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Vegas is about to turn its clocks back to 1969, and this time, it’s not just another throwback show.

The Westgate Las Vegas Resort & Casino has unveiled plans for what might be the most ambitious tribute to Elvis Presley’s legacy yet — a meticulous recreation of the King’s legendary ’69 comeback concert. Set for July 31, 2025 (exactly 56 years after the original show), this one-night spectacle aims to capture lightning in a bottle twice on the very same stage where Elvis first electrified Sin City.

Remember when tribute shows were just sequined jumpsuits and “Thank you, thank you very much”? Well, forget everything you know about Elvis impersonators. Travis Powell — whose uncanny channeling of the King has earned him international acclaim — steps into those iconic blue suede shoes with some serious credentials. He’s actually performed alongside Elvis’s original backing vocalists, The Sweet Inspirations, which adds a layer of authenticity you just can’t fake.

The attention to detail? Almost obsessive. We’re talking a nine-person backing vocal ensemble and an eight-piece band, all carefully selected to recreate that signature Vegas sound that changed entertainment forever. The setlist reads like a time capsule of American music — “Suspicious Minds,” “Love Me Tender,” “Jailhouse Rock” — songs that somehow feel even more relevant in 2025’s rapidly changing musical landscape.

Dawn Rawle, Westgate’s Senior VP of Marketing and Entertainment, puts it perfectly: “Elvis Presley’s legacy is woven into the very fabric of Westgate Las Vegas.” She’s not exaggerating — these walls have stories to tell.

The Westgate’s going all-in on this celebration (because really, when has Vegas ever done anything halfway?). The Cabaret Theater’s opening its doors from 9 PM to midnight for free performances by “The King Comes Home” cast. Meanwhile, Edge Steakhouse is serving up a “Love Me Tender” Prix Fixe Menu at $120 per person — think lobster bisque and surf-and-turf that would’ve made the King himself loosen his belt a notch.

Here’s what’s really impressive, though: tickets start at just $10. In an era where concert tickets can cost more than a month’s rent, the Westgate’s making sure everyone can be part of this historic recreation. It’s a refreshing move that feels perfectly timed for 2025’s ongoing conversations about accessibility in entertainment.

The International Theater itself stands as a testament to Vegas’s evolution. Recently renovated but still echoing with decades of showbiz history, it’s where past meets present in the most Vegas way possible. And on July 31, 2025 — what would’ve been Elvis’s 90th birthday year — those walls will vibrate once again with the sound that changed everything.

They’re encouraging guests to dress in late-60s fashion, which should make for some interesting interpretations given current retro trends. For one night, the Westgate becomes more than just another Vegas resort — it’s a time machine, taking us back to when one man in a jumpsuit could stop the city in its tracks.

In a town that’s constantly reinventing itself, sometimes looking back is the boldest move forward.

The music world dimmed a bit this week with the passing of Mike Peters, the fierce-hearted frontman of The Alarm, who left us Tuesday at 66. After dancing with cancer for nearly three decades, the Welsh rocker’s final bow came with characteristic grace – a haunting farewell track called “Totally Free” that hits differently now, echoing with newfound meaning as he sang about finally breaking free.

Peters wasn’t just another punk kid turned rock star. His journey from watching the Sex Pistols tear up a stage in ’76 to becoming a beacon of hope for countless cancer warriors speaks volumes about the man behind the microphone. Back then, he was just Michael Leslie Peters from Rhyl, Wales, cutting his teeth in a band called The Toilets – yeah, really – before The Alarm emerged as something altogether more powerful.

The band’s big break came riding shotgun on U2’s War tour in ’83. Looking back, it made perfect sense – both groups had that rare gift for turning arena rock into something that felt intimate and true. When “Declaration” dropped in ’84, Peters showed he could write anthems that grabbed you by the heart, not just the ears. “These are the kids they’re powerful,” he bellowed in “Marching On,” and damn if you didn’t believe every word.

But life had other plans. In ’95, non-Hodgkin’s lymphoma came calling. Instead of retreating, Peters did something remarkable – he turned his diagnosis into a mission. Together with his wife Jules, they launched Love Hope Strength, proving that sometimes the hardest hits inspire the greatest comebacks. Their “Get on the List” campaign? Over 250,000 people added to global stem cell registries. Not bad for a punk rocker from Wales.

Cancer kept showing up – chronic lymphocytic leukemia in ’05 and again in ’15 – but Peters kept swinging back. Remember when he scaled Everest in ’07 for what they called the “highest show ever”? That’s the kind of beautiful madness that defined him. Even this past January, there he was in his hospital room, rocking a defiant mohawk, dropping new tracks like “Chimera” after his CAR-T cell therapy.

The industry’s lost more than a voice – we’ve lost a warrior poet who understood that rock ‘n’ roll’s real rebellion isn’t about breaking things, but building them back stronger. Peters showed us that punk’s true spirit lives in the courage to face down life’s darkest moments while keeping your heart wide open.

Sure, that distinctive urgent rasp has gone quiet, but Peters’ echo will keep bouncing around in the lives he touched – through the music, through the countless cancer patients he inspired, through the very essence of what it means to never back down. He leaves behind Jules (herself a breast cancer survivor) and their sons Dylan and Evan, along with a legacy that proves sometimes the loudest statements come wrapped in the quietest courage.

Hollywood’s golden boy is going indie, and honestly? It’s about time. Brad Pitt — whose career choices have aged better than his famously ageless face — just inked a deal with A24 for “The Riders,” a mystical drama that’s been floating around development hell longer than some of his co-stars have been alive.

The project emerged from a bidding war that probably cost A24 a small fortune. But when you’ve got Pitt teaming up with Edward Berger (fresh off his “Conclave” triumph), maybe that’s just the price of poker these days.

Here’s the thing about “The Riders” — it’s not your typical missing-person story. Based on Tim Winton’s 1994 novel, the film follows Fred Scully, who does what many of us dream about but never dare: buys a farmhouse in Ireland. (Let’s be real, who hasn’t fantasized about escaping to the Emerald Isle after a particularly rough Monday?) But Scully’s dream quickly morphs into a nightmare when his wife vanishes without a trace, leaving their seven-year-old daughter Billie as the only witness to… well, whatever happened.

David Kajganich, whose work on “Bones and All” proved he knows how to serve up emotional devastation with a side of style, has adapted the screenplay. The project’s been marinating at Ridley Scott’s Scott Free banner for over a decade — sometimes the best stories need time to properly ferment.

For A24, this represents another calculated step in their ongoing mission to make “prestige” and “commercial” stop feeling like opposing forces in cinema. Production kicks off in early 2026, with filming planned across Europe — though whether they’ll stick to the novel’s locations or chart their own course remains to be seen.

Meanwhile, Pitt’s keeping busy. He’s set to reprise his role as Cliff Booth in a Netflix sequel to “Once Upon a Time in Hollywood” — a project that somehow managed to get both David Fincher and Quentin Tarantino on board. Because apparently, lightning does occasionally strike twice in La La Land.

Before “The Riders” even starts rolling, we’ll see Pitt burning rubber in Joseph Kosinski’s “F1” (coming summer 2025). At this point in his career, Pitt seems determined to prove that age is just a number, and frankly? He’s making a pretty convincing case.

The combination of A24’s indie cred, Berger’s artistic vision, and Pitt’s star power suggests “The Riders” might be exactly what cinema needs right now — a reminder that sometimes the most compelling stories are the ones that make us uncomfortable in our seats. At the very least, it’ll give us something to debate over dinner besides whatever’s trending on social media.

Remember Netflix’s cheeky 2016 tweet declaring “Love is sharing a password”? Oh, how times have changed. While the streaming giant has transformed into the strict headmaster of password policies, a surprising handful of platforms still embrace the sharing spirit – though perhaps not for long in this cutthroat streaming landscape of 2025.

Paramount+ stands out as the unexpected champion of digital generosity. With three simultaneous streams permitted beyond a single household, they’re practically winking at subscribers who split costs. Between “Star Trek: Legacy” and the newly announced “SpongeBob Universe” expansion, their relaxed approach feels refreshingly out of step with industry trends.

But here’s where it gets interesting.

Peacock – once dismissively dubbed “The Office’s permanent residence” – has evolved into something far more compelling. Their three-stream, six-profile model seems almost rebellious in today’s climate. With “Wicked: Part One” dropping this summer and Robert Eggers’ “Nosferatu” creating buzz, they’re betting big on content rather than constraints. Smart move? Time will tell.

Apple TV+ takes a peculiarly structured approach to sharing. Their Family Sharing feature sounds generous on paper, but there’s a catch that would make any tech-savvy user pause. Share your Apple TV+ login, and you might as well hand over the keys to your digital kingdom. It’s classic Apple – sleek, convenient, yet somehow complicated.

Then there’s Amazon Prime Video. Despite their recent ad-implementation drama (and let’s be honest, who wasn’t annoyed by that January rollout?), their Amazon Household feature remains surprisingly accommodating. With “The Rings of Power” hitting its stride in Season 3 and “Hazbin Hotel” becoming an unexpected cultural phenomenon, they’re playing a long game that seems to be working.

Speaking of long games – Guy Ritchie’s “Fountain of Youth” on Apple TV+ looks set to shake things up next month. Natalie Portman and John Krasinski as bickering siblings hunting for immortality? That’s either brilliant casting or a disaster waiting to happen. Early festival buzz suggests the former.

The streaming landscape keeps shifting beneath our feet. While Netflix’s password crackdown sent shockwaves through the industry (and countless group chats), these four platforms’ more permissive approaches might prove prescient. Sometimes, the best business strategy isn’t building walls – it’s leaving the door comfortably ajar.

But let’s not get too comfortable. In an industry where quarterly earnings can trigger dramatic policy shifts, today’s digital hospitality might become tomorrow’s forgotten courtesy. For now, though, budget-conscious viewers can still find their streaming sanctuary. After all, in these inflation-heavy times, sharing isn’t just caring – it’s practically a survival strategy.

Liverpool’s coronation as Premier League champions didn’t just end a 35-year wait — it rewrote the script of what a title-clinching victory should look like. That 5-1 dismantling of Tottenham at Anfield? Pure theatre, really. Though calling it a mere victory feels like describing the Beatles as just another band from Liverpool.

The match itself almost became a footnote to what followed. Almost.

Watching Arne Slot — typically Dutch, typically composed — break into what could generously be called dancing was worth the price of admission alone. Who knew the man had moves that would’ve looked right at home in one of those viral TikTok reels? (Though perhaps it’s best he keeps his day job.)

There’s something deeply poetic about how different characters process these massive moments. Take Mo Salah, dropping to his knees as the whistle blew, carved out a private moment of reflection before the inevitable tide of celebration swept him up. The Egyptian King, as ever, writing his own script.

Then there’s Harvey Elliott. Fresh-faced, fearless, and apparently immune to the weight of the occasion. Barely 20 minutes on the pitch and there he was, cheekily flashing “30” toward the cameras — a not-so-subtle dig at Everton’s trophy drought that had social media buzzing well into the night. Richarlison’s response on X (formerly Twitter) only added fuel to a rivalry that’s been simmering since before either player was born.

But amid the chaos and jubilation, Curtis Jones orchestrated what might be remembered as the day’s most genuine moment. The local lad made sure young Harry Whitehurst — yeah, the same kid from that heartwarming Christmas campaign — got his moment in the Anfield sunshine. Sometimes football transcends itself, doesn’t it?

Speaking of transcendent moments… The summer signings of Luis Diaz and Alexis Mac Allister look particularly inspired now. Remember the speculation last July? Chelsea and Spurs both thought they’d landed at least one of them. Now, as those London clubs struggle to stay relevant in the 2025 title race, that particular sliding doors moment feels especially significant.

Mac Allister’s father spilled some interesting tea about Jurgen Klopp’s role in the transfer — apparently one phone call was all it took. The Argentine’s social media post captured it perfectly: “From dreams born with an Irish surname and a truly Argentine heart. And today, from Liverpool, it writes an unforgettable chapter.” Not bad for a guy who supposedly couldn’t handle the Premier League’s physicality (looking at you, certain pundits).

Even Wataru Endo got his moment. Sure, his season’s been more supporting actor than leading man, but there he was, soaking in the Kop’s adoration like he’d been doing it his whole life. That’s this Liverpool team in a nutshell — every player, whether they’ve played 38 games or 8, bound together in pursuit of something bigger.

The final whistle unleashed something primal. That huddle in the center circle before the mass exodus toward the Kop? Pure instinct. No choreography needed. Just raw emotion, decades of history, and the realization that this group had done something special.

Liverpool’s 20th league title isn’t just another trophy for the cabinet. It’s proof that even in an era of state-owned clubs and Super League whispers, there’s still room for romance in football. As the sun set on Anfield and “Campione!” echoed through streets that have seen it all before, this felt different. Special. Like watching history being written in real time.

Some things in football just mean more. This was one of them.

Sometimes the strangest footnotes in music history turn out to be the most fascinating. Take, for instance, the peculiar tale of how a llama — yes, an actual llama — managed to derail what could have been one of pop music’s most legendary collaborations.

The year was 1983. Queen had taken a brief hiatus, and Freddie Mercury, ever the musical explorer, found himself drawn to the infectious dance-pop sounds that were dominating the charts. Enter Michael Jackson, the undisputed King of Pop, whose star was reaching astronomical heights with “Thriller.” The stage seemed perfectly set for an epic collaboration.

What happened next reads like something from a fever dream. Mercury and Jackson, mutual admirers of each other’s artistry, holed up in Jackson’s Encino studio to work on three promising tracks: “Victory,” “State of Shock,” and “There Must Be More to Life Than This.” But the studio sessions took an unexpected turn when Jackson decided to bring along an unusual companion — his pet llama.

For Mercury, this proved to be the final straw. As Jo Burt, the bassist on Mercury’s solo album “Mr. Bad Guy,” recently revealed, the presence of the four-legged studio guest pushed Mercury to his limit. In what must have been one of rock history’s more surreal phone calls, Mercury desperately reached out to Queen’s manager: “Miami, dear, can you get me out of here? I’m recording with a llama.”

Fast forward to 2025, and such eccentric approaches to artistry have become almost commonplace. Consider Atlanta’s FearDorian, barely 18, who’s turning heads by fearlessly fusing rage-rap with trap beats and traditional influences. Or take The Paradox — they’ve managed to catch Billie Joe Armstrong’s attention and land a Green Day opening slot before even dropping their first EP.

The landscape of music promotion has evolved in equally unexpected ways. Just look at Plaqueboymax, who’s built his entire musical career through Twitch streaming — a platform that was once purely gaming territory. His “In The Booth” series has redefined how artists connect with fans in the digital age.

Over in Manchester, Westside Cowboy’s recent triumph at Glastonbury’s Emerging Talent Competition 2025 proves that raw talent still cuts through the noise. Their vocalist, Aoife Anson O’Connell, captured the moment perfectly: “We’ve had so many achievements that mean so much to us in such a short space of time but this means the most.”

The contemporary scene keeps throwing up surprises. There’s John Glacier’s genre-defying UK rap, Hana Vu’s bedroom-pop masterpieces, and who could forget Lexa Gates literally locking herself in a box for ten hours to promote her latest album? It’s as if the spirit of those early Mercury-Jackson sessions lives on — minus the llama, thankfully.

As for those unreleased collaborations? They eventually found their way into the world, albeit in different forms. “State of Shock” emerged as a Mick Jagger collaboration on the Jacksons’ “Victory” album, while “There Must Be More to Life Than This” finally saw the light of day on 2014’s “Queen Forever” compilation. Sometimes the most interesting stories in music aren’t about what was released, but rather the strange and wonderful journeys that led there.

Creative partnerships in Hollywood can be as fragile as they are fruitful. Take HBO’s “The White Lotus,” where the latest behind-the-scenes drama isn’t about demanding guests or conniving hotel staff — it’s about the unexpected departure of the show’s Emmy-winning composer, Cristóbal Tapia de Veer.

The whole thing exploded just days before the Season 3 finale dropped last month. In a rather candid New York Times piece, Tapia de Veer revealed he was walking away from the series, and honestly? The timing couldn’t have been more dramatic.

At the heart of this creative divorce lies Season 3’s controversial new theme music. Gone were those hypnotic “ooh-loo-loo-loos” that had practically become the show’s calling card. Instead, viewers got… monkey sounds. Yeah, you read that right. Monkey-inspired vocalizations that left audiences scratching their heads and, apparently, the creative team at odds.

Show creator Mike White tried explaining the artistic choice: “There’s this kind of conflict between wanting to be this spiritual creature that has an idealism… and then there’s this antic monkey side that keeps putting you in situations that are compromised.” Noble intentions, perhaps, but the decision sparked a rift that would prove impossible to bridge.

Tapia de Veer — whose experimental soundscapes had already nabbed him two Emmys — found himself butting heads with White’s vision for what he described as a “more of a ‘chill, sexy vibe.’” The composer even went so far as to create an alternative version featuring those beloved “ooh-loo-loo-loos.” White wasn’t having it.

What followed was a rather messy public spat. White, appearing on Howard Stern’s show (which, let’s face it, is never where you want to hash out creative differences), claimed bewilderment: “I honestly don’t know what happened. Reading the interviews… I just don’t think he respected me.” Tapia de Veer fired back through the BBC, suggesting White had mishandled the situation and failed to recognize music’s vital role in the show’s success.

Look, creative breakups in Hollywood aren’t exactly breaking news. Remember Kubrick unceremoniously dumping Alex North’s “2001: A Space Odyssey” score? Or Hitchcock parting ways with Bernard Herrmann over “Torn Curtain”? But there’s something different about this split — maybe it’s the raw emotion both parties have displayed, or perhaps it’s just the age of social media making everything feel more immediate and personal.

As “The White Lotus” gears up for its highly anticipated fourth season (rumored to be set in the South Pacific), fans can’t help but wonder what the show will sound like without its original sonic architect. Will White try to recreate that signature sound with a new composer? Or is it time for a complete musical reinvention?

The whole situation serves as a reminder that even the most successful creative partnerships can hit their breaking point. Sometimes the real drama in prestige television isn’t in the script — it’s in the group chat between takes.

Darlings, cinema’s most glittering festivals have just dropped their jury lineups for 2025, and honestly? The talent pool is enough to make even the most jaded critic weak at the knees.

Let’s dish about Cannes first, shall we? The French Riviera’s crown jewel has truly outdone itself this time around. They’ve managed to snag Halle Berry — yes, that Halle Berry — alongside “Succession” heavyweight Jeremy Strong. (And doesn’t that just sound like the most delicious cocktail of Hollywood prowess?)

The incomparable Juliette Binoche takes the president’s chair, heading up what might be one of the most globally diverse juries we’ve seen in years. From Indian maverick Payal Kapadia to Mexican cinema’s enfant terrible Carlos Reygadas, it’s giving exactly what it should — though heaven help them when it comes time to pick that Palme d’Or winner. Those deliberation rooms at the Palais can get rather… heated.

Meanwhile, Venice — never one to be outdone — has played quite the clever hand. Alexander Payne (fresh off his triumph with “The Holdovers”) will be wielding the gavel as Jury President for the 82nd edition. His appointment feels particularly apt as we near the festival’s centenary.

“It’s an enormous honor and joy,” Payne remarked about his Venice appointment, before adding something refreshingly candid about the whole business of competitive festivals. “Although I share a filmmaker’s ambivalence about comparing films against one another, I revere the Venice Film Festival’s nearly 100-year history of loudly celebrating film as an art form.”

Festival director Alberto Barbera couldn’t have found a better fit if he’d tried. Payne belongs to that increasingly rare species of filmmaker-slash-cinephile whose passion for the medium runs deeper than this morning’s box office numbers.

2025’s looking particularly spicy for both festivals. Cannes is making waves by opening with Amélie Bonnin’s “Leave One Day” — the first debut film to kick off the festival since… well, ever. The competition lineup reads like a cinephile’s fever dream: new works from Joachim Trier, Kelly Reichardt, and Ari Aster (who’s apparently gone even stranger with this one, if you can believe it).

These jury announcements speak to something larger than mere festival politics — they’re a reminder that cinema, despite all those tedious “death of movies” think pieces, continues to evolve and surprise. From Berry’s barrier-breaking Oscar moment to Payne’s wickedly sharp storytelling, these artists represent the kaleidoscopic nature of modern filmmaking.

Whether you’re planning to brave the Croisette crowds or dodge water taxis in Venice, summer 2025 promises to be an absolute feast for film lovers. Just remember to pack sunscreen for Cannes — that Mediterranean sun shows no mercy, darlings. Not even to jury members.

Television’s prestige landscape hit a fascinating crossroads this week, serving up two season finales that couldn’t be more different in their execution and impact. While HBO’s “The Last of Us” stumbles through its post-Joel identity crisis, AMC’s “Dark Winds” soars to new heights — proving that authentic storytelling still packs the biggest emotional punch.

Let’s cut to the chase: “Dark Winds” absolutely crushed it.

The show’s third season finale delivers a masterclass in cultural storytelling, anchored by Zahn McClarnon’s gut-wrenching performance as Lieutenant Joe Leaphorn. There’s this moment — god, what a scene — where McClarnon sits alone with a tape recorder, and the raw emotion just bleeds through the screen. When Emma Leaphorn’s recorded voice cuts through the silence with “I hope one day I can forgive him. But until that day, I walk alone,” you can practically feel the weight of decades of shared history crumbling.

Meanwhile, over at HBO, “The Last of Us” seems to be having something of an identity crisis. The show’s attempt to pivot toward an Ellie-centric narrative in episode 3 feels… well, let’s just say the magic isn’t quite there. Bella Ramsey’s talented, no question, but asking her to shoulder the entire emotional weight of the series right now feels like putting the cart before the horse.

What really sets “Dark Winds” apart is its revolutionary approach to production. Writer/director Erica Tremblay spilled some fascinating tea about their writers’ room process — they’re not just paying lip service to cultural authenticity, they’re living it. From Navajo prop departments to Indigenous camera operators, they’re rewriting the playbook on how to tell culturally specific stories in mainstream television.

McClarnon (wearing both his actor and executive producer hats) nailed it when he talked about the show’s broader impact: “That we get to re-educate people about a culture and the values of that culture is important.” In today’s fractured media landscape, where streaming wars and AI-generated content threaten to homogenize storytelling, this kind of dedication to authenticity feels downright revolutionary.

The contrast becomes particularly stark in episode 6, where McClarnon and Tremblay collaborated on scenes dealing with generational trauma. Their shared experiences as Native people infuse every frame with an authenticity that you simply can’t fake — and lord knows Hollywood’s tried.

Here’s the thing about “The Last of Us” — it’s got all the technical bells and whistles money can buy, but it’s starting to feel like a ship without a compass. Where “Dark Winds” builds toward something real and meaningful while honoring its cultural roots, HBO’s zombie drama seems caught between what worked before and where it needs to go next.

The way each show handles grief and transformation tells you everything you need to know. “Dark Winds” gives its characters room to breathe, to mess up, to figure things out. As Tremblay puts it, Leaphorn’s finally “looking at himself in the mirror and recognizing things that he’s never seen before.” That’s the kind of character development that keeps viewers coming back for more.

In an era where streaming platforms are tightening their belts and AI threatens to reshape the industry (don’t even get me started on those 2025 predictions), “Dark Winds” reminds us what television can be when it prioritizes truth over trends. Sometimes the most universal stories are the ones that stay closest to their cultural roots.

Now that’s what you call must-see TV.

London’s historic Brewery venue sparkled with an unusual kind of stardust last night — not from A-list celebrities, but from television’s brilliant behind-the-scenes magicians who finally got their moment in the spotlight at the BAFTA TV Craft Awards.

Let’s be honest: these are the folks who make our favorite shows actually work. While we’re all swooning over Gary Oldman’s gruff charm in “Slow Horses” or gasping at the feudal Japanese landscapes in “Shōgun,” there’s an army of unsung heroes making that magic happen. And darling, did they ever shine.

The ever-delightful Stacey Dooley (who’s somehow even more charming in person than on screen) hosted an evening that saw Netflix’s “Baby Reindeer” emerge as the night’s golden child. Apple TV+’s “Slow Horses” and Disney+’s “Rivals” weren’t far behind — proof that streaming services have well and truly crashed the party in the best possible way.

Speaking of parties, The Brewery — that gorgeous 18th-century architectural gem — proved the perfect setting. There’s something rather poetic about celebrating television’s finest craftspeople in a venue that’s mastered its own transformation from historic brewery to modern events space, don’t you think?

The evening’s most touching moment came when soap opera legend Anita Dobson presented the Television Craft Special Award to “EastEnders.” As the show marks 40 years of keeping Britain glued to their screens (feeling old yet?), head of genre Kate Oates and executive producer Ben Wadey accepted the honor. Their heartfelt speech about nurturing new talent had more than a few misty eyes in the house.

But darlings, let’s talk about the technical categories — because this is where television is truly giving cinema a run for its money. “Shōgun” snatched the Photography & Lighting: Fiction trophy, while “The Lord of the Rings: The Rings of Power” proved that television can now conjure visual effects worthy of Middle-earth itself. The sound team behind “Slow Horses” created an auditory landscape that’s practically a character in itself, while “Rivals” served period-perfect hair and makeup that would make time travelers do a double-take.

Benedict Wong, Angela Rippon, and India Ria Amarteifio added some familiar faces to the proceedings, though they were careful not to steal focus from the evening’s true stars — those brilliant craftspeople who usually work their magic in the shadows.

Consider this glamorous evening a tantalizing appetizer for the main course: the BAFTA Television Awards, set to unfold at the Southbank Centre’s Royal Festival Hall on May 11. Alan Cumming will be wielding the hosting duties (and presumably some wickedly sharp wit). “Baby Reindeer” leads the pack with eight nominations, while “Rivals,” “Slow Horses,” and “Mr Bates vs the Post Office” are hot on its heels with six each.

As the champagne bubbles faded and the last awards were handed out, one truth crystallized: we’re living in television’s golden age not just because of the stars who grace our screens, but because of these masterful artists who transform good television into something extraordinary. Whether they’re crafting the perfect sound mix or creating period-perfect curls, these are the wizards who make the magic real.

And darling, that’s worth celebrating any day of the week.