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HBO’s “The Last of Us” hits a raw nerve with its latest offering, delivering what might be the most emotionally jarring episode of Season 2 thus far. Like a carefully crafted cocktail of hope and horror, the fourth episode serves up equal parts tender romance and gut-wrenching brutality — and somehow makes it all work.

Welcome to Seattle, or what’s left of it. The war-torn cityscape serves as both backdrop and metaphor as Ellie and Dina navigate their blossoming relationship amid the ruins of civilization. It’s messy, beautiful, and terrifying — rather like love itself in this broken world.

Jeffrey Wright (fresh off his acclaimed turn in “American Fiction”) makes his series debut as Isaac, and good lord, what an entrance. Leading the Washington Liberation Front (WLF), Wright’s performance is pure nightmare fuel wrapped in casual charm. There’s this moment — during what can only be described as a masterclass in psychological torture — where Isaac reminisces about cooking for dates while preparing to interrogate a prisoner. The juxtaposition shouldn’t work, but Wright’s velvet-smooth delivery makes it absolutely chilling.

But let’s talk about that acoustic cover of a-ha’s “Take on Me,” shall we?

Bella Ramsey’s Ellie, performing for Isabela Merced’s Dina, transforms the ’80s pop hit into something achingly intimate. The scene, lifted from the game but reimagined here, hits differently on screen. It’s not just about young love — it’s about art surviving apocalypse, about beauty persisting despite everything.

Speaking of which — Merced’s recent comments to Deadline about the relationship’s “slow burn” development feel particularly relevant. “You don’t really get that a lot in sapphic content,” she noted, addressing the thoughtful pacing of their romance. In an era where streaming platforms often rush through LGBTQ+ storylines, this measured approach feels refreshingly authentic.

The episode reaches its emotional peak through a double-whammy of revelations: Ellie’s immunity and Dina’s pregnancy. These confessions, shared during a night of raw vulnerability, fundamentally alter their dynamic. When Ellie declares, “I would die for you,” the weight of Joel’s recent sacrifice hangs heavy in the air — unspoken but unmistakable.

Props to the production design team for their vision of Seattle. From a haunting radio station (complete with grim human decorations) to claustrophobic subway tunnels teeming with infected, every location tells its own story of collapse and survival. The attention to detail is remarkable — right down to the moss patterns on abandoned vehicles that perfectly capture the Pacific Northwest’s perpetual dampness.

Sure, questions linger about the season’s pacing. Seven episodes isn’t much runway for such an ambitious narrative, and some viewers might worry about maintaining character depth while hitting crucial plot points. The notable absence of Abby — Joel’s killer and the target of Ellie’s vengeful quest — creates an interesting tension, though possibly at the cost of narrative momentum.

Yet somehow, despite these potential hurdles, the episode succeeds brilliantly at its core mission: showing us exactly what Ellie stands to gain — and lose — in her relentless pursuit of revenge. That final shot of Ellie and Dina’s joined hands against Seattle’s broken skyline? It’s hope and doom wrapped into one perfect visual metaphor.

In a television landscape increasingly cluttered with post-apocalyptic tales, “The Last of Us” continues to distinguish itself by remembering that even in humanity’s darkest hour, there’s still room for a love song.

The procedural drama landscape is getting quite the shake-up at CBS, and not everyone’s surviving the network’s spring cleaning. While the flagship “FBI” series gets to keep its badge through 2026-27, its spinoff siblings are heading for the exit — “FBI: Most Wanted” and “FBI: International” are wrapping their final cases.

Behind those slick crime-solving montages and dramatic takedowns, something rather touching is unfolding. The cast members are dropping their TV personas to share genuine farewells that feel more like family holiday cards than Hollywood PR statements.

Take Edwin Hodge, who brought Special Agent Ray Cannon to life in “Most Wanted.” His Instagram tribute — complete with candid snapshots alongside co-star Dylan McDermott — struck that rare chord of authenticity in an industry that often feels more polished than a network executive’s shoes. “All good things must come to an end,” he wrote, and somehow managed to make that well-worn phrase feel fresh again.

CBS didn’t exactly drop this bombshell without warning (unlike some networks we could name). The March announcement gave both shows breathing room to craft proper endings — a courtesy that’s about as rare in television as a realistic hacking scene.

Over in Budapest, where “FBI: International” turned European streets into their playground, the farewell tour continues. Christina Wolfe, who joined the ensemble just last season, shared her own chapter-closing moment: “That’s a series wrap!! Truly grateful for this chapter and for everyone I met over my two years on this wonderful show.” Simple words, yet they capture that peculiar mix of gratitude and melancholy that comes with any series finale.

But darlings, CBS isn’t abandoning the crime-fighting genre — they’re just redecorating the precinct, so to speak. Their new offering (working title “CIA”) features Tom Ellis, fresh from his devilishly charming run on “Lucifer.” The premise? A maverick CIA operative paired with a by-the-book FBI agent. Think oil and water, but with national security clearance.

The network’s broader landscape is shifting too. Veterans like “The Equalizer” and “S.W.A.T.” are also taking their final bows. It’s starting to look like 2025 might be remembered as the year CBS decided to refresh its entire procedural portfolio.

Eva-Jane Willis, who brought Europol Agent “Smitty” to life on “International,” perhaps captured it best in her farewell post about co-stars Carter Redwood and Vinessa Vidotto: “On this our last day of filming I want to say a special thank you to these two. It has been an honour to watch them and learn from them.” Sometimes the most powerful drama happens when the cameras stop rolling.

For now, Tuesday nights still belong to the FBI trifecta. These final episodes promise to wrap up years of storytelling — hopefully with the precision of a well-executed sting operation, rather than a hasty witness protection relocation.

America’s emotional landscape has taken center stage this week, unfolding through three distinct yet intertwined narratives that speak volumes about our collective struggles, institutional strength, and increasingly heated public discourse.

The entertainment world fell silent with the devastating news of Garrison Brown’s death at just 25. Through TLC’s “Sister Wives,” his mother Janelle Brown shared a raw, gut-wrenching account of her son’s battle with addiction — a story that hits particularly close to home for countless families across the nation.

“I knew he was struggling,” Janelle revealed, her words heavy with the kind of hindsight that haunts every parent who’s lost a child. Those final text messages, growing more sporadic by the hour, paint an all-too-familiar picture of modern parenthood’s helplessness against the tide of mental health crises and substance abuse.

Here’s the thing about Garrison’s story that really stings — he wasn’t your typical case. “Never was a drinking kid,” as his mother put it, until COVID threw everyone’s world off its axis. Something shifted during that last year, she noted, and it just… got him. Makes you wonder how many others are carrying similar invisible wounds in our strange post-pandemic reality.

Meanwhile, over in Boston, a different kind of American drama played out. Mike Pence — yeah, that Mike Pence — accepted the John F. Kennedy Profile in Courage Award. Talk about plot twists. The former VP’s unwavering defense of constitutional principles during the January 6 mess earned him unlikely allies in the Kennedy family, of all people.

“Jan. 6 was a tragic day but it became a triumph of freedom,” Pence declared. Pretty weighty stuff, especially considering his former boss’s recent hemming and hawing about basic constitutional protections. The contrast couldn’t be more stark — while Pence champions the Constitution as common ground, Trump… well, Trump’s been Trump.

Speaking of political theater (and lord knows we’ve had plenty), Trump’s recent jabs at Democratic Representative Jasmine Crockett show just how far we’ve strayed from policy debates into personal attack territory. Remember when political disagreements actually centered on ideas? Good times.

Caroline Kennedy’s take on Pence hits different now: “Only later did I realize that his act of courage saved our government and warned us about what could happen and is happening right now.” Feels less like historical commentary and more like a real-time warning, doesn’t it?

These three threads — personal tragedy, institutional backbone, and political mud-slinging — weave together into something uniquely American. From the Browns’ private hell to Pence’s public stand and the endless political circus, we’re watching both the cracks and the concrete in our society’s foundation.

Maybe that’s what makes this moment so crucial. When personal pain, public duty, and political theater all crash together, something’s gotta give. The question is: what breaks first — our institutions or our ability to find common ground?

Spring 2025 has unleashed a cultural renaissance across North American cities, with Vancouver and Calgary leading the charge in reimagining how urban spaces celebrate diversity and creativity.

The streets of Vancouver have transformed into a living canvas of cultural expression. Take the ExplorAsian Festival — now in its 29th year, it’s evolved far beyond its humble beginnings. These days, you’ll stumble upon everything from Turkish coffee ceremonies to Pakistani textile workshops. The Vancouver Art Gallery’s gotten in on the action too, though their approach feels refreshingly different this time around. Hong Kong Exile’s latest performance piece had audiences scratching their heads last week — in the best possible way.

Down at Trout Lake Community Centre, something magical’s happening. The Mother’s Day Traditional Pow Wow isn’t just another event on the calendar; it’s three days of pure energy that proves Indigenous traditions aren’t museum pieces — they’re living, breathing celebrations that keep finding new ways to resonate in concrete jungles.

Speaking of surprises… who’d have thought a walking tour could shake up our understanding of history? The Suzhou Alley Women’s Mural project flips the script on Chinatown’s past. Sure, we’ve heard the usual stories, but these tours shine a spotlight on the fierce women who shaped Vancouver’s cultural landscape over the past hundred years. About time, right?

Theater kids (and let’s face it, theater adults) are having a moment. “9 to 5 the Musical” at Royal City Musical Theatre brings Dolly’s sass to the stage — and honestly, couldn’t we all use a dose of workplace rebellion right about now? Meanwhile, Claire Voyeur’s “Movie Buff 2” at the Rio Theatre… well, let’s just say her take on Bowie’s Goblin King might make you see “Labyrinth” in an entirely new light.

Calgary’s scene hits different — more intimate, maybe, but no less exciting. The newly minted Acme Pizza & Pasta Co. in Sunnyside feels like it’s been there forever, even though the paint’s barely dry. It’s that rare sweet spot where history and modern taste buds high-five each other.

Nature nerds, rejoice. The Inglewood Bird Sanctuary’s still doing its thing, proving that urban wildlife is more than just pigeons and squirrels. With 270 bird species doing their thing alongside various furry residents, it’s like a wild kingdom decided to crash the city party.

Tech meets ancient history in the “Horizon of Khufu” VR experience — 10,000 square feet of ancient Egypt without the sunburn. Sure beats scrolling through Instagram for the thousandth time today.

What’s particularly refreshing about this spring’s lineup? The price tags aren’t giving everyone sticker shock. From pay-what-you-can mural tours to massive book sales (100,000 books and counting), culture vultures won’t need to raid their crypto wallets to get their fix.

The music scene’s serving up quite the buffet — Nitty Gritty Dirt Band for the country folks, Dean Lewis for the indie crowd. And Gerry Dee’s mining his PE teacher past for laughs, proving that sometimes the best comedy comes from those mind-numbing staff meetings none of us miss.

As winter’s memory fades (finally), these cities aren’t just warming up — they’re cooking with gas. Whether you’re getting colorful at Diwali Fest’s Colour Zone in Coquitlam or finding your zen with some goat yoga at Maan Farms, there’s something weirdly wonderful about how these communities keep pushing boundaries while keeping one foot planted firmly in tradition.

And maybe that’s the real story here. In a world where everything’s trying to go digital, these spring festivities remind us that sometimes the best connections happen face-to-face, powder-covered, or yes, even in downward dog next to a baby goat.

In what might be his most audacious proposal yet, Donald Trump has set his sights on an unlikely target: the haunting silhouette of Alcatraz Federal Penitentiary. The former president’s latest announcement — dropped casually on Truth Social last week — reads like something straight out of a political thriller.

“REBUILD, AND OPEN ALCATRAZ!”

That’s it. That’s the post that sparked a firestorm of debate across social media and news outlets. Trump’s vision? Transform the tourist hotspot back into a maximum-security prison, but bigger — much bigger.

The Rock, as it’s affectionately (or perhaps ominously) known, hasn’t housed a prisoner since 1963. These days, it’s more likely to host selfie-taking tourists than hardened criminals. Yet Trump seems determined to turn back the clock, painting a picture of a “more serious Nation” that didn’t shy away from isolating its most dangerous offenders.

His timing couldn’t be more calculated. With the 2025 election season heating up and criminal justice reform dominating headlines, the proposal hits all the right notes for his base. “We will no longer be held hostage to criminals, thugs, and Judges that are afraid to do their job,” Trump declared — though exactly how he’d navigate the labyrinth of environmental regulations and historical preservation laws remains conveniently unclear.

Let’s be real for a moment. Running Alcatraz was never exactly a bargain. The original facility shut down because maintaining a prison on a windswept island proved ridiculously expensive. Everything — from fresh water to Tuesday’s lunch menu — had to be ferried across the bay. Salt air ate away at the buildings like hungry teenagers through a pizza buffet.

Then there’s the whole escape thing. Sure, Alcatraz had a reputation for being escape-proof, but that didn’t stop 14 attempts during its operation. The most famous? That’d be the 1962 breakout that inspired Clint Eastwood’s “Escape from Alcatraz.” Frank Morris and the Anglin brothers vanished into the bay’s frigid waters, leaving behind one of America’s most enduring mysteries. (Seriously — did they make it? In 2025, we’re still debating.)

Trump’s grand vision faces some pretty substantial hurdles. For starters, the island currently draws millions of tourists annually — it’s basically San Francisco’s maritime money printer. Converting it back to a prison would mean kissing goodbye to all that sweet, sweet tourism revenue. Not to mention the army of lawyers who’d probably materialize faster than you can say “environmental impact study.”

The proposal calls for multiple federal agencies to get involved — the Bureau of Prisons, Department of Justice, FBI, and Department of Homeland Security. That’s a lot of moving parts for a plan that seems… well, let’s call it ambitious.

But maybe that’s missing the point. Whether this proposal ever materializes into anything concrete almost doesn’t matter. It’s already accomplished what it likely set out to do: reignite discussions about criminal justice, immigration, and America’s approach to law and order. The Rock stands silent in the bay, watching as yet another chapter in its colorful history unfolds.

For now, the seagulls remain Alcatraz’s only permanent residents. Though given the way 2025’s shaping up, who knows? Maybe those old cells will echo with more than just tourist footsteps someday. Stranger things have happened in American politics — and that’s saying something.

The indie music scene took a sobering turn last week when Julien Baker announced the cancellation of her highly anticipated “Send a Prayer My Way” tour with Torres. The news hit especially hard given the duo’s recent success — their country album collaboration had barely had time to settle into fans’ playlists before the plug got pulled.

Baker, who’s been riding a remarkable wave of success lately (hello, triple Grammy wins with Boygenius), shared the news through Instagram on May 4. The post struck a familiar chord in an industry where the relentless grind of touring often collides head-on with personal well-being. Coming just months after Boygenius’s surprisingly emotional farewell show in L.A., the timing feels… well, complicated.

The Tennessee native’s been dealing with some health setbacks — there was that concussion that nixed her Ohio University speaking gig back in March. But honestly? The whole situation reads like a chapter from the ongoing story of artists finally saying “enough” to the music industry’s exhausting demands. (Remember when everyone thought post-pandemic touring would be more sustainable? Yeah, about that…)

Their album “Send a Prayer My Way” dropped on April 18, earning four stars from Rolling Stone and showcasing a fascinating creative detour for both artists. Torres — or Mackenzie Ruth Scott, if you’re not into the whole brevity thing — spilled the tea about the project’s origins during a March appearance on “The Daily Show.” Turns out, it all started with a text message. “Julien was the first person I thought of because she’s from Tennessee, I’m from Georgia,” Torres explained, making the collaboration sound as natural as sweet tea on a summer porch.

Baker’s journey hasn’t exactly been a straight line. From the raw vulnerability of “Sprained Ankle” in 2015 to becoming one-third of indie rock’s most talked-about supergroup, she’s carved out a space that’s uniquely hers. Those 2024 Grammy wins with Boygenius (best rock performance, best rock song, and best alternative music album, for those keeping score) seemed to signal peak career momentum.

But here’s the thing about momentum — sometimes it’s better to pump the brakes than crash. Baker’s always been refreshingly upfront about mental health struggles, weaving those threads through her music with unflinching honesty. While the specifics of her current situation remain private (and rightfully so), her decision to step back speaks volumes about prioritizing self-care in an industry that’s notorious for chewing up artists and spitting them out.

The venues might be quiet for now, but “Send a Prayer My Way” stands as a testament to what happens when two kindred spirits from neighboring states decide to shake things up. As the music industry stumbles through its post-pandemic identity crisis heading into 2025, maybe — just maybe — Baker’s pause will help reshape conversations about artist sustainability.

After all, sometimes the most powerful statement an artist can make is knowing when to step away from the spotlight.

Lewis Capaldi’s unexpected return to the stage last night sent ripples through Edinburgh’s music scene, marking a poignant moment that nobody saw coming. The Scottish singer-songwriter, who’d been notably absent from the spotlight since that heart-wrenching Glastonbury moment in 2023, chose an intimate charity event at the Assembly Rooms to make his first public performance in nearly two years.

The evening, supporting the Campaign Against Living Miserably (CALM), felt worlds away from the packed arenas Capaldi once commanded. No phones in sight — they were tucked away in sealed pouches — just raw talent and genuine connection. Rather refreshing, actually, in an era where most concerts feel like massive smartphone recording sessions.

His six-song set culminated with “Someone You Loved,” the breakthrough hit that catapulted him to stardom back in 2019. The performance wasn’t perfect — and that’s precisely what made it beautiful. Here was an artist who’d been brutally honest about his struggles with anxiety and Tourette’s Syndrome, taking things at his own pace, on his own terms.

Tom Walker, who headlined the event, shed some light on the last-minute addition. “When Lewis confirmed he wanted to do it last minute, I was delighted,” Walker shared, acknowledging the intense pressure artists face after taking time away. The industry’s relentless demands haven’t changed much since Capaldi stepped back — if anything, they’ve intensified with the rise of TikTok and the constant push for content creation.

Let’s be clear — this wasn’t some grand comeback announcement. Sources close to Capaldi emphasize that he’s still prioritizing his well-being over career demands. Rather fitting, perhaps, that his return to performing aligned with a mental health charity event, considering his own journey and advocacy work.

The phone-free environment created something rare in today’s hyperconnected world: genuine presence. No Instagram stories, no TikTok clips, just music and moment. Social media reactions only emerged after the fact, painting pictures of an “amazing night” that felt more like an intimate gathering than a conventional gig.

For an artist whose meteoric rise included two chart-topping albums — “Divinely Uninspired to a Hellish Extent” and “Broken by Desire to Be Heavenly Sent” — this careful, measured approach to performing again speaks volumes. It’s setting a precedent, really. Who says comebacks need to be splashy affairs with massive PR campaigns?

Sometimes, the most powerful statements come wrapped in simplicity. Capaldi’s return, modest as it may be, might just reshape how we think about artists taking breaks and making returns in 2025’s pressure-cooker music industry. Maybe it’s time the industry learned to move at the speed of healing, not headlines.

Rio’s Copacabana Beach has seen its share of legendary performances, but something extraordinary is about to unfold on its storied shores. Lady Gaga — the incomparable force behind hits like “Bad Romance” and “Shallow” — is set to deliver what many consider the defining moment of her illustrious career: a free concert expected to draw upwards of 1.6 million people to Brazil’s most celebrated coastline.

The anticipation in Rio is electric. Since touching down Tuesday morning, “Mother Monster” has sparked what locals are playfully dubbing “Gaga-mania,” a fever that’s spreading through the city’s winding streets and sun-drenched beaches. After a thirteen-year absence from Brazilian stages, her return feels less like a concert and more like a homecoming.

But there’s more to Saturday night’s massive beachfront spectacle than meets the eye. Rio’s City Hall, riding high on the success of Madonna’s beach concert last year, sees these mega-events as catalysts for economic revival. Their vision? Transform the traditionally quiet tourism off-season into a cultural powerhouse that’ll keep the city buzzing through 2028.

“This isn’t just about entertainment,” muses Osmar Lima, Rio’s secretary of economic development. “We’re talking about filling hotels, packed restaurants, bustling shops — real opportunities for our people when we typically see things slow down.”

The numbers tell quite a story. Officials project an economic boost of roughly 600 million reais (that’s about US$106 million) — outpacing Madonna’s show by nearly a third. Behind the scenes, the technical preparations are nothing short of remarkable. Sixteen sound towers dot the shoreline like sentinels, ensuring Gaga’s anthems reach every dancing soul on that vast beach.

Rio’s embraced their visiting star with characteristic Brazilian flair. Metro workers have become overnight sensations with their viral tribute to “LoveGame,” while dedicated fans — the self-proclaimed “Little Monsters” — maintain their loving vigil outside the iconic Copacabana Palace, hoping to catch a glimpse of their idol.

For Colombian engineer Ingrid Serrano, this concert represents something far deeper than entertainment. “Lady Gaga isn’t just an artist,” she explains, proudly sporting a shirt showcasing the star’s evolution. “She’s a symbol of being unapologetically yourself.”

Security measures match the event’s massive scale. Rio state isn’t taking any chances, deploying an impressive force: 3,300 military personnel, 1,500 police officers, and 400 military firefighters will ensure everyone’s safety during the 2-hour-plus performance kicking off at 9:45 p.m.

Copacabana’s no stranger to massive gatherings — it still holds the Guinness World Record for largest free rock concert, thanks to Rod Stewart’s epic 1994 New Year’s Eve show that drew 4 million revelers. Yet there’s something different about this upcoming performance, something that transcends mere entertainment.

As the sun sets over Rio this Saturday, Lady Gaga won’t just be performing songs — she’ll be writing another chapter in Copacabana’s rich musical history. In a world still finding its footing after recent global challenges, this massive gathering represents something profound: music’s enduring power to unite, inspire, and transform a city, if only for one magical night under the Brazilian stars.

Television’s landscape is serving up a deliciously unexpected feast of reunions this spring—and honestly, who doesn’t love a good comeback story? The small screen’s about to get a whole lot more interesting with J.J. Abrams making waves again, this time bringing his former “Lost” collaborator Josh Holloway along for the ride. Meanwhile, “Doctor Who” continues its emotional rampage through time and space, leaving viewers breathless (and possibly reaching for tissues).

Let’s talk about Abrams for a moment. Television’s mystery-box maestro is finally stepping away from his sci-fi comfort zone—and thank heavens for that. His latest venture, “Duster,” drops this May on Max, trading alien encounters for getaway cars in what’s shaping up to be 2025’s most anticipated crime thriller. Set against the backdrop of 1972 (because apparently, everything old is new again), this eight-episode series might just be the shake-up television desperately needs.

The real kicker? Josh Holloway’s return to the Abrams universe. Those signature dimples haven’t seen this much action since his Sawyer days, and his response to reuniting with his former showrunner is pure gold. “Are you kidding me? He called me up and asked if I had a minute, and the answer is ‘yes’. Always ‘yes’. Whatever he is asking.” There’s something refreshingly honest about that kind of loyalty in an industry where allegiances change faster than streaming service prices.

“Duster” isn’t just another nostalgia play, though. The series breaks new ground with Rachel Hilson portraying the first Black female FBI agent—partnered with Holloway’s getaway driver, no less. It’s the kind of casting that makes you wonder what took Hollywood so long, especially given the industry’s perpetual promises about diversity and representation.

Speaking of breaking new ground… across the pond (or rather, across several galaxies), “Doctor Who” continues its emotional assault on viewers’ hearts. Poor Ruby Sunday—brought to vivid life by the remarkable Millie Gibson—just can’t catch a break. After that whole podcasting paramour debacle (seriously, who trusts a conspiracy theorist these days?), Gibson hints at brighter days ahead for her character.

“If I was her, I’d look in the mirror and just sob, but she’s stronger than me!” Gibson admits. She envisions Ruby “rocking it out with her band” somewhere down the line—though perhaps steering clear of romantic entanglements for a while. After the Conrad situation? Smart move.

And about that Conrad situation… Jonah Hauer-King’s prison break sequence, masterminded by the ever-mysterious Mrs. Flood, sets up what’s bound to be an explosive season finale. Gibson’s praise for her co-star feels genuine: “He’s really gifted and he’s such a giving actor, and he has such a beautiful, calm nature about him on set that I really need. He is nothing like Conrad, obviously.” (Well, thank goodness for that.)

Both shows exemplify television’s constant evolution—where familiar faces create fresh magic and beloved franchises push boundaries. “Duster” hits Max on May 15, 2025, while “Doctor Who” continues its weekly emotional rollercoaster every Saturday.

Sometimes the best television comes from mixing something familiar with something fresh—like finding an old recipe and adding just enough spice to make it sing. Or maybe that’s just the martini talking.

Well, darlings, pour yourself something sparkling because this tea about E.T. is absolutely delicious. In a revelation that’s giving new dimension to Spielberg’s beloved classic (and honestly, making us see those Reese’s Pieces in an entirely different light), actress Dee Wallace has spilled some fascinating behind-the-scenes drama that would’ve made even TMZ blush back in ’82.

Here’s the tea: E.T., that adorable space creature who captured hearts worldwide, nearly had a romantic subplot. Yes, you read that correctly — a love story. Wallace, who played single mom Mary, recently dropped this bombshell on the Still Here Hollywood podcast, and it’s absolutely fascinating how this almost-storyline could’ve changed everything we love about this cinematic treasure.

The original concept included what Wallace describes as a “love crush” between E.T. and her character Mary. Picture this: our favorite alien leaving trails of Reese’s Pieces by Wallace’s bedside — giving whole new meaning to the phrase “phone home,” wouldn’t you say?

But here’s where it gets really interesting, sweeties. The creative tension centered around something that might seem trivial to outsiders but speaks volumes about artistic integrity in family entertainment — the positioning of a bedsheet. Spielberg, ever the visionary, wanted to push boundaries just a touch lower than Wallace felt appropriate. It’s giving me flashbacks to those endless discussions about hemlines at the Met Gala, but I digress.

Wallace, channeling both her artistic integrity and that protective maternal energy that made her perfect for the role, stood her ground. “This film was very pure to me. And it was about love,” she emphasized, finding allies in producer Kathleen Kennedy and writer Melissa Mathison. The sheet ultimately stayed at shoulder blade level — a small victory for maintaining the film’s innocent charm.

Looking back from 2025, as streaming platforms struggle to balance edgy content with family-friendly fare, this behind-the-scenes glimpse feels particularly relevant. It’s rather like watching the current discourse around AI-generated family content — sometimes the most powerful artistic statements come from knowing exactly where to draw the line.

Speaking of drawing lines, Spielberg himself has been steadfast in his refusal to cash in on E.T.’s success with sequels. At the recent TCM Classic Film Festival, he revealed his “real hard-fought victory” in preventing follow-up films. Despite briefly toying with the idea of visiting E.T.’s home planet (darling, can you imagine the costume possibilities?), he ultimately decided some stories should remain perfectly preserved in their original form.

The parallel between Wallace’s principled stand and Spielberg’s protection of his creation from commercial exploitation paints a rather poignant picture of artistic integrity in Hollywood. In an age where every successful property seems destined for endless reboots and spinoffs (looking at you, darlings, you know who you are), these revelations remind us that sometimes the most powerful statement is knowing when to say “no.”

And isn’t that just perfectly E.T.? A story that remains pure, untarnished, and exactly as magical as it was meant to be — even if we now know it could have gone in a very different direction. Now, if you’ll excuse me, I need to rewatch this classic with fresh eyes and perhaps a box of Reese’s Pieces for good measure.