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Hollywood’s latest reboot gambit might just be its most brilliant yet. In a casting choice that feels both wildly unexpected and somehow perfectly right, Liam Neeson — yes, that Liam Neeson — is stepping into Leslie Nielsen’s legendary gumshoes for Paramount’s reimagining of “The Naked Gun.”

The first trailer dropped yesterday, and honestly? It’s a masterclass in subverting expectations. There’s something absolutely delicious about watching the man who practically trademarked the grim-faced action hero transform into comedy’s newest unlikely star. Picture this: Neeson, disguised as a little girl (complete with pigtails), confronting bank robbers with… a lollipop. It’s the kind of scene that shouldn’t work on paper, yet somehow lands with spectacular absurdity.

Pamela Anderson — who’s been experiencing quite the career renaissance lately — couldn’t contain her enthusiasm during a recent Late Night appearance. “Liam is hysterical,” she gushed to Seth Meyers, before adding, “I’m literally running into walls, which I’ve always wanted to do.” There’s something wonderfully meta about watching the Baywatch icon embrace pure slapstick comedy in 2025.

Behind the camera, SNL alum Akiva Schaffer’s bringing his sketch comedy expertise to the director’s chair. With Seth MacFarlane producing (because apparently this project needed more irreverent humor), the film seems determined to walk that tricky tightrope between nostalgia and fresh absurdity.

The supporting cast? Pure chef’s kiss material. Paul Walter Hauser inherits another legacy role as Captain Ed Hocken Jr., while CCH Pounder and Kevin Durand round out the ensemble. And in a twist that feels perfectly aligned with our current pop culture moment, AEW superstar Cody Rhodes is making his comedic debut — because why not throw a wrestling phenomenon into the mix?

Neeson himself has admitted to some jitters about the role. “My comedy chops have to be proven,” he confessed during the trailer launch. But darling, isn’t that precisely what makes this whole endeavor so fascinating? Watching one of cinema’s most intense actors willingly throw dignity to the wind for our entertainment — now that’s commitment to the craft.

The August 1st release date marks a 31-year gap since the last installment. The marketing team’s clearly having a field day with it, crafting taglines that perfectly blend Neeson’s action hero persona with the franchise’s signature goofiness: “Only one man has the particular set of skills… to lead Police Squad and save the world!”

In an era where most reboots feel about as fresh as last year’s Met Gala looks, “The Naked Gun” seems to be doing something remarkably different. By casting an actor whose very presence screams gravitas in a role that demands complete abandonment of dignity, they’ve created a perfect storm of high-concept comedy.

Let’s face it — in a world where superhero films take themselves far too seriously and Oscar bait gets more pretentious by the minute, watching Liam Neeson face-plant into physical comedy might be exactly what cinema needs right now. And if early buzz is any indication, this particular set of comedic skills might just give us the laugh-out-loud summer blockbuster we didn’t know we were craving.

Hollywood’s favorite action-packed family drama is getting a seriously intriguing upgrade. Netflix just dropped some jaw-dropping news about “FUBAR” Season 2 — and trust us, this isn’t your typical sophomore season announcement.

Remember how Season 1 left us wanting more of Arnold Schwarzenegger’s surprisingly charming turn as a CIA operative with family issues? Well, hold onto your streaming passwords, because the June 12 premiere is bringing something even better: Carrie-Anne Moss is joining the cast. Yeah, that Carrie-Anne Moss. The one who made leather trench coats and martial arts look effortlessly cool in The Matrix (and honestly, still does).

The casting department deserves a raise for this one. Moss steps into the role of Greta Nelso, a former East German spy with — wait for it — a “passionate history” with Schwarzenegger’s Luke Brunner. It’s the kind of inspired pairing that probably had Netflix executives high-fiving in their boardroom. Trinity meets the Terminator? In 2025? Sure beats another reboot.

Showrunner Nick Santora (bless his heart) couldn’t contain his excitement when discussing the upcoming season. He’s been throwing around words like “bananas” to describe what’s coming — which, in Hollywood speak, typically means they’ve blown the budget on something spectacularly entertaining. The plot revolves around Moss’s character threatening not just world destruction (because apparently that’s still in fashion), but also promising to demolish Luke’s entire life. Dramatic much? Absolutely. Here for it? One hundred percent.

Let’s address the elephant in the room: Season 1’s somewhat lukewarm critical reception (that 50% on Rotten Tomatoes stings a bit). But here’s the thing — audiences got it. That 68% viewer score speaks volumes about what people actually want from their evening entertainment. Sometimes critics forget that not every show needs to be the next “Succession.”

The returning cast reads like a perfectly balanced recipe card: Monica Barbaro bringing the family drama, Fortune Feimster handling the comedy relief, and Travis Van Winkle… well, being Travis Van Winkle. Santora’s whole “they are family” spiel might sound a tad cheesy, but in the current landscape of fractured streaming services and endless doom-scrolling, maybe that’s exactly what we need.

Speaking of needs — Moss seems genuinely thrilled about this role, which says something when you’re dealing with an actress who helped define millennial sci-fi cinema. When someone of her caliber admits to having the time of her life on set, it’s worth paying attention. Plus, in an era where AI is literally writing scripts (looking at you, ChatGPT 7.0), there’s something refreshingly human about this particular chaos.

Eight hour-long episodes are heading our way, promising the kind of summer entertainment that pairs perfectly with whatever’s left of your pandemic snack stockpile. It’s refreshingly self-aware television that knows exactly what it is — no pretense, just pure entertainment value.

In a year when Sam Mendes is tackling the Beatles biopic and streaming services are battling it out like it’s the Hunger Games, “FUBAR” Season 2 feels like a breath of fresh, explosion-filled air. After all, if Arnold can successfully transition from action hero to streaming star while keeping his charm intact, maybe there’s hope for all of us. Even those still trying to figure out which streaming service actually has the rights to “Friends” this month.

DC Studios just dropped a bombshell that’s sending ripples through the superhero community. Their extended preview of James Gunn’s “Superman” doesn’t just push boundaries—it shatters them, serving up a sci-fi spectacle that might leave even the most ardent Man of Steel fans doing a double-take.

Let’s talk about that footage. Picture this: Superman, played by newcomer David Corenswet, sprawled in the snow, beaten and bloodied. Not exactly your typical boy scout moment, right? But what happens next perfectly captures the heart of Gunn’s vision. Krypto the Superdog—yeah, the four-legged friend himself—comes to the rescue, dragging his cape-wearing buddy through the snow. It’s the kind of scene that’ll probably spawn a thousand memes come summer 2025.

The real kicker? The Fortress of Solitude sequence. Gone are the days of crystal-studded ice caves with a few holograms thrown in for good measure. Gunn’s taken Superman’s arctic hideaway and transformed it into something straight out of the most ambitious space opera you’ve never seen. Advanced Kryptonian medical robots (definitely not your grandfather’s C-3PO) work their magic using concentrated sunlight to heal their fallen hero. Smart move—it’s both a clever nod to Superman’s powers and a fresh spin on the mythology.

Between glimpses of kaiju-sized monsters wreaking havoc in Metropolis and something called Solaris the Tyrant Sun, it’s clear this Superman won’t be spending much time helping old ladies cross the street. There’s also a mysterious black-suited baddie making trouble—word on the street points to Ultraman, though nothing’s confirmed yet.

While Gunn’s still neck-deep in post-production (his words at CinemaCon, not mine), what’s already visible suggests a Superman story that’s simultaneously more cosmic and more personal than previous incarnations. Sure, Rachel Brosnahan’s Lois Lane and Nicholas Hoult’s Lex Luthor didn’t make it into this particular preview, but honestly? Krypto stole the show anyway.

Come July 11, 2025, superhero fans might just find themselves watching something unprecedented—a Superman film that manages to be both larger than life and surprisingly intimate. Whether this bold new direction pays off remains to be seen, but one thing’s certain: this ain’t your dad’s Superman movie.

Just when the pop landscape seemed destined for an endless stream of TikTok-optimized snippets, Miley Cyrus throws a glittery curveball that nobody saw coming. Her latest single “End of the World” doesn’t just nod to disco’s golden age — it practically time-travels there, dragging Pink Floyd’s conceptual ambitions along for the ride.

The track’s accompanying video feels like a fever dream conjured up in Studio 54’s heyday. Cyrus, decked out in an emerald sequined number that would make even the most seasoned disco divas do a double-take, commands a minimalist set that somehow manages to feel both retro and distinctly 2025.

Here’s where things get interesting. Rather than tapping the usual suspect producers, Cyrus has assembled an unlikely dream team. Alvvays’ Molly Rankin and Alec O’Hanley — indie rock’s current golden children — have joined forces with Shawn Everett, the sonic architect behind some of Kacey Musgraves’ and Alabama Shakes’ most memorable moments. The result? Something that defies easy categorization.

“Let’s pretend it’s not the end of the world,” she belts in the chorus. It’s the kind of line that hits differently in our current climate — equal parts escapist fantasy and stark reality check. The song, which first surfaced during an intimate Chateau Marmont set last summer, has evolved into something far more ambitious than those early acoustic renditions suggested.

But this single is just the tip of the iceberg. Cyrus’s upcoming album “Something Beautiful” (dropping May 30 via Columbia) apparently aims to be nothing less than a pop culture prescription for our collective malaise. She’s described it as “The Wall, but make it glamorous” — which might sound absurd if anyone else said it. Yet somehow, coming from the artist who’s consistently zigged when everyone expected her to zag, it makes perfect sense.

The whole project’s getting the full treatment, too. Word is there’s a “pop opera” in the works — directed by Cyrus herself alongside Jacob Bixenman and Brendan Walter — scheduled to hit theaters this June. Thirteen original tracks, each with its own visual fantasy… because apparently, regular music videos just won’t cut it anymore.

Fresh off “Endless Summer Vacation,” most pop stars would’ve played it safe. Instead, Cyrus seems dead set on creating something that could either be brilliant or completely bonkers — probably both. With “End of the World,” she’s served up an appetizer that suggests this might be exactly what pop music needs right now: something unafraid to think big, even if it means risking looking ridiculous.

And y’know what? In a landscape of carefully calculated streaming algorithms and focus-grouped hooks, there’s something refreshing about an artist swinging for the fences while wearing sequins.

The MTV Video Music Awards is trading its rebellious cable TV roots for something decidedly more… mainstream. In a move that’s got industry insiders buzzing, the iconic awards show — forever linked with those “did that really just happen?” moments — is heading to CBS this fall. Mark your calendars for September 7, when the UBS Arena in New York plays host to what promises to be a fascinating experiment in cultural evolution.

Let’s be real — this isn’t just another channel hop. The VMAs have always been pop culture’s wild child, serving up the kind of unscripted chaos that makes network executives reach for their antacids. Remember Madonna’s wedding dress performance? Or that Kanye-Taylor moment that launched a thousand memes? Yeah, those kinds of moments.

The show’s not completely abandoning its MTV homeland, though. In a clever bit of programming gymnastics, it’ll air simultaneously on its original cable home while also streaming on Paramount+. Smart move — keeping one foot in the past while pirouetting into the future. They’re even keeping the traditional red carpet pre-show across Paramount Media Networks, because heaven knows we can’t miss those fashion moments (or potential fashion disasters).

Speaking of moments, Taylor Swift’s absolutely bonkers night at the 2024 VMAs probably helped seal this deal. Seven awards? Including Video of the Year for “Fortnight” with Post Malone? That’s the kind of star power CBS is banking on. Swift’s now tied with Beyoncé at 30 lifetime VMAs — a fact that’s probably giving Eminem (stuck at 15) a bit of FOMO.

The timing’s pretty interesting, actually. CBS has been the go-to network for prestige awards shows forever — they’ve had the Tonys since forever and the Grammys since bell-bottoms were unironically cool (1973, for those keeping score). But here’s the plot twist: the Grammys are packing their bags for ABC in 2027. It’s like a high-stakes game of musical chairs, except with billion-dollar TV properties.

Since its wild debut in 1984, the VMAs have been more than just an awards show — they’re where pop culture goes to create headlines. The real question is whether that edge can survive in the somewhat stuffier world of network television. Sure, the multi-platform approach suggests they’re trying to have their cake and eat it too, but anyone who’s watched network TV lately knows it’s a different ballgame.

The 2025 show could be make-or-break. With streaming numbers climbing and traditional TV viewership doing… well, not that, this move feels both bold and slightly desperate. But maybe that’s exactly what both the VMAs and network television need right now — a shake-up that could redefine what awards shows look like in this increasingly fragmented media landscape.

For now, music fans are left wondering what this new chapter will bring. Will we still get those jaw-dropping performances? Those acceptance speeches that make social media explode? Those wonderfully awkward celebrity reaction shots? Time will tell, but one thing’s certain — the VMAs aren’t going quietly into that good night. They’re just turning up the volume on a different frequency.

Move over, space cowboys – Amazon’s finally ready for its cosmic close-up. After years of behind-the-scenes preparation worthy of a Spielberg production, the tech giant is about to make its grand entrance into the satellite internet spectacular, with the premiere scheduled for April 9th at Cape Canaveral, Florida.

This isn’t just another tech launch – it’s the opening act of what promises to be 2025’s most riveting corporate space drama. Amazon’s Project Kuiper is stepping into the spotlight with a $10 billion investment that industry whispers suggest could double before the final curtain call. Think of it as the streaming wars gone orbital, darling, with Amazon Prime about to take on Elon Musk’s Starlink in the ultimate battle for bandwidth.

Rajeev Badyal, Kuiper’s vice president, delivers his lines with the measured precision of a seasoned performer: “We’ve done extensive testing on the ground to prepare for this first mission.” Then comes the kicker – “But there are some things you can only learn in flight.” (Haven’t we all had those moments at the Oscars afterparty?)

The pressure’s on like opening night at Cannes. The Federal Communications Commission has handed Amazon a deadline that would make even Tom Cruise’s Mission Impossible team sweat – they must launch half their planned 3,236-satellite constellation by July 2026. That’s 1,618 mechanical stars that need to find their place in the celestial choreography in just over two years.

Let’s be crystal clear – this isn’t another vanity project for the billionaire boys’ club. Project Kuiper aims to bring high-speed internet to digital deserts across the globe. It’s like bringing Broadway to Brigadoon, darling – making the impossible not just possible, but fabulous.

The competition? Fierce doesn’t begin to cover it. Musk’s Starlink has already scattered over 7,000 satellites across the sky like some cosmic confetti cannon. Then there’s OneWeb, backed by SoftBank’s deep pockets, and China’s SpaceSail waiting in the wings. Amazon’s hedging its bets by booking 80+ launches with various providers – including, in an ironic twist worthy of Shakespeare, both SpaceX and Blue Origin. (Yes, that’s Musk and Bezos sharing the same playbill. The drama!)

After October 2023’s successful dress rehearsal with two prototype satellites, Amazon faced some unexpected intermission delays. Their launch provider, United Launch Alliance, had to prioritize Space Force missions – because apparently, space traffic is now a thing we have to worry about in 2025.

Mark your calendars for high noon ET on April 9th, when ULA will livestream the launch. It’s the must-watch event of the season – combining the glamour of a Hollywood premiere with the nail-biting suspense of a Hitchcock thriller. And darling, in the high-stakes world of satellite internet, this is just the opening number.

Hollywood’s latest mythological treasure hunt has arrived — and darlings, it’s serving exactly the kind of star-powered escapism we’ve been craving since last year’s writers’ strike left us with a drought of original content.

Apple TV+ just dropped the trailer for “Fountain of Youth,” and it’s everything you’d expect from Guy Ritchie’s signature brand of controlled chaos. The streaming giant’s throwing serious weight behind this one, pairing John Krasinski (fresh off his surprisingly nuanced turn in last fall’s “Echo Chamber”) with Natalie Portman in what might be the year’s most inspired casting choice.

Let’s be real — we’ve seen plenty of sibling dynamics on screen lately. But there’s something electric about watching Krasinski’s everyman charm bounce off Portman’s razor-sharp intensity. Their chemistry feels genuine, messy even, like they’ve actually spent decades pushing each other’s buttons at family gatherings.

The plot? Well, it’s deliciously familiar yet somehow fresh. Two estranged siblings (because aren’t they always?) embark on a global treasure hunt for the mythological Fountain of Youth. Ancient maps, cryptic clues, the whole nine yards — think “National Treasure” but with Ritchie’s trademark whip-smart dialogue and those dizzying camera moves that somehow never got old.

The supporting cast reads like a who’s who of Hollywood’s most reliable scene-stealers. Eiza González brings her trademark fire, while Stanley Tucci (who honestly deserves his own franchise at this point) joins forces with Domhnall Gleeson, Arian Moayed, Laz Alonso, and Carmen Ejogo. It’s the kind of ensemble that makes you wonder how they all found time in their schedules — especially with the industry still playing catch-up from last year’s disruptions.

Ritchie’s been everywhere lately, hasn’t he? Between “The Ministry of Ungentlemanly Warfare” and his upcoming “In the Grey” with Henry Cavill and Jake Gyllenhaal, you’d think he’d slow down. But no — he’s even left his fingerprints all over television, with Netflix’s “The Gentlemen” and “MobLand” both bearing his unmistakable style. As IndieWire’s Ben Travers noted, “MobLand” feels like “a Guy Ritchie joint, top to bottom.”

Behind the scenes, the project’s stacked with industry veterans. David Ellison, Dana Goldberg, and Don Granger are producing alongside Ritchie and Ivan Atkinson. James Vanderbilt’s screenplay promises to breathe new life into humanity’s oldest obsession — our desperate desire to thumb our noses at mortality itself.

Mark those streaming calendars for May 23rd. With summer blockbuster season looking a bit thin this year (thanks, production delays), “Fountain of Youth” might just be the adventure we need to kick off the season. And knowing Ritchie’s track record? We’re probably in for a ride that’ll keep us guessing right up until those credits roll.

Talk about a bittersweet payday. The Houston Rockets’ Dillon Brooks just lived through what might be the NBA’s most ironic moment of 2024 — scoring a million-dollar bonus and immediately losing a chunk of it faster than a rookie’s first paycheck.

During Wednesday’s absolute demolition of the Utah Jazz (143-105, if you’re keeping score), Brooks helped punch the Rockets’ first playoff ticket since way back in 2020. Sweet deal, right? That playoff berth triggered a cool million in bonus cash. But because the basketball gods clearly have a twisted sense of humor, Brooks couldn’t help but Brooks it up.

The Rockets — now sitting pretty as the West’s second seed with a 50-27 record — are absolutely rolling. “WE ARE SO BACK,” they shouted across social media, and honestly? Hard to argue with that kind of swagger when you’ve won eight of your last ten.

Brooks was doing his thing against the Jazz: 21 points, shooting like he’d found some cheat code (9-of-16 from the floor, three triples) in 28 minutes. Standard Dillon Brooks stuff. Then came the moment that probably had his financial advisor reaching for the aspirin.

Technical foul number sixteen. The magic number nobody wants to hit. This one? A questionable kick toward Collin Sexton’s… well, let’s just say sensitive area. And just like that — suspension time.

ESPN’s number-crunching wizard Bobby Marks dropped the brutal math: that pristine million-dollar bonus? Now worth about $872,000 after the suspension tax. Somewhere, an accountant is crying.

Here’s the thing about Brooks, though. The 28-year-old guard — who’s been cashing $86 million worth of checks on a four-year deal — has been exactly what this young Rockets squad needed. Career-best 39.4% from downtown, solid 14.0 points per game, plus all the veteran leadership and competitive fire you could ask for. Well, maybe a touch less fire sometimes.

Unless the league office suddenly develops a generous streak (don’t hold your breath), Brooks will be watching Friday’s Oklahoma City showdown in his finest street wear. It’s peak Dillon Brooks, really — brilliant one moment, bewildering the next.

But for Houston? This is barely a blip. They’ve transformed from lottery regulars to legitimate threats faster than you can say “rebuilding timeline.” Brooks, technical fouls and all, has been a massive part of that story.

Sometimes you’ve just got to take the whole package — the clutch threes and the occasional kicks, the playoff bonuses and the technical foul taxes. At least Brooks can console himself with those remaining 872,000 reasons to smile while he’s watching the next game from the comfort of his couch.

Talk about a study in contrasts. While Ryan Gosling prepares to save humanity from cosmic extinction, two hapless travelers recently learned that their New York “shopping spree” landed them in a rather different kind of spotlight.

At this year’s CinemaCon, Amazon MGM Studios pulled back the curtain on their most ambitious project yet — “Project Hail Mary,” based on Andy Weir’s bestseller. Gosling, fresh off his pink-hued Barbie success, traded plastic fantastic for space fantastic, cracking wise to the assembled industry crowd about putting the “not in astronaut.” The quip landed perfectly — much like certain suspicious suitcases at Birmingham International Airport, but we’ll get to that.

The footage unveiled by directors Phil Lord and Christopher Miller (yeah, the guys who turned LEGOs into box office gold) looks properly mind-bending. Picture this: Gosling as a reluctant middle school teacher suddenly thrust into humanity’s last-gasp mission to stop the sun — and apparently every other star in the galaxy — from pulling a disappearing act. Sort of like if “Interstellar” had a baby with “Don’t Look Up,” minus the comet and plus a healthy dose of optimism.

Speaking of disappearing acts…

December brought an entirely different kind of space case to light when Sophie Bannister and Levi-April Whalley discovered that international travel comes with strict baggage restrictions. The pair’s alleged shopping expedition to New York (with a dash of Paris thrown in for good measure) came to an abrupt halt when Border Force officials found their luggage packed with something decidedly more herbal than duty-free perfume.

The creative packers had stuffed their suitcases with 73 heat-sealed packages of cannabis — worth about £162,000 combined. That’s quite the shopping haul, though probably not what their travel insurance had in mind for “valuable items coverage.”

Back in Hollywood’s considerably more legal realm of fantasy, “Project Hail Mary” is shaping up to be Amazon MGM’s crown jewel. The studio’s throwing down the gauntlet with plans to release 15 theatrical films by 2027, suggesting they’re not just dipping their toes in the theatrical waters — they’re doing a full cannonball.

Drew Goddard’s screenplay adaptation brings Sandra Hüller aboard alongside Gosling, plus what Lord describes as “the most lovable alien since E.T.” (Though customs officials might argue they’ve seen some pretty creative alien encounters of their own lately).

“The effects aren’t done,” the creative team admitted sheepishly at CinemaCon. Funny enough, the same could be said about the ripple effects of certain international travelers’ creative packing solutions. While Gosling joked that his mother was previously the sole preview audience member, some other mothers are probably wishing their daughters’ adventures hadn’t become quite so publicly documented.

Mark your calendars for March 20, 2026 — that’s when “Project Hail Mary” hits theaters. The creators insist it’s too massive for television, claiming they “tried to put it on a TV once, it doesn’t fit.” Coincidentally, that’s probably what crossed the minds of our innovative travelers while attempting to tetris their “shopping” into standard luggage dimensions.

Sometimes the universe works in mysterious ways. While Gosling prepares to save the stars, others are learning that some stellar ambitions are better left on the drawing board.

Val Kilmer’s passing in the early days of 2025 marks more than just another Hollywood headline — it represents the final curtain call for one of cinema’s most captivating enigmas. The versatile actor, who dazzled audiences with his magnetic presence in everything from “Top Gun” to “Batman Forever,” succumbed to pneumonia at 65, as confirmed by his daughter Mercedes Kilmer. His departure feels particularly poignant in an era where method acting has given way to CGI-enhanced performances.

A child prodigy of sorts, Kilmer blazed into the spotlight as Juilliard’s youngest-ever drama division acceptee at 17. (Remember when being the youngest anything actually meant something in Hollywood?) That early promise exploded into full-blown stardom during the neon-bright 1980s, though not before he paid his dues in cult classics like “Top Secret!” and “Real Genius.”

But it was his turn as Tom “Iceman” Kazansky in ’86’s “Top Gun” that really changed everything. The way Kilmer transformed what could’ve been a one-note antagonist into a complex foil for Tom Cruise’s Maverick… well, that’s the kind of screen chemistry they just don’t manufacture anymore.

Then came “The Doors” in ’91 — and holy smokes, what a transformation. Kilmer didn’t just play Jim Morrison; he channeled him. The actor created an eight-minute video portraying Morrison at different life stages just to land the role. That’s the kind of dedication that seems almost quaint in today’s AI-assisted entertainment landscape.

The ’90s belonged to Kilmer. His Doc Holliday in “Tombstone” still gets quoted in film schools, and his Batman? Sure, it wasn’t everyone’s cup of tea, but it definitely wasn’t boring. Though, let’s be honest — his reputation for being “difficult” started overshadowing his undeniable talent. (Director John Frankenheimer’s famous quote about preferring to climb Everest than work with Kilmer again? Ouch.)

But here’s the thing about Kilmer — he owned it. “I believe I’m challenging, not demanding,” he told the Orange County Register back in ’03. No PR-sanitized apology tour, no carefully crafted image rehabilitation campaign. Just raw honesty.

His 2014 throat cancer battle changed everything, altering his voice permanently. Yet Kilmer adapted, appearing in “Top Gun: Maverick” and that brutally honest documentary “Val.” His reflection in that film hits different now: “I have behaved poorly. I have behaved bravely. I have behaved bizarrely to some. I deny none of this and have no regrets because I have lost and found parts of myself that I never knew existed.”

Survived by his children Mercedes and Jack (from his marriage to actress Joanne Whalley), Kilmer leaves behind a legacy that feels increasingly rare in today’s carefully managed celebrity landscape. Director Phillip Noyce nailed it when he called Kilmer “a lamb” despite his bad-boy image — though “hardest-working actor” might be the more crucial part of that quote.

In an age where social media personas often overshadow actual talent, Kilmer’s complex legacy — that fascinating mix of fierce talent and gentle soul — reminds us what we’re missing. Sometimes the most memorable artists are the ones who refuse to fit neatly into any box Hollywood tries to put them in.