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Shakespeare adaptations seem to multiply like TikTok dance trends these days, and “Juliet & Romeo” — landing in theaters this May — throws its hat into the ring with a peculiar mix of pop sensibilities and period drama flair. The result? Well, that’s complicated.

Timothy Scott Bogart’s latest directorial venture certainly doesn’t lack ambition. Working alongside his Grammy-winning brother Evan “Kidd” Bogart (yeah, the same guy behind some of Beyoncé’s chart-toppers), the film attempts to bridge a rather daunting gap between 14th-century Verona and 2025’s TikTok generation. Sometimes it works. Sometimes… not so much.

Fresh faces Clara Rugaard and Jamie Ward step into those legendary star-crossed shoes. Their chemistry? Let’s just say it feels more like awkward first-date vibes than the earth-shattering passion we’ve come to expect from Shakespeare’s most famous lovers. Though honestly, who could live up to that pressure?

The supporting cast reads like a theater kid’s dream lineup — Derek Jacobi bringing gravitas to Friar Lawrence, Jason Isaacs brooding magnificently as Lord Montague, and Rupert Everett doing what Rupert Everett does best as Lord Capulet. Even Rebel Wilson shows up as Lady Capulet, trading her usual comedic zaniness for something more… maternal? It’s an interesting choice, to say the least.

But here’s where things get messy. The film can’t quite decide what it wants to be. One minute we’re deep in historical accuracy territory, the next we’re watching Nicholas Podany’s Mercutio shouting “Where the hell art thou, Romeo?” in what feels like a Gen-Z Shakespeare fever dream. The clash between old and new isn’t always graceful — kinda like trying to make Renaissance faire costumes work at Coachella.

The musical numbers? They’re polished enough for radio play, sure. But they often feel more like something you’d hear on Spotify’s Today’s Top Hits than revolutionary theatrical pieces. Bogart’s camera work shows promise, with some genuinely sharp choreographed tracking shots giving the film its pulse. Still, the actual dance numbers (courtesy of Broadway vets Jeff and Rick Kuperman) rarely transcend basic music video territory.

Oddly enough, the infamous balcony scene — you know, only the most quoted bit of romance in literary history — gets the axe. Instead, we spend considerable time with Dan Fogler’s Apothecary, now reimagined as some sort of medieval humanitarian running an underground railroad for refugees. Bold choice? Sure. Necessary? That’s debatable.

The production design, at least, absolutely slaps. It’s a visual feast that manages to feel both period-appropriate and weirdly contemporary. Clearly, Bogart and company understood their assignment: make Shakespeare palatable for an audience raised on streaming services and social media.

At 122 minutes, though, the film occasionally loses the plot — quite literally. Political intrigue and various subplots keep pulling focus from what should be the main event: that devastating first love story that’s kept audiences coming back for centuries.

Look, modernizing Shakespeare isn’t exactly a walk in the park. For every “10 Things I Hate About You,” there’s a dozen forgotten attempts gathering dust in the streaming algorithm graveyard. “Juliet & Romeo” deserves credit for trying something different, even if it doesn’t quite stick the landing. Whether audiences will vibe with this pop-culture-meets-iambic-pentameter experiment… well, that’s another story entirely.

Maybe that’s fitting, though. Love’s course never did run smooth, after all — and neither does the path to successfully updating the Bard for a new generation. At least this version’s got some bangers on the soundtrack.

The end of an era doesn’t always announce itself with fanfare. Sometimes it arrives with a quiet acknowledgment, a gentle nod to time’s inevitable march forward. Such is the case with The Who’s recent announcement of their final North American tour — a bittersweet farewell from one of rock’s most transformative acts.

“The Song Is Over North America Farewell Tour” (could there be a more fitting title?) kicks off this summer in the sweltering Florida heat and wraps up under the neon glow of Las Vegas. For Roger Daltrey, now 81, and Pete Townshend, these dates mark the culmination of a journey that began in London’s smoky clubs and somehow survived everything from destroyed hotel rooms to the heartbreaking losses of bandmates Keith Moon and John Entwistle.

The timing feels particularly poignant as we head into 2025. Rock’s original revolutionaries are gradually taking their final bows, leaving behind a musical landscape they helped shape. The Who’s influence stretches far beyond their chart-topping hits — they fundamentally altered how we think about rock as an art form.

“Every musician’s dream in the early ’60s was to make it big in the U.S. charts,” Daltrey reflected recently, his voice carrying the weight of six decades of memories. “For The Who, that dream came true in 1967 and our lives were changed forever.” That change rippled through American culture, from their explosive Woodstock performance to their groundbreaking rock operas.

Speaking of those voices — there’s something beautifully human about Daltrey’s admission that his throat specialist now recommends rest days between shows. Gone are the days of grinding through back-to-back performances, yet that legendary voice still soars through classics like “Won’t Get Fooled Again” (though perhaps not with quite the same primal scream of yesteryear).

Townshend’s reflections on the tour carry a mix of gratitude and clear-eyed realism. “Today, Roger and I still carry the banner for the late Keith Moon and John Entwistle,” he noted, before adding with characteristic frankness, “although the road has not always been enjoyable for me, it is usually easy: the best job I could ever have had.”

Their creative partnership — sometimes fractious, always productive — has yielded some of rock’s most enduring works. From the defiant stutter of “My Generation” to the sweeping ambition of “Tommy” and “Quadrophenia,” The Who pushed boundaries that many didn’t even know existed. These weren’t just songs; they were sonic experiments that happened to become classics.

When asked about potential UK farewell dates, Daltrey’s response was pure rock’n’roll pragmatism: “Let’s see if we survive this one.” It’s exactly the kind of unvarnished honesty that’s marked The Who’s career from the start.

For North American fans, this summer represents the last chance to witness something remarkable — two rock pioneers still carrying the torch, still honoring their fallen bandmates, still delivering shows that remind us why we fell in love with rock’n’roll in the first place. As Townshend noted, with characteristic reflection, “Well, all good things must come to an end. It is a poignant time.”

Indeed it is. When the final note fades in Las Vegas this September, it won’t just be the end of a tour — it’ll be the closing of a chapter in rock history that helped define what music could be, and what it could mean to generations of listeners. Some songs really do end, after all.

Hold onto your popcorn, darlings — Hollywood’s favorite four-legged heroes are about to embark on their most ambitious adventure yet, and they’ve assembled a cast that’s turning heads faster than a Met Gala red carpet reveal. “PAW Patrol: The Dino Movie” has just dropped its star-studded lineup, and it’s nothing short of spectacular.

Picture this: Jameela Jamil, Terry Crews, Snoop Dogg, Bill Nye, and — because why not add a dash of “that’s hot” nostalgia — Paris Hilton herself. The franchise that’s already hauled in $350 million worldwide clearly isn’t playing around with this third installment.

The plot? Think less “fetch” and more “Jurassic bark.” Our intrepid pups find themselves marooned on a mysterious island that’s basically what you’d get if Mother Nature went on a prehistoric shopping spree. There’s Rex — a long-lost pup who’s apparently been living his best life as some sort of dino-whisperer. But because every proper adventure needs a villain who probably twirls their metaphorical mustache, Humdinger’s back with a mining operation that threatens to turn this Jurassic paradise into ancient history.

Jennifer Dodge, Spin Master’s President, couldn’t contain her enthusiasm about the cast — and honestly, who could blame her? When you’ve managed to get Snoop Dogg and Bill Nye in the same project, you’ve either got a stroke of genius or the most interesting fever dream in entertainment history.

The franchise has come a long way since its humble beginnings back in 2013. What started as a sweet little preschool series has morphed into a global phenomenon that speaks 30 languages and has more passport stamps than a jet-setting socialite. That’s the kind of glow-up that makes even Cinderella’s transformation look a bit basic.

Cal Brunker’s returning to the director’s chair (third time’s the charm, right?) and has penned the script with Bob Barlen. It’s the kind of creative consistency that makes studio executives sleep better at night and keeps franchise fans coming back for more.

Ramsey Naito over at Paramount Animation and Nickelodeon Animation is promising something “bigger, better, and bolder” — words that could easily describe half the fashion choices at last year’s Oscar ceremony, but in this case, might actually be an understatement.

Mark your calendars for July 31, 2026 — yes, that feels like it’s practically in the next century, but good things come to those who wait. Paramount Pictures is handling the global distribution, except in Canada, where Elevation Pictures will do the honors (because even movie distribution needs to keep things interesting).

Let’s be honest — in an era where half of children’s entertainment feels about as inspired as yesterday’s leftovers, PAW Patrol has somehow managed to keep things fresh. With this latest evolution — mixing dinosaurs, environmental messaging, and a cast that could easily headline Coachella — it’s clear these pups aren’t just surviving in Hollywood’s dog-eat-dog world, they’re running the show.

And really, in an industry where yesterday’s blockbuster is tomorrow’s bargain bin filler, that’s saying something. Now, if anyone needs me, I’ll be trying to figure out how to fast-forward to 2026 — this is one premiere that promises to be absolutely fetching.

Formula 1’s latest sensation isn’t just making waves on the track—he’s making them on social media too, albeit for slightly different reasons. Fresh off his Miami Grand Prix triumph, Oscar Piastri treated fans to what might generously be called a dance attempt, proving that even F1’s brightest stars can’t nail everything on the first try.

The 24-year-old Aussie’s post-victory “griddy” dance—a moment of pure, unfiltered joy mixed with endearing awkwardness—quickly became the talk of the paddock. His mother Nicole’s savage social media response (“Rhythm was never his strong point…”) only added to the charm of the moment. Some 900,000 Instagram likes later, Piastri’s dance moves have arguably garnered as much attention as his stellar driving.

“Look, it was an attempt at a griddy,” Piastri admitted, running a hand through his hair with a sheepish grin. “Probably shouldn’t have made that bet with Justin Jefferson, but here we are.” The Minnesota Vikings star might want to stick to teaching touchdown celebrations rather than victory dances to F1 drivers.

But beneath the viral moments and social media buzz lies a more compelling story. McLaren’s garage has become a fascinating study in shifting dynamics, with Piastri’s meteoric rise creating ripples that extend far beyond mere point tallies. Leading teammate Lando Norris by 16 points isn’t just a statistical footnote—it’s a seismic shift in the team’s internal balance.

Juan Pablo Montoya, never one to sugarcoat his opinions, put it bluntly: “Oscar Piastri has got inside Lando Norris’s head.” The Colombian’s assessment cuts through the usual paddock diplomacy like a hot knife through butter. Norris, once comfortable in his role as McLaren’s golden boy, now finds himself wrestling with a new reality.

Perhaps most telling is how the sport’s current dominant force, Max Verstappen, approaches battles with each McLaren driver. Martin Brundle’s observation that Verstappen sees something of a “street fighter” in Piastri speaks volumes about the young Australian’s growing reputation. In a sport where respect is earned in milliseconds, that’s no small feat.

Yet success in F1 rarely comes without its share of controversy. Red Bull’s Christian Horner has raised eyebrows about McLaren’s innovative rear brake design, turning the team’s superior tire temperature management into 2025’s first proper technical soap opera. Complete with thermal imaging evidence and whispers of water injection into tires, it’s classic F1 drama.

Zak Brown, McLaren’s CEO, responded with characteristic flair—sipping from a water bottle labeled “tire water” during the Miami race. Talk about throwing shade in the sunshine state. “There’s a proper way to protest a team after a race,” Brown noted, essentially daring Red Bull to put their money where their mouth is.

The FIA’s post-race investigation cleared Piastri’s car of any wrongdoing, but the episode underscores an eternal F1 truth: success attracts scrutiny like moths to a flame. Mercedes chief Toto Wolff, playing the role of paddock sage, backed McLaren: “These guys know their stuff—it’s just brilliant development work, plain and simple.”

As Piastri continues racking up wins—now surpassing his more experienced teammate’s career total—the possibility of him becoming only Australia’s third F1 world champion looms larger. It’s been 45 years since an Aussie claimed the crown, but this Melbourne native might just have the right mix of talent, temperament, and questionable dance moves to end that drought.

In a sport where precision is everything, Piastri’s ability to stay cool while setting tracks ablaze might be his most impressive feat yet. Though perhaps he might want to spend a bit less time practicing dance moves and a bit more time in the simulator—just don’t tell his mum.

Who would’ve thought PAW Patrol would end up with Snoop Dogg and Bill Nye in the same movie? The beloved children’s franchise is taking an unexpected — and frankly fascinating — turn with its upcoming “PAW Patrol: The Dino Movie,” assembling what might be the most eclectic voice cast ever seen in a kids’ animated feature.

Let that sink in for a moment. Snoop Dogg, the science guy himself Bill Nye, and Paris Hilton are all lending their voices to a movie about rescue pups meeting dinosaurs. It’s either brilliantly mad or madly brilliant.

The franchise has come a long way since its humble beginnings as a preschool TV show back in 2013. Now, after raking in over $350 million from its previous theatrical releases, the series is swapping out Adventure Bay for something considerably more ambitious — a mysterious island teeming with prehistoric creatures. (Because why not add dinosaurs to the mix? Kids love ’em, and honestly, so do most adults.)

Jennifer Dodge, President of Spin Master Entertainment, seems pretty chuffed about the whole thing. She’s calling it a “dino-sized” franchise now, which feels about right given the star power they’ve managed to wrangle. Between Snoop’s laid-back charm, Jameela Jamil’s razor-sharp wit, Terry Crews’ boundless energy, and Paris Hilton being, well, Paris Hilton… this isn’t your typical kiddie fare anymore.

The plot’s got some teeth to it, too — pun absolutely intended. Our favorite rescue pups crash-land on this uncharted tropical paradise and meet Rex, a castaway pup who’s apparently been chillin’ with dinosaurs. Then there’s Humdinger (because of course he’s back) starting trouble by mining the island’s resources. Naturally, this triggers a dormant volcano, because if you’re going to go big, you might as well go extinction-level big.

Fresh faces abound in the core cast, with Carter Young taking on Marshall, Hayden Chemberlen as the mysterious Rex, and Henry Bolan stepping into Ryder’s shoes. The franchise veterans haven’t all jumped ship though — Ron Pardo’s still around, thank goodness.

What’s particularly clever about this casting mashup is how it seems designed to work on multiple levels. Bill Nye’s going to hit that sweet spot of nostalgia for millennial parents (who probably secretly still remember the theme song to his show). Meanwhile, Snoop’s been quietly building quite the voice acting portfolio — between this, “The Garfield Movie,” and “Turbo,” he’s practically becoming the Morgan Freeman of animation.

The numbers don’t lie either. The first movie pulled in $144.3 million worldwide and nabbed an impressive 82% on Rotten Tomatoes. The sequel? Even better at $205 million globally. With the third installment dropping July 31, 2026 (right in the sweet spot of summer blockbuster season), expectations are understandably high.

Cal Brunker’s back in the director’s chair, co-writing with Bob Barlen, which suggests they’re keeping the creative team that’s been working. Smart move — when you’ve got a formula that works, you don’t mess with it. You just add dinosaurs. And Snoop Dogg.

The real trick here will be maintaining that delicate balance between pleasing the preschool crowd and entertaining their parents who’ve probably seen every episode fifty times by now. But with this cast? They might just pull it off. After all, if anyone can make PAW Patrol cool for adults while keeping kids entertained, it’s probably going to be the combination of Snoop Dogg and dinosaurs.

Country music’s ability to surprise and reinvent itself took center stage this week, as Gretchen Wilson — the powerhouse behind “Redneck Woman” — emerged victorious on The Masked Singer’s Season 13 finale. Her win arrives just as the genre prepares to celebrate its diamond anniversary at the 60th Academy of Country Music Awards, painting a vivid picture of country music’s remarkable evolution.

Behind the glittering “Pearl” costume, Wilson found more than just another competition stage. After wrestling with long-COVID and spending eight grueling months in a wheelchair due to an ankle injury, her journey back to performing carried deeper meaning. “When I stepped into the costume, I was transformed,” she shared after the reveal, her voice carrying a hint of hard-won wisdom. The victory marked more than just musical versatility — it represented personal triumph over adversity.

The timing couldn’t be more fitting. As Wilson celebrates her win, the country music community shifts its gaze to Frisco, Texas, where the ACM Awards promise to deliver an unforgettable celebration of the genre’s six-decade journey. The legendary Reba McEntire takes the helm at the Ford Center at The Star, where Prime Video viewers will witness what’s shaping up to be a landmark evening in country music history.

Opening the show? An ambitious 14-minute musical odyssey through time. The “Songs of the Decades” spectacular brings together an all-star ensemble — McEntire herself, alongside Clint Black, Dan + Shay, and Wynonna Judd — to trace country music’s rich heritage across 60 years of evolution.

This year’s nominations tell their own story of country music’s changing landscape. Rising star Ella Langley leads the pack with eight nods, while industry heavyweights Cody Johnson, Lainey Wilson, and Morgan Wallen follow close behind with seven each. The Entertainer of the Year category perfectly captures this dynamic — established stars like Luke Combs and Kelsea Ballerini share the spotlight with boundary-pushing newcomer Jelly Roll.

Keith Urban’s moment in the spotlight carries special significance. He’ll receive the prestigious ACM Triple Crown Award — a recognition that’s remained unclaimed since Carrie Underwood’s 2010 honor. Urban’s achievement speaks volumes about his artistic journey, having conquered new artist, artist, and entertainer of the year categories throughout his remarkable career.

The performance lineup reads like a masterclass in country music’s expanding horizons. Traditional country stalwarts Alan Jackson and Blake Shelton will share the stage with genre-defying collaborations — including an intriguing pairing of the Backstreet Boys with Rascal Flatts, and Jelly Roll joining forces with Shaboozey.

What’s becoming clear, as both Wilson’s Masked Singer triumph and the upcoming ACMs demonstrate, is country music’s remarkable capacity for growth while honoring its roots. The genre continues creating space for artists to push boundaries and explore new territories, all while maintaining the authentic storytelling that’s always been its beating heart.

Perhaps that’s the most powerful message emerging from this convergence of events — in country music, there’s always room for comeback stories, fresh perspectives, and artistic renaissance. As the industry celebrates its past and embraces its future, one thing remains certain: the heart of country music beats stronger than ever.

Rock music’s resilient spirit faces another test as Brad Arnold, the voice behind Three Doors Down, confronts what might be his toughest battle yet. The 46-year-old frontman recently shared devastating news with fans: he’s battling stage 4 kidney cancer that has spread to his lungs.

Arnold’s announcement — delivered through a raw, unfiltered Instagram video — carried echoes of the same grit that powered anthems like “Kryptonite” through stadium speakers. “We serve a mighty God, and He can overcome anything,” he declared, his Mississippi drawl unwavering despite the weight of his words.

The timing couldn’t be more bitter. Just as concert venues across America were gearing up for Three Doors Down’s summer tour, the band’s had to pull the plug. Medical reality can be ruthless — clear cell renal carcinoma at this advanced stage typically presents a stark five-year survival rate of around 10%. Yet somehow, Arnold’s response feels like it could’ve been pulled straight from one of his lyrics.

Speaking of lyrics — there’s something almost eerily prophetic about the band’s 2008 hit “Not My Time.” Arnold referenced it directly in his announcement, and honestly, who could blame him? Those words he penned years ago — “This could be the end of me / And everything I know / But it’s not my time, I’m not going” — hit different now. They’ve transformed from radio-ready hooks into something of a personal manifesto.

Three Doors Down’s story reads like a classic rock fairy tale. Picture this: a bunch of kids from Escatawpa, Mississippi (population: barely a blip), somehow catch lightning in a bottle. Arnold, just fifteen when he wrote “Kryptonite,” probably never imagined that teenage scribbling would become the cornerstone of a multi-platinum career. But that’s exactly what happened.

The response from the music community has been swift and heartfelt. Fellow musicians, industry veterans, and fans worldwide have rallied around Arnold — a testament to the deep connections forged through two decades of honest, gut-punch rock ‘n’ roll.

Through it all, Arnold’s maintaining that characteristic Southern resolve. His request for prayers comes across less like a plea and more like an invitation to join him in battle. It’s the same authenticity that’s marked his songwriting since day one, now facing its ultimate test.

Life has a way of writing chapters we never saw coming. For Brad Arnold and Three Doors Down, this unexpected turn might just prove to be their most powerful story yet — not because anyone would choose this path, but because sometimes our truest strength shows up exactly when we need it most.

Hollywood’s serving up quite the double feature as we roll into 2025, darlings — and this time, it’s a delightfully odd couple stealing the spotlight. Who’d have thought a mischievous sheep and a sprawling space saga would be the talk of the town?

Let’s dish about Aardman’s latest creation first. Those brilliant minds behind Wallace & Gromit are cooking up something wickedly fun with “Shaun the Sheep: The Beast of Mossy Bottom.” (And honestly, could that title be any more perfect?) This Halloween-themed romp marks Shaun’s third big-screen adventure, and from what Sarah Cox — Aardman’s chief creative director — has been teasing, we’re in for a treat. Think smashed pumpkins, mad science gone hilariously wrong, and a mysterious hairy beast causing chaos.

The plot? Well, it’s absolutely delicious. Our woolly hero apparently decides to channel his inner Dr. Frankenstein after the bumbling farmer (bless his heart) destroys the farm’s pumpkin patch. Classic Aardman — taking something simple and spinning it into pure gold.

But hold onto your popcorn, because that’s just the appetizer. Apple TV+ is finally — finally! — bringing us Season 3 of “Foundation.” After keeping us waiting since what feels like the dawn of time (or at least since early 2023), they’ve blessed us with a July 11 premiere date. And darling, the wait might actually be worth it.

This season’s taking quite the temporal leap — we’re talking 152 years after Season 2’s events. The Foundation’s gone from scrappy underdog to major player, while those fabulous Cleons aren’t quite as mighty as they used to be. Just when these frenemies decide to play nice, in struts “The Mule” — think of him as a mind-controlling warlord with universal domination on his vision board. Subtle, right?

The casting department deserves a round of applause (and maybe a stiff drink). They’ve managed to snag Emmy-winner Cherry Jones, Brandon P. Bell, and — in what might be the most inspired casting choice since, well, ever — Oscar-winner Troy Kotsur. They’ll be joining Lee Pace and Jared Harris, who continue serving us space royalty realness with every scene.

What’s fascinating about these simultaneous announcements is how they showcase the industry’s evolution. Shaun the Sheep, who first charmed us back in ’95, has become such a phenomenon that there’s literally a theme park dedicated to him in Japan. (No, seriously — look it up!) Meanwhile, “Foundation” is proving that proper sci-fi doesn’t need laser battles every five minutes to keep viewers hooked.

Speaking of success stories, Aardman’s still riding high from “Wallace & Gromit: Vengeance Most Fowl,” which not only dominated the holiday ratings but snagged two BAFTAs. Their decision to embrace spooky season — something they absolutely nailed with “Were-Rabbit” — shows they know exactly how to keep their audience coming back for more.

Whether you’re in the mood for stop-motion shenanigans or space opera sophistication, 2025’s shaping up to deliver some seriously compelling entertainment. From wooly adventures to galactic drama, it’s clear Hollywood’s determined to keep us glued to our screens — and honestly? We’re not mad about it.

Hollywood’s latest reunion story might just be its most deliciously absurd yet. Mad Men favorites Jon Hamm and John Slattery are trading their Madison Avenue suits for what’s shaping up to be 2025’s most audacious R-rated comedy romp.

The project — currently stuck with the hilariously bureaucratic working title “Untitled David Wain Celebrity Pass Movie” — sounds like something dreamed up during a particularly spirited 3 AM writers’ room session. Remember those late-night conversations about celebrity hall passes? Well, someone’s finally turned that wine-fueled hypothetical into a full-blown revenge comedy.

At its core lies a premise that could only work in our celebrity-obsessed era: a Midwestern bride-to-be discovers her fiancé actually managed to cash in on their celebrity hall pass agreement. Rather than sulk, she decides to even the score with a revenge tour through the star-studded streets of Los Angeles. Because nothing says “relationship goals” quite like mutual celebrity hookup vengeance, right?

Rising star Zoey Deutch takes the lead as our scorned bride-to-be, Gail Daughtry. She’s joined by an ensemble that reads like a “who’s who” of contemporary comedy, including The White Lotus scene-stealer Sabrina Impacciatore (fresh off her scene-stealing turn in Season 2), Ben Wang, Miles Gutierrez-Riley, and the ever-reliable Ken Marino.

But let’s talk about that Mad Men reunion. Hamm and Slattery — who gave us seven seasons of perfectly-aged scotch and razor-sharp wit as Don Draper and Roger Sterling — are keeping their roles under wraps. Though given the premise, there’s a tantalizing possibility they might just be playing heightened versions of themselves. Wouldn’t that be something?

Behind the camera sits David Wain, the mad genius who blessed us with Wet Hot American Summer. Producer Anthony Bregman’s enthusiasm feels particularly telling — claiming this script tops even Wet Hot’s legendary laughs-per-page ratio. In an age where streaming algorithms seem determined to iron out every wrinkle of originality, that’s saying something.

The timing couldn’t be more perfect. As superhero fatigue sets in (sorry, Captain America reboot number whatever) and audiences increasingly crave something — anything — different, here comes a comedy that promises to be gloriously unhinged. Producer Crystine Zhang’s description of a “super wacky comedy with lots of heart” hits exactly the right note for 2025’s particularly strange cultural moment.

For Hamm and Slattery, this marks their second post-Mad Men collaboration, following last year’s Maggie Moore(s). But where that film played it relatively straight, this project seems determined to let both actors flex their considerable comedic muscles. Anyone who remembers Hamm’s brilliant 30 Rock guest spots knows that’s very good news indeed.

Currently filming in Los Angeles — because where else would you shoot a celebrity revenge quest? — the project joins an impressive slate for both actors. Hamm’s been particularly busy lately, riding high off Top Gun: Maverick’s success and leading Apple TV+’s buzzy Your Friends & Neighbors. Meanwhile, Slattery continues his streak of picking fascinating projects that somehow always manage to fly just under the radar until they’re collecting awards.

In an era where theatrical comedies have become increasingly rare birds, this feels like exactly the kind of swing-for-the-fences project that might remind audiences why they fell in love with the genre in the first place. And hey, if nothing else, we’ll get to see Don Draper and Roger Sterling trading barbs again — this time without all that pesky mid-century existential dread weighing them down.

Austin’s beloved Zilker Park is gearing up for another musical transformation as ACL Festival drops its 2025 lineup — and yeah, there’s plenty to unpack here. Between established heavyweights, fresh faces, and a few choices that have music fans scratching their heads, this year’s festival promises to shake things up in classic Austin fashion.

Let’s talk about Doja Cat for a minute. Fresh off that jaw-dropping James Bond tribute at the Oscars (who knew she could belt like that?), she’s bringing her theatrical brand of pop mayhem to Texas. Her recent pivot to rock-influenced sounds has definitely raised some eyebrows, but there’s no denying she’s exactly the kind of boundary-pushing artist ACL needs right now.

The Strokes showing up on the bill feels like a perfectly-timed nod to the current indie sleaze renaissance sweeping through music. Sure, they’ve been around the block, but something about Julian Casablancas growling through “Last Nite” under those massive Texas skies just feels right.

Then there’s Hozier. Look — nobody’s questioning the man’s talent. His voice could probably make the tax code sound soulful. But his headlining spot has sparked some heated debates among festival veterans. After his 2023 ACL appearance, some folks are wondering if maybe, just maybe, it’s time for something a bit more adventurous in that slot.

The booking of Colombian reggaeton powerhouse Feid might be the festival’s smartest play. Get ready for Zilker to transform into a sea of neon green (his signature color’s basically become a movement at this point). And let’s be real — the whispers about girlfriend Karol G possibly showing up for a surprise duet are already sending social media into overdrive.

Speaking of powerful moves, Doechii’s presence feels especially significant. After making history as the first woman since Lauryn Hill to snag that Best Rap Album Grammy, she’s riding high on the success of “Alligator Bites Never Heal.” That album’s been everywhere lately, and her live shows? Pure electricity.

Dig a little deeper into the lineup and you’ll find some real gems. Japanese Breakfast’s Michelle Zauner continues to prove why she’s one of indie rock’s most captivating performers — that iconic gong during “Paprika” hits different live. Her chemistry with husband/bandmate Peter Bradley adds an extra layer of magic to their sets.

The mid-card offerings deserve some attention too. Wet Leg’s angry sonic evolution on “moisturizer” suggests their sets might be heavier than previous festival appearances. Meanwhile, The Dare’s ACL debut should be interesting — that suited-up aesthetic and those Charli XCX collabs have definitely got people talking.

Festival-goers can catch all the action October 3-5 and 10-12. The usual ticket tiers are available, from regular GA to that fancy Platinum experience (because sometimes you just need those air-conditioned lounges, right?). Kids 8 and under still get in free with a ticketed adult, keeping that family-friendly vibe alive.

Can’t make it to Austin? Hulu’s got you covered, at least for weekend one. They’ll be streaming select performances and behind-the-scenes content, though we won’t know exactly what’s making the cut until later this summer.

Whether this lineup fully satisfies ACL’s notoriously opinionated audience remains to be seen. But one thing’s certain — those October weekends in Zilker Park are shaping up to be anything but predictable. The festival’s balancing act between innovation and tradition continues, even if some of the choices might raise a few eyebrows along the way.