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The music world lost one of its steadiest heartbeats yesterday. Clem Burke, the powerhouse drummer who gave Blondie its distinctive pulse for nearly five decades, passed away at 70 after a private battle with cancer. His death marks the end of an era in American punk and new wave — one that he helped create with every thunderous fill and innovative groove.

Behind that iconic platinum-blonde frontwoman, Burke wasn’t just keeping time. He was architecting a revolution in sound that would echo through generations of musicians. “Clem was not just a drummer,” bandmates Debbie Harry and Chris Stein shared in an emotional statement. “He was the heartbeat of Blondie.”

That heartbeat first kicked in back in ’75, when a scrappy kid from Jersey linked up with Harry and Stein. Burke proved himself invaluable from the start — not just for his muscular playing style, but for his keen eye for talent. He brought in bassist Gary Valentine, helping cement the lineup that would eventually storm the charts and reshape the sound of American rock.

Through the lean years (and there were plenty), Burke’s steady presence held things together. His dedication to the craft earned him a reputation as rock’s most reliable timekeeper, leading to an almost absurd roster of collaborations. Bob Dylan. The Eurythmics. Iggy Pop. Joan Jett. Even a brief stint with the Ramones under the wonderfully punk moniker “Elvis Ramone.”

When Blondie took their 15-year breather, Burke kept the beat going. He jumped in with The Romantics, proving that his versatility knew no bounds. Genre walls? He smashed right through them, one cymbal crash at a time.

“His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him,” Harry and Stein noted. Perhaps that’s what made him such a sought-after collaborator — that rare combination of technical brilliance and genuine joy in the craft.

The Rock and Roll Hall of Fame finally caught up with what musicians had known for decades when they inducted Burke alongside his Blondie bandmates in 2006. It was a formal nod to the man who’d been quietly innovating behind the kit since the CBGB days.

Now, as venues dim their lights and drummers everywhere give their snares an extra tap in tribute, Burke’s impact resonates beyond the music. His legacy lives in every punk kid picking up sticks for the first time, in every genre-bending collaboration, in every beat that refuses to be boxed in.

The final words of Blondie’s statement hit particularly hard: “His legacy will live on through the tremendous amount of music he created and the countless lives he touched.” While the heartbeat of Blondie may have fallen silent, the rhythms Clem Burke created will keep time for generations to come.

The NBA served up quite a feast this past weekend — a smorgasbord of stellar performances, head-scratching moments, and everything in between that makes pro basketball such a compelling spectacle as we head toward the 2024 playoffs.

Take James Harden’s Saturday night masterpiece against the Mavericks. The Beard might not be the scoring machine he once was (his three-point shooting has been, let’s say, temperamental lately), but man alive, did he put on a clinic in LA’s 135-104 demolition of Dallas. While going a modest 1-for-4 from downtown, Harden flipped the script and reminded everyone why he’s still one of the game’s elite puppet masters — dishing out 14 dimes while dropping 29 points on 10-of-19 shooting.

What made the performance particularly special wasn’t just the numbers. It was how Harden adapted when the long-range shots wouldn’t fall. Rather than forcing up bricks from beyond the arc (something plenty of stars might’ve done), he orchestrated the Clippers’ offense like a seasoned conductor working with his favorite orchestra.

Meanwhile, over in Sacramento — where the Kings have been quietly building something special this season — Domantas Sabonis continued doing Domantas Sabonis things. His near triple-double (27 points, nine boards, seven assists) in the Kings’ 120-113 win over Cleveland doesn’t tell the whole story. The real kicker? He shot 11-of-15 against one of the league’s most intimidating frontcourts. Not too shabby for a Sunday night’s work.

But perhaps the most fascinating storyline emerged from Oklahoma City, where Shai Gilgeous-Alexander experienced something that hadn’t happened to him in, well, forever. In the Thunder’s surprisingly lopsided 126-99 loss to the Lakers, SGA didn’t attempt a single free throw — breaking a 78-game streak that had become one of the league’s most remarkable ongoing narratives.

His response? Pure class.

“I don’t know. I didn’t get fouled, and I don’t think that necessarily needs to change,” he said after the game, showing the kind of perspective that’s made him one of the league’s most respected young stars. “I don’t think we lost because I didn’t shoot free throws, and I’m all about trying to win.”

The Thunder’s rough night (watching the Lakers rain threes like they were playing NBA 2K, going 22-of-40 from deep) highlighted some growing pains for this young squad. Coach Mark Daigneault, though, kept it real in his post-game comments. “What’s important now and in the playoffs is fundamentals,” he noted, cutting through the noise. “You’re still going to have to guard the ball, they’re still going to have to guard the ball.”

As we inch closer to the postseason, these performances tell us something about the beautiful unpredictability of the NBA. Sometimes your go-to move isn’t there. Sometimes the shots don’t fall. And sometimes — just sometimes — the game forces you to show a different side of your basketball personality.

That’s what makes the league such compelling theater as we head into the final stretch of the regular season. Whether it’s Harden finding new ways to dominate, Sabonis bullying elite big men, or SGA handling an off night with veteran poise, the NBA’s best continue to prove that greatness isn’t just about what you can do — it’s about what you can do when Plan A goes out the window.

Tragedy struck Mexico City’s AXE Ceremonia festival this weekend, turning what should’ve been a celebration of music and art into a somber reminder of life’s fragility. Two young photographers — their cameras still in hand, their passion for capturing musical moments still burning bright — lost their lives in a devastating crane accident that cast a dark shadow over the festival grounds.

The victims, Citlali Berenice Giles Rivera, 28, and Miguel Ángel Rojas, 26, were doing what they loved most: photographing for music publication Mr. Indie when the unthinkable happened. Around 5:30 p.m. Saturday, during Meme Del Real’s set, a decorative structure being transported by crane came crashing down. Their final assignment became their last.

“With deep sadness we say goodbye to our friends and colleagues,” wrote the heartbroken team at Mr. Indie. These weren’t just names on an assignment sheet — they were vital members of a tight-knit community, their passion helping shape the publication’s voice and vision.

What followed was a peculiar and somewhat unsettling decision that’s sparked heated debate across the music industry. Despite the tragedy, Saturday’s shows went on. Charli XCX took the stage. Natanael Cano performed his set. TXT delivered their K-pop spectacle. Business as usual — except it wasn’t, not really. Not with two empty spaces in the photo pit where Citlali and Miguel should’ve been.

By Sunday morning, reality had set in. Local authorities stepped in, and festival organizers announced the suspension of all remaining activities. Heavy-hitters like Tyler, the Creator and Massive Attack never got their chance to perform — but somehow, that detail feels almost irrelevant in the face of such loss.

The aftermath has revealed troubling questions about festival safety protocols. According to the Mexico City Attorney General’s Office, the crane installations hadn’t received proper safety inspections before the festival. The mayor’s office of Miguel Hidalgo pointed to unauthorized equipment — basic oversights that might have cost two young lives.

Charli XCX’s Instagram post captured the industry’s collective grief: “My heart is with the families and friends of Miguel and Berenice.” Simple words for an impossible situation.

Sure, ticket holders will get their automatic refunds through Ticketmaster. The festival organizers have promised to support the victims’ families. But no refund can replace what’s been lost, and no amount of support can fully heal these wounds.

As festival season 2025 approaches, this tragedy serves as a stark wake-up call. Perhaps it’s time for a serious industry-wide conversation about event safety protocols. Because while we all love the magic of live music, no photograph, no performance, no moment of artistic expression is worth a human life.

The post-punk landscape grew a bit darker this weekend with the passing of Dave Allen, Gang of Four’s founding bassist, who died Saturday at his home. He was 69. The innovative musician, whose distinctive bass lines helped craft the soundtrack of late-1970s Britain, had been battling early-onset dementia in recent years.

Gang of Four drummer Hugo Burnham shared the news through a poignant Instagram post that captured their final meeting. “We talked and laughed for hours,” Burnham wrote, describing a bittersweet reunion filled with “rich and vivid memories” spanning half a century of friendship and musical collaboration.

Back in ’76, Leeds wasn’t exactly known as Britain’s musical epicenter. But when Allen joined forces with Burnham, vocalist Jon King, and guitarist Andy Gill, something clicked. Gang of Four emerged as more than just another punk band – they became architects of a sound that would echo through decades of alternative music.

Their debut album “Entertainment!” landed like a bomb in 1979, its title dripping with the kind of irony that defined the era. The record showcased Allen’s revolutionary approach to bass playing, particularly on tracks like “Damaged Goods” and “I Found That Essence Rare.” Here was someone who’d somehow managed to marry funk’s hypnotic groove with punk’s raw aggression – no small feat in those days.

The band’s influence? Just ask around. From the Red Hot Chili Peppers to St. Vincent, countless artists have borrowed from Gang of Four’s sonic playbook. But Allen wasn’t one to rest on his laurels. After departing the band in ’81, he co-founded Shriekback with ex-XTC keyboardist Barry Andrews, pushing musical boundaries through the mid-80s with albums that still sound fresh today.

Perhaps what’s most remarkable about Allen’s journey was his willingness to evolve beyond the stage. While many of his contemporaries doubled down on their punk roots, Allen embraced the digital revolution. He worked with tech giants like Intel and Apple, founded World Domination Recordings, and seemed to instinctively understand where music was headed – much like he’d done with those innovative basslines decades earlier.

His death follows the 2020 passing of bandmate Andy Gill, marking another significant loss for the post-punk community. Yet Allen’s legacy persists – not just in Gang of Four’s recordings, but in the DNA of countless bands who’ve picked up the torch.

“We’ve been so very lucky to have had the Ace of Bass in our lives,” Burnham noted in his farewell message. For anyone who’s ever felt their chest rattle from a perfectly crafted bassline, those words ring especially true.

The remaining members of Gang of Four continue touring, carrying forward the sonic revolution Allen helped spark nearly 50 years ago. While he won’t join their upcoming farewell US tour as hoped, his innovative spirit remains woven into every note they play – a fitting tribute to a musician who never stopped pushing boundaries.

Hollywood’s casting carousel never stops spinning, and this spring’s latest turn has tongues wagging across Tinseltown. Logan Lerman — that eternally fresh-faced charmer who first won our hearts as Percy Jackson — is stepping into the deliciously mysterious world of “Only Murders in the Building” for its fifth season. And honestly? The timing couldn’t be more perfect.

The Arconia’s about to get even more crowded. Lerman joins an already dazzling ensemble that’s somehow managed to snag both Renée Zellweger and Keegan-Michael Key. (Remember when this show was just a quirky little murder-mystery with Steve Martin? Look at her now.) Selena Gomez broke the news herself on Instagram, treating fans to some behind-the-scenes glimpses that sent social media into absolute meltdown mode.

“We’ve been sitting on this secret for about a week and a half,” showrunner John Hoffman confessed to TheWrap, practically bubbling over with excitement. Can’t blame him — with 49 Emmy nods under their belt, OMITB has become that rare lightning-in-a-bottle show that keeps finding new ways to electrify.

Speaking of coveted roles… while Lerman settles into his new digs at the Arconia, Hollywood’s favorite guessing game continues: Who’ll be the next James Bond? The rumor mill’s working overtime, with Aaron Taylor-Johnson and Jack Lowden’s names being tossed around like martinis at a spy convention.

Poor Taylor-Johnson seems thoroughly shaken (not stirred) by the endless speculation. At the recent Fall Guy premiere, when yet another reporter brought up Bond, he shot back with an exasperated, “Are you sick of asking the question?” Somewhere, Daniel Craig is probably chuckling into his perfectly tailored Tom Ford.

The entertainment landscape of 2025 sure looks different from what we imagined. Remember when TV was considered film’s less glamorous cousin? Now look — streaming shows are snagging A-listers faster than a Marvel movie, and the Arconia’s got more star power than the Oscars’ front row.

Hoffman’s dropped some intriguing breadcrumbs about Season 5, hinting at storylines that’ll “hit on some very current things going on within New York.” Given the city’s recent crypto-art scandal and that wild business with the talking billboards in Times Square, there’s plenty of material to work with.

Production’s already humming along, having kicked off in March 2025. While we wait to see who’ll next step through the Arconia’s doors (or slide behind the wheel of that iconic Aston Martin), one thing’s crystal clear — whether it’s streaming or silver screen, the line between TV and film stardom has become delightfully blurry. And darling, we’re here for every fabulous minute of it.

Move over, summer blockbusters of 2025 — the real showstopper is coming to the Tribeca Festival. New York’s favorite Piano Man, Billy Joel, is about to get the documentary treatment he deserves, and darling, it’s going to be absolutely fabulous.

The announcement dropped like a perfectly-timed crescendo during NAB Show’s Business of Entertainment event: HBO’s two-part documentary “Billy Joel: And So It Goes” will kick off Tribeca’s 24th season. (And honestly, could there be anything more quintessentially New York than that?)

The legendary Beacon Theatre — still gorgeous after all these years — will host the June 4th premiere, backed by OKX and City National Bank. There’s something deliciously fitting about premiering Joel’s story in a venue that’s seen its fair share of musical history. The weathered walls of the Beacon practically hum with decades of performances, making it the perfect backdrop for this particular piano man’s tale.

Jane Rosenthal, Tribeca’s powerhouse Co-Founder and CEO, couldn’t contain her enthusiasm. “For nearly 25 years, the Tribeca Festival has celebrated the artists who give New York its heart and soul,” she gushed. Well, honey, if anyone’s got New York’s soul running through their veins, it’s Billy Joel.

Emmy-winning directors Susan Lacy and Jessica Levin have crafted something that promises to be more than your typical music doc — though let’s face it, nothing about Billy Joel has ever been typical. They’ve secured unprecedented access to Joel’s private world, including those precious home movies and photographs that usually stay locked away in personal vaults. Think less “Behind the Music” and more intimate portrait of an artist who’s shaped American culture for decades.

The timing, though? A bit bittersweet. Just last month, Joel had to postpone several shows due to medical issues requiring surgery. “While I regret postponing any shows, my health must come first,” he stated — a reminder that even our cultural titans aren’t immune to life’s curveballs.

This passion project, produced by an all-star team including Pentimento Productions, Hazy Mills Productions, and Hollywood darlings Tom Hanks and Gary Goetzman’s Playtone Productions, will hit HBO and Max shortly after its Tribeca debut. Perfect timing for summer streaming binges, wouldn’t you say?

The 2025 Tribeca Festival (running June 4-15) promises its usual cultural smorgasbord — films, music, TV, immersive experiences, and more. But opening with Billy Joel’s story? That’s not just smart programming — that’s New York paying homage to one of its own. In a city that’s seen everything, Billy Joel remains one of the few constants, like yellow cabs and attitude-laden pizza vendors.

Sometimes the stars just align perfectly, don’t they? A New York icon, a New York festival, and a New York venue — it’s enough to put anyone in a “New York State of Mind.” And really, would we want it any other way?

Well, blow me down — Line of Duty’s making a comeback. After keeping fans dangling like suspects in one of AC-12’s infamous interrogation rooms, Britain’s most-watched police drama is finally getting back on the beat. About bloody time, too.

Remember that 2021 finale? The one that pulled in a whopping 13.1 million viewers and left the nation more bewildered than Ted Hastings trying to understand modern slang? Yeah, that one. Since then, we’ve had nothing but rumors and speculation about whether our favorite bent copper hunters would return to our screens.

But here’s the kicker — after three years of scheduling gymnastics that would impress an Olympic coordinator, the dream team’s finally aligned their diaries. Martin Compston, Vicky McClure, and Adrian Dunbar are set to don their waistcoats and serious expressions once more, with filming kicking off in January 2024. Mother of God, indeed.

The show’s journey’s been quite something. Starting life on BBC Two back in 2012 with a modest 4.1 million viewers, it’s grown into the kind of phenomenon that makes other TV shows green with envy. By Series 6, it was pulling numbers that’d make a streaming executive spill their oat milk cappuccino — averaging 9.9 million viewers per episode.

Between seasons, our AC-12 trio haven’t exactly been twiddling their thumbs at the local nick. Compston’s been chasing different sorts of baddies in “Red Eye” and “The Rig,” McClure’s switched from catching corrupt cops to defusing bombs in “Trigger Point,” and Dunbar? Well, he’s been sharing screen time with Danny DeVito, of all people, in “A Sudden Case of Christmas.” Talk about range.

This revival’s timing feels particularly significant. In an age where most of us can’t even agree on what to watch for movie night, Line of Duty’s managed something remarkable — getting millions of Brits to park themselves in front of the telly at the same time, collectively shouting “bent coppers” at their screens. It’s proper old-school appointment viewing, that.

For those poor souls who’ve somehow missed out (and seriously, where’ve you been?), Line of Duty follows AC-12, an anti-corruption unit investigating dodgy police officers. Think less Dixon of Dock Green, more Shakespeare with warrant cards. And yes, there will be dramatic zoom-ins.

The numbers tell their own story. From Series 1’s 4.1 million viewers to Series 3’s 5.1 million, then Series 5’s 7.8 million, culminating in Series 6’s average of 9.9 million per episode — it’s the kind of growth that’d make a statistician weep with joy.

This return isn’t just about giving fans closure — it’s about legacy. When you’ve created the most-watched drama of the millennium (bar a random episode of Heartbeat back in ’01), you don’t want to be remembered for a finale that left viewers scratching their heads like they’d just sat through a particularly cryptic episode of Twin Peaks.

Until the new series hits our screens, newcomers can catch up on the labyrinthine plot through Tubi and PlutoTV (first four seasons) or dive into the complete series on BritBox. Word to the wise? Grab a notebook. And maybe some aspirin. You’ll need both.

Now we’re sucking diesel.

Saturday nights are about to get a serious upgrade. The entertainment world’s latest obsession? A groundbreaking anime series called Lazarus that’s poised to redefine what global premieres look like in 2025.

Let’s talk about the dream team behind this endeavor. Shinichirō Watanabe — yes, the genius who gave us Cowboy Bebop — has joined forces with MAPPA Studio (fresh off their triumph with Chainsaw Man) and, in an absolutely brilliant twist, Chad Stahelski of John Wick fame. The result? Pure creative dynamite.

The premise reads like a fever dream concocted during a late-night writers’ room session. A miracle drug called Hapna has the world in its grip until — plot twist — its creator, the deliciously villainous Dr. Skinner, drops a bombshell about a deadly mutation. Think Succession meets Ghost in the Shell, but with an edge that feels unnervingly relevant to our post-pandemic anxieties.

The casting? Nothing short of extraordinary. Koichi Yamadera and David Matranga bring Dr. Skinner to life in Japanese and English respectively, while Mamoru Miyano and Jack Stansbury tackle the protagonist Axel with the kind of nuanced performance that makes casting directors weak in the knees.

Mark those calendars for April 5th, when Adult Swim’s Toonami block launches this beauty at 9pm PST/12am EST. Can’t catch it live? Max has swooped in to secure streaming rights, adding another jewel to their increasingly impressive anime crown. And here’s something refreshing — no manga adaptation here. This is pure, unadulterated original storytelling.

The weekly release schedule (running through June 29th) feels almost rebellious in our binge-watching era. But perhaps that’s exactly what we need — a return to the art of anticipation. Sub enthusiasts will need to exercise a bit more patience, with subtitled versions arriving 30 days after their dubbed counterparts. Worth the wait? Early buzz suggests absolutely.

Thirteen episodes. That’s what we’re getting. And while some might be tempted to draw parallels to Cowboy Bebop, early reviews suggest Watanabe has crafted something entirely different. Something that speaks to our current moment while pushing the boundaries of what prestige animation can achieve.

In an industry that often plays it safe, Lazarus feels like a breath of fresh air — or maybe that’s just the Hapna talking. Either way, this isn’t just another addition to the Saturday night lineup. It’s shaping up to be the kind of cultural phenomenon that comes along once in a blue moon, when all the stars align just right.

And in 2025’s increasingly fragmented entertainment landscape, that’s something worth celebrating.

Remember when Tron was just that quirky ’80s movie with glowing suits and primitive CGI? Well, darlings, the future has arrived – and it’s wearing a decidedly darker shade of neon. Disney’s “Tron: Ares” trailer just dropped at CinemaCon, and it’s clear we’re not in Kansas (or even Flynn’s Arcade) anymore.

The franchise that once gave us light cycles and disk battles has evolved into something far more unsettling. Jared Leto – Hollywood’s favorite chameleon – leads this digital revolution as Ares, an artificial intelligence making first contact with humanity. Talk about timing, right? As ChatGPT and its ilk dominate headlines, here comes Tron serving us a sleek, terrifying glimpse of tomorrow.

“It was the ’80s. It felt like the future; action, adventure, spandex — lots of spandex,” Leto reminisced at CinemaCon, drawing knowing laughs from the crowd. But this isn’t your father’s Tron. Gone are the days of simple good-versus-evil binary conflicts. Director Joachim Rønning has traded the franchise’s signature glossy sheen for something grittier, more industrial – and infinitely more relevant.

Speaking of perfect timing (or perhaps cosmic irony), production hit pause during last year’s WGA and SAG-AFTRA strikes. The very real battle over AI’s role in entertainment mirrored the film’s central conflict so perfectly, it almost feels scripted. Rønning himself couldn’t help but note the parallel on Instagram, calling attention to the film’s exploration of “what it means, and takes, to be human.”

But here’s the real kicker – Jeff Bridges is back. The original digital warrior returns, bringing that essential thread of authenticity that connects this bold new vision to its pioneering roots. His endorsement of Leto (“I’ve admired his work”) feels like a torch being passed, doesn’t it?

The visual evolution? Absolutely stunning. Rønning’s decision to bring Nine Inch Nails into the mix signals a dramatic shift from the ethereal electronic soundscapes of previous installments. “It’s been important for me to contrast The Grid and the real world,” he told Empire, and honestly? The industrial edge feels perfectly suited to this darker interpretation.

The cast reads like a dream team for the thinking person’s blockbuster. Evan Peters, Jodie Turner-Smith, Greta Lee, and Gillian Anderson bring serious dramatic chops to what could have been just another effects showcase. When Cameron Monaghan admits to showing up on his days off just to marvel at the sets – well, that’s the kind of behind-the-scenes tidbit that makes you wonder what visual wonders await.

Mark your calendars for October 10, 2025. “Tron: Ares” isn’t just continuing a franchise; it’s holding up a mirror to our increasingly complex relationship with artificial intelligence. And while the original Tron imagined a digital frontier, this latest chapter examines what happens when that frontier comes home to roost – complete with Nine Inch Nails providing the soundtrack to our technological anxiety.

Who knew our digital dreams would end up looking so much like our nightmares? But at least they’ll be beautifully lit.

Market watchers got a jolt this week as StockNews.com unleashed a flurry of rating changes that sent analysts scrambling to update their spreadsheets. The moves — spanning water infrastructure to healthcare and mining — paint a fascinating picture of 2025’s increasingly cautious market sentiment.

Take Mueller Water Products (NYSE:MWA). Despite knocking it out of the park last quarter with earnings of $0.25 per share (handily beating the expected $0.19), StockNews.com still slapped the company with a downgrade to “Hold.” Perhaps even more telling? Director Lydia W. Thomas just unloaded 17,092 shares at $26.77 each — that’s nearly half a million dollars worth of stock heading for the exits.

The plot thickens in the healthcare arena. Encompass Health (NYSE:EHC) found itself caught in similar crosswinds, drawing a fresh “Hold” rating from StockNews.com. Yet here’s where things get interesting: the company’s still trading near $101.95 with a market cap that would make plenty of sector rivals green with envy. Not to mention they just beat quarterly expectations by $0.12 per share — hardly the stuff of bearish nightmares.

But it’s not all defensive plays and downward revisions. AngloGold Ashanti (NYSE:AU) emerged as something of a golden child, snagging an upgrade from StockNews.com. Trading at $36.94, the mining heavyweight’s left its yearly low of $21.65 in the dust. Though even here, the market can’t quite make up its mind — Scotiabank’s boosting their price target to $34.00 while JPMorgan Chase & Co.’s trimming theirs to $32.00.

“The market’s going through a reality check,” remarked one veteran analyst who — in typical Wall Street fashion — preferred to keep their name under wraps. “We’re seeing strong operational results bump up against institutional wariness.”

The numbers tell an intriguing story. Mueller Water’s sitting pretty with a debt-to-equity ratio of 0.54. Encompass Health’s flexing impressive margins and a robust 17.56% return on equity. Meanwhile, AngloGold Ashanti’s beta of 0.92 suggests it might weather market storms better than most.

Yet big money’s clearly reading tea leaves we can’t see. Recent weeks have witnessed some serious institutional chess moves across all three companies. Take BNP Paribas Financial Markets ramping up their Encompass Health stake by 38.1%, while sophisticated players like Nomura Asset Management Co. Ltd. have been quietly building positions in AngloGold Ashanti.

Welcome to 2025’s market reality — where solid fundamentals don’t automatically translate to buy ratings, and institutional investors move with all the caution of cats in a room full of rocking chairs. One sector gets a thumbs up while another faces the microscope, suggesting that old market playbooks might need some serious revision.

The coming quarters will likely separate the wheat from the chaff for these companies. With market sentiment as changeable as spring weather and big money continuing its careful dance, perhaps the only real certainty is that nothing’s quite certain anymore.