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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.

Who would’ve thought that in 2025, we’d see Maroon 5 staging their comeback by diving headfirst into the K-pop universe? Yet here we are, watching Adam Levine and crew bridge the gap between Western pop-rock and the unstoppable force of Korean pop culture with their latest single “Priceless” — and surprisingly, it works.

The collaboration with Blackpink’s Lisa marks more than just another cross-cultural experiment. It’s a deliberate return to form for a band that’s spent the better part of a decade shape-shifting through various pop incarnations. The track’s raw, guitar-driven sound feels like stumbling upon an old photo album — slightly dusty, but full of cherished memories.

“It’s just a guitar-based song, which we haven’t really done in so long,” Levine shared recently, his voice tinged with the kind of nostalgia that can’t be manufactured. Perhaps the most endearing detail? The guitar intro was captured on Levine’s iPhone — a charmingly lo-fi touch in an era of overproduced perfection.

The timing couldn’t be more crucial for Maroon 5. Their last real chart success came with 2021’s “Beautiful Mistakes” featuring Megan Thee Stallion, which peaked at No. 13 on the Hot 100. Since then? Well, let’s just say 2023’s “Middle Ground” didn’t exactly set the world on fire.

Enter Lisa — Blackpink’s powerhouse performer whose solo ventures have been nothing short of remarkable. Her presence on “Priceless” isn’t just strategic; it’s transformative. The cinematic music video, helmed by director Aerin Moreno, pays homage to “Mr. & Mrs. Smith” while showcasing both artists in their element. Shot on 35mm film in downtown Los Angeles, it’s got that timeless quality that’s becoming increasingly rare in today’s digital-first landscape.

For the die-hard fans who’ve stuck around since the “Songs About Jane” era, guitarist James Valentine’s reaction to the demo might hit close to home. “I got super emotional,” he admits, noting how the track channels the band’s early-2000s essence. It’s that sweet spot before they became the pop behemoth we know today — when their sound was still rough around the edges in all the right ways.

Looking ahead, Maroon 5’s got their plates full. Their eighth studio album is set to drop this summer, while their Las Vegas residency at Dolby Live at Park MGM continues to draw crowds even after 40 shows. A world tour looms on the horizon, suggesting the band’s far from done.

In an industry where rock bands increasingly feel like endangered species — just ask OneRepublic or Imagine Dragons — Maroon 5’s latest reinvention might just crack the code on staying relevant without selling out. Whether “Priceless” returns them to their chart-topping glory remains to be seen, but one thing’s certain: they’re proving that sometimes the best way forward is to remember where you started.

The real question? Maybe it’s not about chasing trends or forcing evolution. Sometimes it’s about finding that sweet spot between what you were and what you could be — even if it takes a detour through K-pop to get there.

Hollywood’s relentless reshuffling continues to shake up the television landscape, with CBS delivering a particularly stinging blow this week. The network quietly pulled the plug on “The Equalizer,” Queen Latifah’s groundbreaking reimagining of the 1980s classic — and honestly, the timing couldn’t feel more bittersweet.

The show’s May 4 finale now stands transformed from season closer to series farewell, marking the end of a five-season run that proved action heroes don’t need to fit a predictable mold. Queen Latifah’s portrayal of Robyn McCall brought a fresh perspective to the vigilante narrative, though apparently even that wasn’t enough to dodge CBS’s spring cleaning spree.

Speaking of timing — the television world seems determined to remind us of both endings and legacies this week. While “The Equalizer” joins the growing list of CBS casualties (goodbye “FBI: International,” “FBI: Most Wanted,” and newcomer “Poppa’s House”), we’re also processing the loss of a true comedy pioneer. Ruth Buzzi, whose wit could cut through pretense like a hot knife through butter, passed away at 88 in her Texas home on May 1.

Let’s pause for a moment to appreciate Buzzi’s remarkable impact. Her Emmy-nominated work on “Rowan & Martin’s Laugh-In” didn’t just earn her a Golden Globe — it helped shape the DNA of modern sketch comedy. That spinster character Gladys Ormphby? Pure gold. Even in her final years, facing health challenges including Alzheimer’s and multiple strokes, Buzzi’s trademark humor never dimmed. After her 2022 health scare, she quipped about cremation arrangements, noting she “wasn’t quite ready to make an ash” of herself. Classic Buzzi.

The contrast between these two television moments feels particularly stark. Here’s “The Equalizer,” a show that dared to reimagine an action classic through a fresh lens, getting the network equivalent of a text message breakup — no flowery press release, just radio silence. Meanwhile, we’re saying goodbye to someone who helped write the rules of television comedy, whose influence still echoes through every late-night sketch and variety show.

Buzzi’s final chapter was touchingly human. Her husband of 43 years, Ken Perkins, shared details about her 86th birthday celebration — how she wanted pie instead of cake, specifically “apple crunch pie with vanilla ice cream.” Such small details somehow make the loss feel more real, more personal.

Television keeps evolving, doesn’t it? From Buzzi’s groundbreaking comedy to Latifah’s barrier-shattering action hero, the medium continues to reinvent itself. Sure, some chapters end too soon (looking at you, potential “Equalizer” spinoff), while others leave us with decades of memories to cherish. That’s showbiz, darling — always keeping us guessing, always moving forward, even as we pause to remember those who helped pave the way.

Oh, sweeties, grab your sonic screwdrivers and your sequined jumpsuits — television history is about to serve us the most deliciously bizarre crossover event since Lady Gaga wore that meat dress to the VMAs. In a stroke of programming genius that feels like it was cooked up during a particularly spirited afternoon tea with the BBC executives, “Doctor Who” sensation Ncuti Gatwa is stepping into not one, but two Eurovision spotlights this May. And darling, the timing couldn’t be more perfect as we navigate the post-Barbie pink cultural landscape of 2025.

The absolutely radiant Gatwa — who’s been absolutely slaying it as the latest Time Lord — is set to follow in the glamorous footsteps of Dame Joanna Lumley and the delectable Nigella Lawson as the UK’s Eurovision spokesperson. But hold onto your fascinators, because that’s merely the appetizer in this feast of fabulous.

May 17th (mark those calendars, darlings) brings us what the entertainment gods are calling “Super Saturday.” Picture this: First, we’re treated to Gatwa starring in “The Interstellar Song Contest,” a Eurovision-themed Doctor Who special that sounds like something dreamed up after one too many glasses of prosecco at a BBC writers’ retreat. Then — because apparently the universe does occasionally give us exactly what we need — he’ll materialize in Basel, Switzerland, to deliver the UK’s jury votes live from the actual Eurovision competition.

The Doctor Who special deserves its own moment in the spotlight, sweeties. Set at the 803rd Interstellar Song Contest (because why stop at Eurovision when you can go intergalactic?), it’s bringing us the absolutely perfect casting of Graham Norton. And not just as a drive-by cameo, mind you — showrunner Russell T Davies has promised Norton gets “a whole plot twist all to himself.” Frankly, anything less would’ve been criminal.

Speaking of inspired choices that make perfect sense after three martinis, beloved TV personality Rylan Clark is joining this cosmic carnival as co-host. It’s the kind of casting that makes you wonder if somewhere, in an alternate universe, there’s a TARDIS working overtime as a talent agency.

Meanwhile, back on our humble little planet, the actual Eurovision Song Contest is shaping up to be its own spectacular circus. The UK’s entry, Remember Monday, will be performing “What The Hell Just Happened?” — a title that feels like it was specifically crafted for both Eurovision and Doctor Who fans to appreciate on multiple levels.

As one of the “big five” nations (alongside Spain, Germany, France, and Italy), the UK’s already secured its spot in the grand finale, joining Switzerland in what promises to be a glitter-bombed extravaganza of epic proportions. The remaining finalists will emerge from the semi-finals on May 13 and 15, like perfectly coiffed phoenixes rising from a sea of wind machines and key changes.

There’s something rather poetic about Gatwa taking the spokesperson mantle from Catherine Tate, who held the role in 2023. It’s creating what one hopes might become a delicious new tradition of Time Lords announcing points across Europe — though perhaps we should wait until after May 17 before we start calling it a pattern, darlings.

This marriage of Doctor Who and Eurovision is exactly the kind of television event that reminds us why British entertainment continues to reign supreme. It’s bold, it’s completely bonkers, and it’s absolutely brilliant. In a world where streaming platforms are constantly trying to reinvent the wheel, this is the kind of programming that proves sometimes the best television moments come from simply throwing two beloved institutions together and watching the sparkles fly.

Magic, monarchy, and mounting controversies have dominated entertainment headlines lately, creating a perfect storm of cultural clash that would make even Merlin’s head spin. The entertainment industry finds itself walking increasingly precarious tightropes, particularly when it comes to HBO’s Harry Potter predicament and the seemingly endless royal family saga.

HBO’s latest attempt to manage the J.K. Rowling controversy feels about as effective as trying to catch the Golden Snitch while blindfolded. Chief content officer Casey Bloys’ suggestion that concerned viewers take their grievances to Twitter — rather than addressing the elephant in the Great Hall — has raised more than a few eyebrows in the industry.

“We’ve got C.B. Strike with her already, and her views are her views,” Bloys stated matter-of-factly on “The Town” podcast, attempting to separate the magical franchise from its controversial creator. But here’s the rub — when you’re dealing with a $7.7 billion franchise and its architect remains “fairly involved” in everything from writer selection to casting opinions, that separation becomes about as possible as teaching a troll ballet.

The show’s cast has already started splitting along philosophical lines that would make the Sorting Hat’s job look simple. Take John Lithgow’s rather dismissive questioning of why Rowling’s views should matter at all, contrasted with Paapa Essiedu’s (our new Professor Snape) decisive stance supporting trans rights through an open letter in the U.K.

Meanwhile, across the pond, another kind of magical narrative is unfolding. Meghan Markle’s recent appearance on The Jamie Kern Lima Show painted Prince Harry as her personal Nintendo hero — complete with princess-saving capabilities. “That man loves me so much,” she shared, comparing their story to a video game finale. The gaming metaphor might seem cheeky, but it’s surprisingly apt given their ongoing battles with Britain’s oldest institution.

Their story — two kids, a “beautiful life,” and an ongoing crusade for family security — continues to unfold against a backdrop of strained relationships with King Charles and company. The palace’s characteristic silence speaks volumes, though perhaps not as loudly as Piers Morgan’s persistent calls for title-stripping.

What’s fascinating about both situations is how they mirror the entertainment industry’s broader struggles with authenticity and accountability in 2025. Whether it’s HBO trying to navigate the choppy waters of creator controversy or the royal family attempting to maintain its dignity while family drama plays out on global streaming platforms, old institutions are discovering that traditional PR playbooks don’t quite cut it anymore.

The suggestion that Twitter should serve as the proper forum for complex social debates feels about as current as a flip phone. Similarly, the palace’s “never complain, never explain” approach seems increasingly tone-deaf in an era where transparency isn’t just appreciated — it’s expected.

Perhaps the real question isn’t whether we can separate art from artist, or institution from individual. Maybe we’re all just stuck in a game where the rules keep changing, and nobody remembered to save their progress. In the end, both HBO and the House of Windsor might need to realize that sometimes the most magical thinking of all is believing you can avoid addressing the dragon in the room.

HBO’s latest venture into the Wizarding World feels a bit like trying to perform a complex charm while riding a temperamental hippogriff. The network’s ambitious Harry Potter series reboot, slated for a 2025 debut, finds itself caught in a peculiar magical crossfire — and that’s before anyone’s even uttered “Lumos.”

The casting announcements have certainly stirred the cauldron. John Lithgow stepping into Dumbledore’s robes? That’s the kind of inspired choice that makes television executives sleep easier at night. Paapa Essiedu taking on the complexities of Severus Snape? Now there’s a fascinating twist that could breathe new life into one of literature’s most compelling antiheroes.

But here’s where things get sticky — stickier than a chocolate frog left too long in the sun. HBO’s trying to pull off quite the vanishing act, distancing the show’s creative direction from J.K. Rowling’s controversial views while somehow keeping her “very, very involved” in the production process. Casey Bloys, HBO’s chief content officer, practically needed a time-turner to navigate his recent podcast appearance, where he assured listeners that the series wouldn’t be “secretly infused with anything.”

Warner Bros Discovery isn’t just dipping its toe in the pensieve, mind you. They’re diving headfirst into a decade-long commitment to the franchise. CEO David Zaslav’s vision of “10 consecutive years of Harry Potter” sounds less like a television series and more like a cultural marathon. Perhaps they’re hoping that by 2035, the current controversies will be ancient history, filed away in the Room of Requirement.

The whole situation’s created some rather interesting alliances. Picture this: Daniel Radcliffe and Emma Watson on one side, openly challenging their former mentor’s views, while John Lithgow stands somewhat bewildered by the whole affair. “Why is this a factor at all?” he mused to The Times, sounding rather like someone who’d accidentally wandered into the wrong common room.

Meanwhile, the calls for boycotts keep growing louder — particularly after Rowling’s recent comments on the Supreme Court’s definition of woman. It’s enough to make even the most seasoned PR wizard reach for their Felix Felicis. Eddie Redmayne and other Fantastic Beasts alumni have signed an open letter supporting the LGBT+ community, creating a rather awkward family reunion scenario at the Three Broomsticks.

HBO’s corporate messaging walks a tightrope that would make a Quidditch player nervous. Their carefully worded statement about Rowling’s “right to express her personal views” pivots faster than a Nimbus 2000 to emphasize the “heartwarming” themes of friendship and acceptance. The irony’s thick enough to spread on toast.

The casting choices themselves seem designed to create a more inclusive Hogwarts — though one might wonder if diversity in front of the camera can offset controversy behind it. Essiedu’s casting as Snape, in particular, promises to bring fresh nuance to a character whose complexity already rivals the Room of Requirement’s ever-changing nature.

As production moves forward (somewhere in Britain’s rainy corners), HBO faces a challenge worthy of the Triwizard Tournament: how to honor the essence of a beloved franchise while acknowledging the changed cultural landscape it now inhabits. Can they successfully separate the art from the artist when the artist keeps sending howlers?

Time will tell if HBO can pull off this particular bit of magic. But one thing’s certain — they’re going to need more than a simple “Alohomora” to unlock the solution to this particular chamber of secrets.

In a delightfully unexpected twist that’s got British telly fans buzzing, Doctor Who’s newest Time Lord, Ncuti Gatwa, is stepping into yet another iconic role – this time as the UK’s Eurovision spokesperson. And honestly? The timing couldn’t be more perfect.

The charismatic 32-year-old star will be delivering the UK’s jury points during Eurovision’s grand finale in Basel next month. He’s joining quite the impressive roster of previous spokespeople – think Dame Joanna Lumley with her razor-sharp wit and the ever-fabulous Nigella Lawson.

But here’s where things get properly interesting.

The BBC has cooked up something rather special for what they’re dubbing “Super Saturday” on May 17. While Gatwa prepares to don his spokesperson hat for the real Eurovision, viewers can catch him in a rather different musical adventure – “The Interstellar Song Contest,” a Eurovision-themed Doctor Who episode that promises to be exactly as bonkers as it sounds.

Picture this: The Doctor and his companion Belinda Chandra (played by the brilliant Varada Sethu) find themselves at the 803rd Interstellar Song Contest. And who better to help guide them through this cosmic celebration than Eurovision legend Graham Norton himself? Showrunner Russell T Davies couldn’t contain his excitement about Norton’s involvement, revealing that it’s “not just a cameo” – apparently, the beloved presenter has “a whole plot twist all to himself.”

The real Eurovision Song Contest, now in its 69th year, seems determined to match the Doctor’s adventures in terms of spectacle. Remember Monday, the UK’s hopefuls, will be performing their curiously titled track “What The Hell Just Happened?” – competing against 25 other nations for Eurovision glory. As one of the ‘big five,’ the UK’s already secured its spot in the finale, alongside host nation Switzerland.

For those keeping track (and really, who isn’t?), the remaining 20 finalists will emerge from the semi-finals on May 13 and 15. Only the top 10 from each night will make it through – no TARDIS-assisted second chances here.

Want to catch all the action? “The Interstellar Song Contest” drops on BBC iPlayer at 8am on May 17, serving as the perfect warm-up before Gatwa takes center stage at the actual Eurovision that evening at 8pm (BST) on BBC One.

It’s rather brilliant how the BBC has managed to weave together these two beloved institutions. One celebrates the universal language of music, while the other explores the infinite possibilities of space and time – and somehow, they’ve found the perfect connecting thread in Ncuti Gatwa. May 17 is shaping up to be quite the landmark moment in British entertainment history.

Who knows? Perhaps somewhere out there in the vast expanse of space and time, there really is an Interstellar Song Contest. Though one has to wonder if they’ve got anything quite like Eurovision’s famous douze points system…

Another television titan is trading their dawn patrol for destination unknown. Steve Doocy — Fox News’ longtime morning show stalwart — is ditching those brutal 3:30 AM wake-up calls for something decidedly more civilized. After logging an almost incomprehensible 31,607 hours of live television (yes, somebody actually sat down and counted), he’s joining the growing exodus of veteran broadcasters who’ve decided enough is enough.

Let’s be real. Those hours are brutal.

“The show is great. I love the show — but the hours suck,” Doocy admitted to Mediaite with the kind of refreshing honesty you rarely get from TV personalities these days. After nearly 6,828 pre-dawn wake-up calls, who could blame him for wanting to hit the snooze button permanently?

But hold the retirement party champagne. This isn’t so much a farewell as it is a rather brilliant reinvention. Doocy’s trading that infamous “curvy couch” for what might be television’s cushiest new gig — roaming correspondent extraordinaire. “Coast-to-coast host” is his new title, and it comes with a deliciously strategic twist: a home base in Florida, with appearances three days a week from anywhere between “the Carolinas to the Keys, from Middle America to Mar-a-Lago.”

Speaking of Mar-a-Lago… Even former President Trump couldn’t resist weighing in with a characteristically Trump-esque farewell: “You’ve always treated me fairly — sometimes a little more fairly than other times, but that’s okay.” Classic.

The human story here? It’s written between the lines of those endless pre-dawn drives. “When my kids were growing up, I never had breakfast with them. I was always here,” Doocy shared. Now he’s swapping those morning show monologues for breakfast with grandkids — a plot twist sweet enough to make Hallmark jealous.

Fox News clearly knows what they’re doing. With FOX & Friends still crushing the competition (drawing 1.5 million viewers and outpacing CNN and MSNBC’s morning shows combined), this arrangement keeps their golden goose while letting him spread his wings a bit. Smart move, considering how many familiar faces have been stepping back lately — Hoda Kotb, Lester Holt, Chuck Todd, just to name a few.

Perhaps this signals something bigger in the shifting sands of television news. As veteran broadcasters increasingly seek flexibility over tradition, maybe the future of morning news isn’t anchored to a Manhattan studio after all. Could be it’s wherever the story — and the storyteller — happen to land.

Oh, and those signature neckties? “You may never see me in a necktie again,” Doocy quipped. Now that’s what freedom looks like in 2025.

Netflix’s Dazzling Sweep at Peabody Awards Signals Streaming’s Golden Age

Darlings, the 85th Peabody Awards just dropped their winners list, and honey, Netflix isn’t just winning — they’re absolutely dominating the conversation. The streaming giant sashayed away with six gleaming trophies, proving that sometimes more really is more (especially when it comes to quality content).

Let’s dish about the highlights, shall we?

The raw nerve of “Baby Reindeer” — Richard Gadd’s gut-punch of a series that had everyone talking at last month’s industry soirée — leads Netflix’s victory parade. It’s the kind of brave, unflinching storytelling that makes even seasoned critics catch their breath. And don’t get me started on Andrew Scott’s deliciously dark turn in “Ripley” — that black-and-white masterpiece that’s more sumptuous than a vintage Dior gown. (The Caravaggio references? *chef’s kiss*)

HBO|Max (still getting used to that clunky rebrand, darling) proved they haven’t lost their magic touch, snagging four wins. Their surreal gem “Fantasmas” — Julio Torres’s fever dream of a series — is exactly the kind of boundary-pushing content that keeps the industry from getting too comfortable in last season’s ideas.

The documentary category this year? Absolutely fierce. Twelve winners that aren’t afraid to get their hands dirty with the messy bits of reality. “The Truth vs. Alex Jones” landed like a meteor, while “Will & Harper” showed us that sometimes the most powerful stories are also the most personal. (Will Ferrell and Harper Steele’s road trip had this columnist reaching for the tissues — and not just to blot my waterproof mascara.)

But here’s the real tea: This year’s winners are serving up global perspectives like never before. FX’s “Shōgun” finally gave us the Japanese-centered narrative we’ve been craving — proving that sometimes the best way to revamp a classic is to flip the script entirely.

PBS (still elegant after all these years) claimed three wins, including that absolute knockout “Mr Bates vs The Post Office” — which didn’t just win awards, it literally changed British law. Talk about impact, sweeties.

The ceremony itself is set to sparkle at the Beverly Wilshire on June 1, with Roy Wood Jr. working the room. Andrea Mitchell’s getting her flowers with the Career Achievement Award, while “SNL” — that eternal enfant terrible of American TV — snags the Institutional Award. After 49 seasons, they’re still serving looks and laughs.

In an era where everyone and their publicist is launching a streaming platform, these Peabody winners remind us what really matters: storytelling that makes us think, feel, and occasionally gasp into our champagne. It’s not about the platform, darlings — it’s about the power of the story.

And that’s the kind of tea that never gets cold.