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The Phoenix Mercury turned Footprint Center into their personal shooting gallery Saturday afternoon, unleashing a barrage of three-pointers that had even seasoned basketball observers shaking their heads in disbelief. When the final buzzer sounded on their 107-86 dismantling of the Chicago Sky, the Mercury hadn’t just won — they’d written themselves into the history books.

How hot were they from downtown? Try 17 three-pointers — yeah, you read that right — obliterating their previous franchise mark of 16. But here’s the kicker: six different Mercury players knocked down multiple triples, matching a WNBA record that perfectly captures the “pick your poison” nightmare they’ve become for opposing defenses.

Sami Whitcomb played conductor in this long-range symphony, drilling five threes on her way to 17 points. Yet somehow, the most electric moment came from an unlikely source. With the clock winding down and the record already in hand, 6-foot-7 center Kalani Brown — not exactly known for her perimeter game — stepped behind the arc and splashed just the second three-pointer of her career. The bench went absolutely wild.

The Mercury’s sharpshooting wasn’t just about quantity — their efficiency was off the charts. They shot a blistering 51.5% from the field (35-of-68) and matched that same clip from three-point territory (17-of-35). Even their free-throw shooting was locked in, with a crisp 20-of-24 showing from the stripe.

“This team is clicking on all cylinders right now,” noted a courtside analyst, in what might qualify for understatement of the season. The victory pushed Phoenix to 11-4 and stretched their winning streak to five games — something they hadn’t done since their 10-game heater back in 2021.

The scoring wealth spread around like butter on hot toast. Kahleah Copper dropped 16, Satou Sabally added 15, and Alyssa Thomas orchestrated it all with 11 points and 8 dimes. Brown and Kitija Laksa chipped in 11 each, showcasing the depth that’s made Phoenix such a handful this season.

For Chicago (3-9), it was another tough day at the office. Kamilla Cardoso and Michaela Onyenwere tried to keep things respectable with 17 points apiece, but Angel Reese — usually a double-double machine — struggled to find her rhythm. She managed just nine points and, surprisingly, only two rebounds.

The win carries extra weight coming just 48 hours after Phoenix knocked off defending champ New York. With the Mercury set to host the Liberty again this Friday, they’re serving notice that their championship ambitions are more than just talk. And with any player capable of catching fire on any given night, good luck game-planning for this bunch.

Sometimes basketball really is as simple as putting the ball in the hoop. On Saturday, the Mercury did that better than they ever have before — and the rest of the WNBA better take notice.

Reality TV’s glossy veneer rarely shows the messier side of stardom, but HGTV personality Tarek El Moussa’s recent headlines paint a surprisingly complex portrait of fame in 2025. Between a Vegas altercation and touching family milestones, the “Flip or Flop” star’s week reads more like a plot from a drama series than a home renovation show.

The polished facade cracked on June 5th at The Palazzo at The Venetian Resort. What started as a verbal spat involving El Moussa’s father somehow spiraled into the kind of confrontation you’d expect outside a nightclub, not a luxury hotel. Security footage allegedly caught the renovation expert — usually seen calmly discussing kitchen backsplashes — shoving a 51-year-old man to the ground and (somewhat bizarrely) mounting him to deliver several punches. The victim walked away sporting a shiner and a nose cut — definitely not the kind of before-and-after transformation El Moussa typically showcases.

But life, much like home renovation, rarely follows a perfect blueprint. Just days after the Vegas dustup, El Moussa switched gears entirely, sharing heartfelt family moments on social media. His daughter Taylor’s high school transition prompted a surprisingly candid Instagram post, co-signed by both his current wife Heather Rae and ex Christina Haack. “We hope all the mistakes you’ve watched us make throughout your life help to guide you to a brighter future” — words that hit differently in light of recent events.

Meanwhile, back at the El Moussa household, 9-year-old Brayden’s been lobbying for a new sibling. His reasoning? Pure kid logic: he wants baby Tristan “a little bit farther” away so he won’t “get blamed for everything.” Hard to argue with that kind of negotiating strategy.

The family dynamics get even more interesting with Heather Rae El Moussa’s recent revelations. At 37, she’s eyeing what she calls the “now or never” window for another child, while her husband seems content with their current headcount. “My husband is very much done,” she shared on the Scrubbing in podcast — though given the family’s penchant for plot twists, who knows what 2025 might bring?

Despite the legal cloud hanging over the Vegas incident (El Moussa was cited but not arrested), the couple’s pushing forward with characteristic HGTV optimism. They’ve announced a new home purchase, promising to add their signature “El Moussa design flare” — presumably minus any Vegas-style drama.

The whole situation serves up a reminder that reality TV stars, despite their picture-perfect Instagram feeds and carefully staged homes, are just as prone to life’s messier moments as anyone else. Though most of us, thankfully, don’t have security footage to document our worst days.

Even Kitchen Warriors Have Their Kryptonite

Who would’ve thought that Gordon Ramsay — the man who can reduce professional chefs to tears with a single glare — would find his match in a delivery room? The celebrity chef recently confessed to fainting “like a wimp” during the birth of his fifth child, Oscar, proving that even culinary titans have their breaking points.

For years, Tana Ramsay (the unsung hero who’s managed to keep Gordon in check for two decades) had maintained a strict “delivery room embargo” on her husband. “You’re not going to f—— see me in that state,” she’d declared, preferring the company of both grandmothers-to-be during the births of their first four children. Fair enough — anyone who’s watched Kitchen Nightmares might understand her hesitation.

But something changed with Oscar’s arrival. Perhaps it was a moment of weakness, or maybe Tana finally decided her husband had earned his stripes. Whatever the reason, Gordon found himself standing in the operating theater during the C-section, attempting to drown out the “commotion” with — of all things — Ed Sheeran’s melodic crooning. (Because nothing says “welcome to the world” quite like “Perfect” playing in the background, right?)

The scene that unfolded next could’ve been lifted straight from a Richard Curtis romantic comedy. Picture this: The mighty Gordon Ramsay, master of Michelin-starred kitchens, watching wide-eyed as “two more doctors dive in.” Blood everywhere — and not the kind he’s used to seeing during a busy dinner service. The man who regularly navigates the controlled chaos of professional kitchens found himself thoroughly unprepared for the raw reality of childbirth.

Then came the coup de grâce. As staff handed baby Oscar to the proud father, Ramsay — in his own words — “collapsed like a f—— idiot.” Somewhere, Ed Sheeran’s voice probably continued to float through the air, providing an oddly appropriate soundtrack to the unconscious chef’s momentary exit from reality.

Beyond this delightfully humbling tale lies a touching glimpse into the Ramsay family dynamic. The chef speaks with unmistakable pride about his children’s diverse career paths. Megan’s chosen to protect and serve as a London police officer, while Jack’s taken up the mantle of a Royal Marines Commando. Then there’s Tilly, whose decision to attend Ireland’s Ballymaloe Cookery School rather than learn under her father’s wing left him — as he puts it — “a little bit miffed.” Though given his television persona, one can hardly blame her for seeking culinary wisdom elsewhere.

The Ramsay clan welcomed their newest addition, Jesse James, in 2023. Whether Gordon managed to remain vertical during this latest arrival remains a closely guarded family secret. But one thing’s certain: beneath that famously explosive exterior beats the heart of a father who’s not afraid to show his vulnerable side — even if it means admitting he was knocked out cold by the miracle of birth while Ed Sheeran played in the background.

And really, isn’t that just perfectly human?

Ed Sheeran’s latest track “Drive” isn’t just another addition to his repertoire—it’s a full-throttle departure from his usual acoustic comfort zone. The song, destined for the upcoming F1 movie soundtrack dropping next summer, assembles a pit crew of musical legends that reads like a Rock and Roll Hall of Fame roster.

Picture this: John Mayer wielding his guitar with characteristic finesse, Dave Grohl hammering away at the drums with that raw Foo Fighters energy, and the legendary Pino Palladino (yeah, the same guy who’s powered The Who and Eric Clapton’s rhythm sections) holding down the bass line. Throw in Foo Fighters’ Rami Jaffee on keys, and you’ve got yourself a supergroup that most producers can only dream about.

The track marks a serious gear shift for Sheeran. Gone are the gentle strums and polished pop productions that dominated his earlier releases. This is Sheeran in overdrive, crafting what he describes as a “proper rock song”—the kind that begs to be cranked up to eleven while tearing down an open highway.

What’s particularly fascinating about “Drive” is how organically it came together. According to Sheeran’s recent Billboard interview, the creative process was smoother than a Formula 1 car gliding through Monaco’s hairpin turn. Working alongside Mayer and producer Blake Slatkin, the song practically wrote itself. There’s something beautifully unscripted about Mayer’s approach—just slapping on an octave pedal and letting loose, creating that signature riff that’ll probably be stuck in everyone’s head through 2025’s summer blockbuster season.

But this isn’t just another paycheck project for Sheeran. “Movies are my hobby,” he confessed, displaying an almost fanboy-like enthusiasm for being part of the filmmaking process. It’s refreshing to see an artist of his caliber still getting genuinely excited about new creative ventures.

The track finds itself in good company on F1: The Album, sharing space with an eclectic mix of artists. From Don Toliver featuring Doja Cat to ROSÉ, Chris Stapleton, and Burna Boy—the album’s as diverse as the international circus that is Formula 1 racing itself. Atlantic Records has set the green light for June 27, perfectly timed with the film’s theatrical launch.

“Drive” feels like more than just another movie soundtrack contribution—it’s a high-octane fusion of motorsport adrenaline and rock and roll spirit. In a world where streaming algorithms often dictate musical direction, there’s something wonderfully authentic about this collaboration. It’s the sound of musicians actually playing together, creating something that captures both the technical precision and raw excitement of Formula 1 racing.

And isn’t that what great rock and roll is all about?

Madonna’s iPad-Gate at “Hamilton” Gets a Fresh Spotlight

Nearly a decade after Madonna’s infamous “Hamilton” incident, Broadway’s whisper network is buzzing again. Anthony Ramos, an original cast member of the groundbreaking musical, recently spilled some fresh tea about that memorable 2015 evening when the Material Girl seemed more interested in her digital materials than the revolutionary storytelling unfolding onstage.

During a candid chat with Andy Cohen on “Watch What Happens Live!” Ramos didn’t hold back. When asked about intimidating celebrity audience members, he zeroed in on Madonna’s distracting device devotion. “The most terrifying was Madonna with her iPad in her face,” he recalled, demonstrating how the pop icon remained glued to her screen throughout the performance.

The irony? Here’s a performer who cut her teeth in New York theater — from treading the boards in Mamet’s “Speed-the-Plow” to bringing Eva Perón to life on screen. You’d think she’d know better.

The aftermath sparked a deliciously messy he-said-she-said situation. Lin-Manuel Miranda — in a tweet that vanished faster than Alexander Hamilton’s political aspirations — apparently threw some diplomatic shade: “Tonight was the first time I asked stage management NOT to allow a celebrity (who was texting all through Act 2) backstage. #noselfieforyou.”

Madonna’s team scrambled to do damage control, naturally. Her publicist insisted to Us Weekly that not only was the story false, but Madonna had been invited backstage four separate times. They even played the charity card, noting she’d made a “generous donation” during the show’s fundraising pitch.

But Jonathan Groff — whose King George III practically stole the show — wasn’t having any of it. His take? Pure Broadway gold: “That b**** was on her phone.” He painted a vivid picture of Madonna’s illuminated face creating a jarring beacon in the darkened theater, visible through “three-quarters of the show.”

This wasn’t Madonna’s first phone faux pas, mind you. Back in 2013, she reportedly got herself banned from the Alamo Drafthouse theater chain for texting during “12 Years a Slave.” When called out, she allegedly snapped back with an eyebrow-raising “It’s for business…enslaver!” (Yikes.)

The whole debacle speaks volumes about our evolving relationship with technology and live performance. Even as we approach 2025, when virtual reality theater experiences are becoming mainstream, there’s still something sacred about live theater that demands presence — both physical and mental.

Let’s face it: if you’re going to watch a groundbreaking musical that would go on to snag 11 Tony Awards and a Pulitzer Prize, maybe — just maybe — the group chat can wait until after the curtain call.

As this story finds new life through Ramos’s recent revelations, it serves as a reminder that some moments deserve our full attention. After all, you don’t want to miss Hamilton’s son getting shot because you’re too busy shooting off emails — even if you’re the Queen of Pop herself.

Hollywood’s favorite dysfunctional family saga is getting another chapter, and darlings, the casting news is absolutely delicious. Owen Wilson — yes, that impossibly perfect specimen of sun-kissed charm — is stepping back into his role as Kevin Rawley for Universal’s fourth “Meet the Parents” installment. Talk about perfect timing for some much-needed nostalgic comfort food.

Remember that “circle of trust” that Robert De Niro’s Jack Byrnes kept talking about? Well, the gang’s all here, with Ben Stiller and Teri Polo reprising their roles as Greg and Pam. But here’s where things get interesting — pop princess Ariana Grande is joining the family circus as a fiancée who’s apparently rubbing everyone the wrong way. (Some families never change, do they?)

Wilson’s Kevin Rawley remains the franchise’s most delectable secret weapon. That wealthy, multi-talented ex who somehow managed to do everything right while poor Greg fumbled through family dinners? Pure entertainment gold. And now — in what might be the most divine twist of karmic justice — Greg finds himself exactly where Jack once stood. Producer Jane Rosenthal dropped this little gem in Variety: Stiller’s now hitting the same age De Niro was in the original, with grown kids of his own coming home to… well, meet the parents.

The numbers don’t lie, sweethearts. When the first film hit theaters back in 2000, it didn’t just succeed — it dominated the box office like a perfectly timed punchline, hauling in north of $330 million globally. Fast forward through three films, and we’re looking at a cool $1.13 billion worldwide. Seems family dysfunction never goes out of style.

Behind the scenes, the creative team reads like a Hollywood power lunch guest list. John Hamburg, who’s penned all three previous installments, is sliding into the director’s chair fresh off his collaboration with Wilson on Apple TV+’s “Stick.” The producing roster sparkles with industry heavyweights: Jane Rosenthal and De Niro’s Tribeca Productions, Jay Roach’s Delirious Media, and the dynamic duo of Stiller and John Lesher through Red Hour Films.

Mark those calendars for November 25, 2026 — though honestly, who can think that far ahead when we’re still processing all those AI-generated Taylor Swift images from last month’s social media meltdown? But the real questions keeping everyone up at night: Will Kevin still rock that perfectly tousled blonde mane? Has Greg finally earned his spot in the hallowed circle of trust? And please, please tell us Grande’s bringing that signature ponytail to the family dinner table.

Let’s be real — this franchise has always understood something fundamental about family gatherings: they’re comedy gold mines waiting to be excavated. With Wilson back in the mix (looking presumably ageless, because some things in Hollywood never change), we’re practically guaranteed another round of squirm-inducing moments that’ll make your last Thanksgiving look like a zen retreat.

Hollywood’s latest power play might just redefine what we expect from reboots. The long-whispered “Highlander” remake has finally materialized, and the casting choices are sending shockwaves through Tinseltown’s corridors. Russell Crowe and Henry Cavill — a pairing that feels almost too perfect for 2025’s appetite for nostalgic reinvention — are stepping into the immortal realm of sword-wielding warriors.

After years of development hell (where good scripts go to languish, darlings), Amazon MGM Studios’ United Artists banner has rescued this gem from obscurity. And thank heavens they’re not relegating it to the streaming wasteland — this one’s getting the full theatrical treatment it deserves.

The casting department deserves whatever they’re being paid, and then some. Crowe, whose “Gladiator” performance still echoes through cinema history, paired with Cavill’s statuesque presence? Pure genius. It’s the kind of casting that makes even jaded industry veterans sit up and take notice.

Remember the 1986 original? That gloriously camp masterpiece with Christopher Lambert and Sean Connery created something special — a cult phenomenon that refused to fade away (much like its immortal protagonists). The franchise spawned more sequels than a Marvel phase and a television series that had an entire generation secretly practicing their sword-fighting stance.

Chad Stahelski’s involvement as director feels particularly inspired. Fresh off the success of the “John Wick” saga, his understanding of choreographed combat brings a certain… finesse to the proceedings. Then there’s Michael Finch handling the script — and anyone who’s seen “John Wick: Chapter 4” knows the material’s in capable hands.

The production team reads like a Hollywood power lunch guest list. Scott Stuber (yes, Netflix’s former film chief) is producing alongside Neal H. Moritz and Stahelski’s 87Eleven Entertainment. They’ve secured full franchise rights, suggesting ambitions that stretch far beyond a single film — perhaps we’re looking at 2025’s next major franchise launch?

Crowe, meanwhile, hasn’t exactly been resting on his laurels. Between wrapping “Nuremberg” with James Vanderbilt and tackling projects like Netflix’s “Unabom,” “Billion Dollar Spy,” and “Bear Country,” the man’s schedule resembles a small studio’s release calendar.

Production timeline details remain as closely guarded as awards season screeners. But given Amazon MGM’s recent theatrical commitment and the caliber of talent involved, this isn’t merely another reboot destined for development limbo. It’s shaping up to be the kind of theatrical event that could remind audiences why they fell in love with cinema in the first place.

In an era where streaming platforms seem to announce new content every twenty minutes, there’s something refreshingly bold about betting on theatrical release for a property like “Highlander.” Perhaps there can be only one, but this particular one might just be exactly what Hollywood needs right now.

Hollywood’s surrealist maestro David Lynch proved yet again that genuine artistic mystique trumps mass-market appeal. His recent auction of personal treasures and cinematic artifacts raked in a jaw-dropping $4.25 million — not bad for a collection that includes everything from coffee machines to cryptic film scripts.

The Peninsula Beverly Hills became ground zero for Lynch devotees and deep-pocketed collectors this Wednesday. Picture this: nearly 450 pieces of pure Lynchian magic up for grabs, each item steeped in the kind of otherworldly charm that made “Twin Peaks” a cultural phenomenon.

The real showstopper? A collection of 11 scripts from Lynch’s famously unmade “Ronnie Rocket: The Absurd Mystery of the Strange Forces of Existence.” These yellowing pages of cinematic what-ifs commanded an astounding $195,000 — quite possibly setting a record for the most expensive unmade film scripts in recent memory. (Take that, development hell.)

Meanwhile, across the Pacific, Chinese retailers are struggling to drum up enthusiasm for their “618” shopping festival. The month-long discount bonanza wrapped up Wednesday with more of a fizzle than a bang. “I don’t have anything special to buy… Because there are always great deals,” sighed Beijing film industry worker Xu Binqi — perfectly capturing the paradox of endless promotions.

Lynch’s auction items, however, were anything but ordinary. His iconic red director’s chair — that sacred perch from which nightmares and dreams were woven into celluloid gold — fetched $91,000. For the caffeine-obsessed cognoscenti, Lynch’s La Marzocco GS/3 espresso machine (presumably responsible for fueling those 3 AM creative sessions) perked its way to $45,500.

The sale transformed everyday objects into talismans of cinematic history. “Mulholland Drive” production scripts sparked a bidding war, eventually landing at $104,000. Even seemingly mundane items like Winkie’s diner menus found eager buyers at $7,800. And that Log Lady mug? An Edmonton potter’s creation commanded $11,700 — proof that in Lynch’s universe, even coffee vessels possess supernatural significance.

This fascination with artistic authenticity stands in stark contrast to China’s retail doldrums. “In the past… I used to spend a lot of money stockpiling goods,” admits shopper Eve Wang, “but now… I only buy what I need.” Sound familiar?

The collection painted an intimate portrait of Lynch’s creative universe — from mounted deer heads to those instantly recognizable Twin Peaks red curtains and black-and-white zigzag rugs (which, by the way, fetched $32,500). His custom-built five-neck guitar struck a $39,000 chord, reminding everyone that Lynch’s artistic vision never did play by conventional rules.

Perhaps there’s a lesson here for retailers worldwide: authenticity and genuine cultural significance will always outshine manufactured shopping events. As Rachel Lee of Worldpanel China notes, “standalone promotional discounts will find it increasingly difficult to drive volume growth.” In both commerce and art, it seems the real deal still reigns supreme.

Who knew that in 2025’s digital-first landscape, physical artifacts from an analog dreamer would prove such a hot commodity? Then again, maybe that’s exactly why they’re so valuable.

Fox Corp just pulled off the media equivalent of a royal wedding in Latin America, and darlings, it’s absolutely delicious. Their latest conquest? Caliente TV — a purchase that’s got everyone buzzing, though Fox is playing fashionably coy about the price tag.

Think of it as acquiring the crown jewels of Mexican sports broadcasting. We’re talking the crème de la crème here: UEFA Champions League matches that keep viewers glued to their screens, the elegant footwork of France’s Ligue 1, and select servings of Liga MX that Mexican audiences devour like their favorite telenovelas.

But this isn’t just another corporate shopping spree (heaven knows we’ve seen enough of those lately). Fox is orchestrating something far more ambitious — a complete entertainment makeover that would make even the most seasoned Hollywood producer’s jaw drop. The blueprint? A spanking new pay TV channel complemented by a video-on-demand service that’ll play nice with Fox’s streaming darling, Tubi.

Directing this spectacular production is Carlos Martinez, Fox’s executive VP and managing director for Latin America. With three decades of broadcast wizardry under his belt, he’s the chosen maestro to conduct this ambitious symphony across Mexico and Central America. His ensemble? A talented troupe of over 350 industry professionals waiting to take their cues.

The timing couldn’t be more perfect as we head into 2025. Fox has been riding high on advertiser love across its platforms — from the chattering heads at Fox News to the pulse-racing action of Fox Sports. Their latest quarterly performance? Absolutely fabulous, darling, sailing past those pesky analyst expectations.

Here’s where it gets interesting — this Mexican venture is just one scene in Fox’s greater streaming drama. Their new subscription service, Fox One, is set to make its grand debut before football season kicks off stateside. It’s all part of a carefully choreographed expansion that’s more intricate than a Busby Berkeley number.

Wall Street’s reaction has been… well, cautiously optimistic might be putting it mildly. They’ve slapped a “Moderate Buy” consensus rating on FOXA stock, projecting a modest 5% upside potential. The average price target? A rather respectable $57.43 per share.

In the end, this isn’t just about adding another channel to the lineup or nabbing some streaming rights. It’s Fox painting their masterpiece across the canvas of Latin American entertainment. And from where this columnist is sitting, it’s shaping up to be quite the showstopper.

The media landscape never sits still — and these days, it’s spinning faster than a TikTok feed on caffeine. From streaming wars to international tech innovations, recent developments paint a fascinating picture of an industry in perpetual motion.

Fox Corporation’s latest power play deserves a closer look. They’ve just snagged Caliente TV, marking their territory in Mexican sports broadcasting with characteristic swagger. While they’re keeping the price tag under wraps (don’t they always?), this move speaks volumes about Fox’s ambitions south of the border. Carlos Martinez, their Latin American exec VP, has cooked up a rather clever strategy — serving up both traditional pay TV and streaming options. Smart move, really. Not everyone’s ready to cut the cord just yet.

The timing’s no accident, either. With Fox One’s streaming service ready to launch just as football season kicks off, you can practically hear the boardroom strategists patting themselves on the back. Wall Street seems cautiously optimistic — their “Moderate Buy” consensus suggests a 5% upside potential. Not exactly Netflix-circa-2020 numbers, but hey, steady wins the race.

Speaking of winning races… Shanghai’s throwing its hat into the international travel ring with something called “Easy Go.” Set to debut before the 2025 Shanghai Summer International Consumption Season (try saying that five times fast), this Alipay-powered platform is basically a digital concierge on steroids. Food delivery? Check. Tax refunds? You got it. English interface? But of course. It’s like Shanghai looked at the future and said, “We’ll take it all, thanks.”

Meanwhile, back in the States, things are getting… complicated. The 9th Circuit Court of Appeals just extended its block on returning California National Guard control to Governor Newsom. That’s roughly 4,000 troops staying under federal command — and here’s where it gets interesting. The court’s decision crossed party lines faster than a politician during election season, with both Trump and Biden appointees finding common ground.

The legal nitty-gritty hinges on Title 10, which lets presidents deploy the National Guard when there’s a “rebellion or danger of rebellion.” Justice Department lawyer Brett Shumate didn’t mince words, warning that ruling otherwise would put federal judges “on a collision course with the commander in chief.” Talk about dramatic flair in the courtroom.

President Trump, never one to let a legal victory go quietly into the night, jumped onto social media with characteristic bombast. His call for “the single largest mass deportation program in history” suggests this particular chess game is far from over.

What’s fascinating about all this? The way these seemingly separate threads — media acquisitions, tech innovations, political power plays — weave together into a tapestry of modern society. It’s getting harder to tell where one industry ends and another begins. Traditional boundaries? They’re about as solid as last year’s streaming subscription numbers.

Maybe that’s the real story here. In a world where a Mexican sports channel acquisition can ripple through to immigration policy discussions, and where Shanghai’s tech innovations might influence how American cities approach tourism… well, perhaps we’re all just playing catch-up with reality.