stuck in a rut of predictable franchise fare, two maverick directors have swooped in with the kind of bold, audacious projects that make cinema worth celebrating again.

The ever-enigmatic Ari Aster — whose previous works have left audiences both disturbed and desperate for more — is assembling what might be 2025’s most intriguing ensemble for “Eddington.” Joaquin Phoenix (fresh from their wonderfully bizarre “Beau Is Afraid” collaboration) leads a star-studded cast including Emma Stone, Austin Butler, and — yes, really — Pedro Pascal.

Talk about a dream team.

This Western-noir-meets-dark-comedy mashup promises to tackle the powder keg of 2020’s social landscape. Butler, still riding high from his transformative Elvis turn and that delicious “Dune: Part Two” performance, recently dropped some tantalizingly vague hints about the project. “A wild adventure” was all he’d reveal to The Hollywood Reporter, though his suggestion that the role differs dramatically from his previous work speaks volumes.

Meanwhile, across the indie landscape, Sean Baker has pulled off quite the elegant maneuver. Fresh from “Anora’s” unexpected Oscar sweep (who could forget that emotional acceptance speech?), he’s throwing his considerable weight behind “Left-Handed Girl” — and here’s where things get interesting. The project marks long-time collaborator Shih-Ching Tsou’s directorial debut, bringing everything full circle in the most satisfying way possible.

Critics’ Week artistic director Ava Cahen describes the Taipei-set drama as having “a frenetic pace, a crazy pace” while drawing parallels to Baker’s earlier masterworks “Tangerine” and “The Florida Project.” It’s that magical sweet spot where gritty realism meets unexpected beauty — the kind of storytelling that reminds us why we fell for movies in the first place.

The timing couldn’t be more perfect. With both films heading to Cannes — “Eddington” in competition and “Left-Handed Girl” in Critics’ Week — they’re positioned to shake up what’s become an increasingly algorithm-driven industry. Sure, streaming platforms have their place, but there’s something irreplaceable about these boundary-pushing theatrical experiences.

Mark those calendars for July 18, when “Eddington” promises to inject some much-needed electricity into the typically drowsy summer movie season. As for “Left-Handed Girl,” with its generational story about traditional prejudices against left-handedness in Asian cultures — well, sometimes the most specific stories resonate most universally.

In an era where playing it safe has become the norm, these projects feel like a breath of fresh air. Or perhaps more accurately, like a much-needed splash of cold water to the face of an industry that occasionally forgets its own potential for greatness.

Well, darlings, Hollywood’s prodigal son is staging quite the comeback. Johnny Depp — yes, that Johnny Depp — has emerged from his headline-making hiatus with a transformation that’s left the industry buzzing. Gone are the eccentric scarves and bohemian layers; in their place stands a distinguished gentleman sporting a salt-and-pepper beard and those mesmerizing blue eyes that first captured audiences decades ago.

The occasion? Lionsgate’s upcoming psychological thriller “Day Drinker” — and honestly, you couldn’t script this kind of delicious irony if you tried.

After that courthouse spectacle that dominated our social feeds through 2022, Depp isn’t just dipping his toe back into the Hollywood pool — he’s doing a full cannonball. The project reunites him with the eternally enchanting Penélope Cruz (their fourth collaboration, if anyone’s counting), and introduces “Outer Banks” breakout Madelyn Cline into their orbit. The chemistry between Depp and Cruz has always sizzled on screen, from their “Blow” days to that delightfully twisted “Murder on the Orient Express” remake.

Marc Webb’s at the helm, and he’s practically bouncing off the walls with excitement. “We’re in a beautiful location with a fantastic crew and a thrilling, ferocious story to tell,” he gushed at last month’s Sundance panel. Sure, Marc — when was the last time a director didn’t claim their project was “thrilling”? But with this cast… he might actually be onto something.

Picture this: a sun-drenched Mediterranean yacht, a mysterious passenger with questionable motives, and a bartender who should’ve stuck to mixing drinks instead of mixing with danger. It’s giving strong “The Talented Mr. Ripley” energy, but with a modern twist that feels perfectly timed for 2025’s obsession with luxury true crime. (Speaking of which, has anyone else noticed how many yacht-based thrillers we’re getting this year?)

The supporting cast reads like a who’s who of international talent. Netflix’s “Elite” heartthrobs Manu Ríos and Arón Piper are bringing their considerable fan bases along for the ride, while theater darling Anika Boyle makes her screen debut fresh off her triumph in the West End’s “Stranger Things: The First Shadow.”

Thunder Road (yeah, the “John Wick” people) is producing, which probably means we’re in for some gorgeously choreographed mayhem. They’ve brought back costume designer Penny Rose — because who else could make Depp look this iconic? Her work on the “Pirates” franchise basically defined an era of costume design.

Look, some might side-eye the choice to cast Depp in another project involving alcohol — especially after “The Rum Diary” and… well, everything that followed. But there’s something undeniably compelling about this particular combination of talent, location, and timing. Whether it’s redemption he’s after or simply a reminder of his considerable acting chops, Depp seems determined to make 2025 his year.

Production’s currently underway in Spain, with those first-look photos causing quite the stir on social media last week. If the glimpses we’ve seen are any indication, “Day Drinker” might just be the sophisticated thriller we’ve been craving in this era of endless superhero sequels and AI-generated content.

Remember what they say about second acts in American lives? Well, darlings, this one’s shaping up to be absolutely intoxicating.

Prime Video’s “Reacher” keeps bulldozing through streaming records like its namesake character through a door — and that’s saying something. The show’s meteoric rise has left even seasoned industry watchers scratching their heads, though perhaps they shouldn’t be surprised. After all, good things tend to happen when you finally get a casting decision right.

Speaking of casting — remember the collective groan when Tom Cruise was announced as Jack Reacher? Well, Prime Video sure does. They’ve recently added “Jack Reacher: Never Go Back” to their lineup, and honestly? It’s like they’re showing off. The contrast between Cruise’s interpretation and Alan Ritchson’s towering presence couldn’t be more stark. Sure, Cruise has the action chops (nobody’s arguing there), but watching Ritchson embody the role feels like seeing a beloved book character step right off the page.

The numbers don’t lie. Season 2 and 3 both landed a whopping 98% on Rotten Tomatoes — the kind of scores that make network executives wake up smiling. But here’s where things get a bit complicated for fans chomping at the bit for season 4. Prime Video’s got plans. Big plans. And they involve Maria Sten’s Neagley getting her own spinoff series.

Look, nobody’s saying the wait for season 4 won’t sting a little. But maybe — just maybe — this breather isn’t such a bad thing. The third season showed us glimpses of a more nuanced Reacher, particularly in those scenes with Richard. It’s the kind of character development that needs room to breathe.

Remember that throwaway line in season 2 about “four or five dogs” and a piece of land? Funny how those casual mentions often turn out to be breadcrumbs leading somewhere interesting. The showrunners might be playing a longer game than we thought.

For now, though, fans are left doing what Reacher himself rarely does — waiting patiently. Sure, there’s always the Cruise movies to fall back on (hey, desperate times…), but let’s be real: Ritchson’s version has spoiled us all. The good news? If there’s one thing worth waiting for, it’s watching Reacher solve problems the way he knows best — with equal parts brains and brawn, heavy on the brawn.

Guess we’ll just have to keep an eye on Prime Video’s 2025 lineup and hope for some good news. Until then? Well, there’s always rewatches. After all, you might catch something new on the third (or thirteenth) viewing. That’s what we’re telling ourselves, anyway.

Sometimes soccer’s most memorable moments come without a single goal scored. Just ask the record-breaking crowd of 62,358 who packed Chicago’s Soldier Field last Sunday — they witnessed something far more significant than the 0-0 scoreline might suggest.

The match between Chicago Fire and Inter Miami wasn’t just another early 2025 fixture. It marked Messi’s long-awaited Chicago debut, after two weather-related postponements that had started to feel like some cosmic joke on the Windy City faithful. Third time’s the charm, right?

Soldier Field — that grand old coliseum by the lake — told its own story that night. The sea of pink Inter Miami jerseys dotting the traditionally red-clad stands spoke volumes about soccer’s stunning evolution in American sports culture. Here was the same venue where gridiron legends once ruled, now packed to the rafters for a regular-season MLS match. Let that sink in for a moment.

Fire coach Gregg Berhalter had modestly framed his tactical approach as “limiting the damage.” What emerged instead was a masterclass in defensive organization that had even the most ardent Messi supporters nodding in appreciation. When Fire keeper Chris Brady denied the Argentine maestro in the fourth minute — a save that’s probably been replayed a million times on TikTok by now — the stadium erupted as if they’d witnessed a game-winner.

The electricity never faded. Each Messi free-kick that kissed the crossbar sent ripples of anticipation through the crowd. Near-misses became their own kind of entertainment, proof that soccer’s appeal transcends the simple act of scoring.

But perhaps the real story here isn’t just what’s happening on the pitch. It’s about how we’re consuming the sport in 2025. The Apple TV+ partnership has revolutionized access to matches, breaking down barriers that once relegated soccer to the fringes of American sports consciousness. As Jake Zivin, lead commentator for “Sunday Night Soccer,” noted during the broadcast, “This isn’t the future anymore — it’s our present reality.”

Down in Miami, David Beckham must be feeling pretty satisfied. Remember when people thought he was crazy for choosing MLS over European riches? Now his Inter Miami vision has materialized beyond even his optimistic predictions, with Messi in pink and youth academies flourishing across South Florida.

“When these young players see Leo walk onto their training pitch in the evening…” Beckham had mentioned earlier this season, letting the sentence trail off. He didn’t need to finish the thought. What was once a sporting pipe dream has become wonderfully, improbably real.

Sure, the stats tell part of the story — Inter Miami’s impressive unbeaten run (now 4-0-3), Chicago’s improved form (3-2-3), those eye-popping attendance figures. But numbers can’t capture the transformation happening in living rooms and sports bars across America, where soccer’s rhythm and drama have found their natural place in the sporting landscape.

Andrew Wiebe, sideline reporter for “Sunday Night Soccer,” probably said it best: “The passion was always here, just scattered in pockets… What changed? Simply being able to see it, to access it easily.”

With the 2026 World Cup looming and the 2028 Olympics on the horizon, this feels less like a peak and more like a launching pad. American soccer isn’t just growing up — it’s showing the world a different way to embrace the beautiful game. One sold-out stadium, one streaming broadcast, and yes, one goalless masterpiece at a time.

Who would’ve thought a scoreless draw could say so much about how far we’ve come?

Darlings, heaven just got a whole lot more lucrative at the box office. “The King of Kings” — that divinely inspired animated spectacle starring Oscar Isaac — hasn’t just arrived; it’s made a full-blown celestial entrance that’s got Hollywood clutching its pearls.

Would you believe it? This South Korean-produced masterpiece, distributed by those plucky upstarts at Angel Studios (yes, the “Sound of Freedom” folks), just commanded a truly blessed $19 million opening weekend. That’s enough to dethrone DreamWorks’ 1998 classic “The Prince of Egypt” and its $14.5 million debut — though adjusting for inflation might tell a slightly different story, but who’s counting?

Let’s dish about this cast, sweeties. We’re talking a vocal ensemble that reads like the guest list at the Vanity Fair Oscar party: Oscar Isaac, Kenneth Branagh, Uma Thurman, Pierce Brosnan (still devastating at 70), Mark Hamill, Ben Kingsley, and Forest Whitaker. Honestly, the recording booth must’ve looked like the VIP section at Chateau Marmont.

The timing? Well… somebody upstairs clearly had a hand in this one. Landing just before Easter 2024, “The King of Kings” has positioned itself as the spiritual blockbuster du jour, sliding into the number two spot behind “A Minecraft Movie” (because apparently, pixels still reign supreme at the box office).

Brandon Purdie over at Angel — their Global Head of Theatrical Distribution & Brand Development, bless his heart — couldn’t help but crow about their success. Something about knowing their audience and actually listening to them? Revolutionary concept in Hollywood, darling. That coveted A+ CinemaScore doesn’t lie — though it’s worth noting only 127 other films have achieved such heights since… forever.

Now, here’s where things get a touch… controversial. Angel Studios rolled out this “Kids Go Free” scheme through their Pay It Forward system. Clever? Absolutely. A touch manipulative of those box office numbers? Well… let’s just say some industry insiders are raising perfectly sculpted eyebrows.

2024’s turning into quite the year for faith-based entertainment, hasn’t it? “The Chosen” franchise has somehow managed to squeeze two installments into the weekend’s top ten — a feat that’s probably got traditional studio execs reaching for something stronger than communion wine. “The Chosen: Last Supper” (Season 5) Part 3 blessed the box office with $6 million, while Part 2 keeps collecting faithful viewers like prayer beads, now sitting pretty at $11.4 million total.

What’s absolutely fascinating about this holy trinity of success is how it’s completely rewriting Hollywood’s gospel about religious entertainment. Gone are the days of poorly lit church basement screenings and those dreadful direct-to-video releases that looked like they were filmed on someone’s iPhone 4.

Animation’s having quite the moment too — making up nearly half of 2024’s top ten films so far. Though let’s be honest, after the writers’ strike last year, those pixels were probably looking pretty good to studio accountants.

As Easter approaches (and darling, aren’t we all dreading those pastel color schemes?), “The King of Kings” looks poised for another miraculous showing. Whether you’re there for the message or just to marvel at the animation, one thing’s crystal clear — this biblical blockbuster has performed a miracle that even Hollywood can’t ignore: turning faith into box office gold.

And isn’t that what Tinseltown’s always been about, sweeties? Making believers out of cynics… and profits out of prayers.