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The mercury hit a punishing 102 degrees in Indio this weekend, but that didn’t stop the masses from descending upon the California desert for Coachella 2025’s kickoff. Paper fans fluttered like exotic birds across the Empire Polo Club grounds, while clever festival veterans sought refuge beneath parasols that dotted the landscape like mushrooms after rain.

Welcome to festival season — where sunscreen stations have become the new water cooler meetups, and staying hydrated is practically an Olympic sport.

The scorching heat merely added another layer of drama to what’s shaping up to be Coachella’s most ambitious lineup yet. Lady Gaga — fresh off her “Mayhem” album that’s been absolutely everywhere since dropping last month — promised chaos, and honestly? In these temperatures, chaos feels inevitable. “Dance till we drop,” she posted. (Though maybe not the best choice of words when medical tents are already busy handling heat exhaustion cases.)

But here’s where things get interesting: Coachella’s taking a sharp left turn back to its rock roots. Green Day’s inclusion isn’t just nostalgia bait — it’s a statement. Billie Joe Armstrong, sporting that same raw energy that defined the ’90s, put it perfectly backstage: “Rock ‘n’ roll is forever.” Simple words, massive impact.

Then there’s the curve ball nobody saw coming: The Los Angeles Philharmonic. Sure, we’ve had Danny Elfman and Hans Zimmer bringing orchestral vibes before, but a full symphony orchestra? At Coachella? Gustavo Dudamel’s sunset performance might just redefine what festival music can be.

Speaking of unexpected turns — whoever booked Yo Gabba Gabba! deserves a raise. These aren’t just random bookings; they’re carefully calculated risks that acknowledge how the festival crowd has evolved. Those teens who first hit Coachella in the early 2010s? They’re bringing their kids now. Wild, right?

The lineup reads like someone’s perfectly curated Spotify playlist gone rogue. Lisa from Blackpink’s making her solo debut (and yeah, that “White Lotus” cameo definitely didn’t hurt her booking power). Kraftwerk’s bringing their pioneering electronic soundscapes to the desert. Tyla’s finally getting her moment after last year’s heartbreaking cancellation — proof that timing really is everything in this industry.

Travis Scott’s surprise appearance after Green Day feels particularly poignant. Remember that canceled 2020 headline slot? Different world back then. Meanwhile, Charli XCX — once alternative pop’s best-kept secret — is now commanding main stage real estate. Her signature neon green aesthetic about to paint the desert in ways that even the most spectacular sunset couldn’t manage.

As day one unfolds under that relentless California sun, one thing’s crystal clear: streaming might rule our daily lives, but there’s still nothing quite like sweating it out in the desert with thousands of strangers, united by nothing more than the promise of musical transcendence. And maybe a few good stories to tell afterward — assuming we all survive the heat.

Hold onto your designer seats, darlings — Warner Bros. is diving headfirst into the remake pool again, this time with a splash that’s bound to make waves across Hollywood Boulevard. The studio’s latest announcement? They’re resurrecting “The Bodyguard,” that deliciously dramatic 1992 romantic thriller that gave us Whitney Houston’s earth-shattering rendition of “I Will Always Love You.”

In a rather intriguing twist (and honestly, who saw this coming?), Warner Bros. has handed the directorial reins to Sam Wrench. Fresh from capturing Taylor Swift’s billion-dollar Eras Tour phenomenon, Wrench’s appointment suggests we’re in for something decidedly different from the original’s moody glamour. Perhaps we’ll see TikTok-worthy musical moments splashed across IMAX screens? The social media possibilities are endless, darling.

The original film wasn’t just a hit — it was a cultural supernova that raked in $411 million worldwide. Those numbers might sound quaint by 2025’s inflation-adjusted standards, but make no mistake: the film’s impact still reverberates through Hollywood’s gilded halls. That soundtrack? Pure platinum magic that earned two Oscar nods and cemented Whitney’s status as entertainment royalty.

Studio chiefs Mike De Luca and Abdy dropped this little bombshell during a Friday chat, casually mentioning that Jonathan A. Abrams (of “Juror No. 2” fame) will pen the screenplay. Naturally, the casting speculation has already begun. Good luck finding a pair to match the electric chemistry between Kevin Costner’s stoic Frank Farmer and Whitney’s luminous Rachel Marron — that’s like trying to recreate lightning in a Champagne bottle.

The timing feels… peculiar. With streaming wars reaching fever pitch and box office numbers still recovering from the great theatrical drought, Warner Bros. seems determined to mine their vault of classics. They’re not exactly being subtle about it either, what with The Matrix revival and Beetlejuice sequel already in motion. But then again, when has Hollywood ever done subtle?

Let’s be real — this isn’t the studio’s first rodeo with “The Bodyguard.” A 2011 attempt fizzled faster than a flat prosecco at brunch. But now? With audiences practically mainlining nostalgia-tinged content and the entertainment landscape dramatically shifted, the timing might actually be perfect. Or perfectly terrible. Only time (and box office receipts) will tell.

The pressure’s certainly on. De Luca and Abdy could use a solid win after some recent box office disappointments that we won’t name (but darling, you know exactly which ones). A successful “Bodyguard” remake could be just the ticket — assuming they can capture even a fraction of the original’s magic without coming across as a mere karaoke version of greatness.

One thing’s crystal clear: whoever steps into those iconic roles better bring their A-game. Because in Hollywood’s current climate, where every misstep becomes instant social media fodder, there’s precious little room for anything less than extraordinary. Now, who’s ready to run to that stage door?

Well, darlings, Hollywood’s finally getting something right in 2025 — and it’s about time. The Academy’s decision to add a stunt design category to next year’s centennial Oscar ceremony feels less like breaking news and more like finally acknowledging that water is wet.

Let’s dish about this long-overdue recognition of Hollywood’s most fearless artists. The Academy’s announcement landed with all the subtlety of a Marvel superhero landing — which, come to think of it, probably wouldn’t exist without the very people this award aims to celebrate.

“Since the early days of cinema, stunt design has been an integral part of filmmaking,” declared Academy CEO Bill Kramer and President Janet Yang, serving up the kind of carefully worded statement that probably took longer to craft than some of those death-defying sequences we’re talking about. From Buster Keaton’s railway escapades (sans green screen, thank you very much) to Tom Cruise’s latest attempts to give his insurance company heart palpitations, these unsung heroes have quite literally been breaking their backs for our entertainment.

The timing’s particularly delicious, what with David Leitch’s “The Fall Guy” making waves. Leitch — who went from being Brad Pitt’s stunt double to calling “action” from the director’s chair — has been pushing for this recognition harder than a stunt car through a plate glass window. “We have spent years working to bring this moment to life,” he shared, probably while planning his next gravity-defying set piece.

Though leave it to “John Wick” mastermind Chad Stahelski to raise the kind of practical question that keeps Oscar producers up at night: “Who’s going to decide who gets it, and who actually gets the award?” Fair point, considering stunt work involves more moving parts than a Rube Goldberg machine.

Meanwhile, over in streaming land, “Shrinking” continues its clever expansion into must-watch territory. The addition of Sherry Cola and Isabella Gomez to the cast for Season 3 feels like the kind of smart casting that makes other shows wonder why they didn’t think of it first. Cola, fresh from stealing scenes in “Nobody Wants This” and “Joy Ride,” brings exactly the kind of energy this already-stellar ensemble needs.

The series — which gave us Jason Segel’s beautifully messy therapist Jimmy and reminded everyone that Harrison Ford can do comedy (and rather brilliantly at that) — keeps collecting industry nods like a magnet in a paperclip factory. Those SAG nominations? Just the beginning, sweeties.

With Jeff Daniels already signed on as Jimmy’s father (talk about inspired casting), adding Cola and Gomez suggests the writers know exactly what they’re doing. It’s the kind of show that makes you wonder how therapy sessions ever survived without a little comedic intervention.

In true Hollywood fashion, we’re watching an industry simultaneously pat itself on the back for finally doing the obvious while also quietly revolutionizing how we consume content. Perhaps that’s always been Tinseltown’s special magic — the ability to make even its course corrections look like carefully choreographed dance numbers.

And isn’t that just perfectly Hollywood? Always ready for its close-up, even when it’s just fixing something that should’ve been fixed ages ago. Now, about that category for casting directors…

Darlings, grab your champagne flutes — Spike Lee just dropped the kind of Instagram announcement that makes film festivals feel like fashion week. In his deliciously signature all-caps style (honestly, who else could pull that off?), the maestro revealed that “Highest 2 Lowest” is heading to Cannes 2025. Not in competition, mind you, but dahling, when has Spike ever played by anyone else’s rules?

The film — his fifth tango with Denzel Washington — reimagines Kurosawa’s “High and Low” for the Spotify era. Rather than following a shoe executive (how terribly 1963), Lee’s version plants Washington in the deliciously cutthroat world of music executives. One can practically smell the designer cologne and taste the betrayal already.

Speaking of tastes, Cannes 2025 is serving up quite the cinematic buffet. Wes Anderson’s bringing “The Phoenician Scheme” (presumably with his usual suspects in tow), while Richard Linklater’s “Nouvelle Vague” promises to be anything but new wave-by-numbers. Then there’s Julie Ducournau, fresh from making everyone squirm with “Titane,” ready to unsettle the Croisette again with “Alpha.”

But honey, it’s the snubs that have everyone’s tongues wagging harder than a Real Housewives reunion. Lynne Ramsay’s “Die, My Love” — with Jennifer Lawrence and Robert Pattinson, no less — didn’t make the cut. The festival’s relationship with Ramsay has more dramatic turns than a telenovela, so this particular absence feels… pointed.

In a refreshing twist that’s got the old guard clutching their pearls, newcomer Amelie Bonin’s “Leave One Day” snagged the opening night slot. A debut film opening Cannes? Somebody fetch the smelling salts! Meanwhile, horror wunderkind Ari Aster is bringing “Eddington” to competition, proving that Cannes might finally be ready to admit that genre films aren’t just for the midnight screening crowd.

This all comes as Hollywood itself undergoes its own fabulous identity crisis. The Academy’s finally giving stunts their moment in the spotlight — better late than never, sweetie — with a new Oscar category landing just in time for their centennial celebration in 2028. About time too, considering some of us have been championing these unsung heroes since before contouring was mainstream.

The Lee-Washington partnership, backed by the impossibly chic pairing of Apple Original Films and A24, promises to be the kind of event that makes other out-of-competition selections look like they showed up to the Met Gala in off-the-rack. Their track record — from “Malcolm X” to “Inside Man” — sparkles brighter than a Harry Winston showcase.

For now, we’re all left waiting with bated breath for more details about both “Highest 2 Lowest” and any eleventh-hour additions to the lineup. Because darling, in the gloriously unpredictable world of international cinema, sometimes the best drama happens before the cameras even start rolling.

And as Spike would say — in that inimitable style that makes publicists reach for their anxiety medication — “AND DAT’S DA TRUTH, RUTH.” Honestly, who could possibly argue with that?

Truth and transformation played out in fascinating parallel this week across America’s institutions, though perhaps not in ways anyone might have expected. In Washington, the Justice Department raised eyebrows with an unexpected plot twist worthy of a political thriller, while down in Florida, a notorious NHL agitator found himself writing a surprisingly heartwarming new chapter.

Let’s talk about that Washington bombshell first. The Justice Department’s motion to release Alexander Smirnov — yeah, the same guy who cooked up those Biden bribery claims — has sent shock waves through the capital’s political circles. Smirnov, a 44-year-old with dual US-Israeli citizenship, had been staring down a six-year prison sentence for fabricating an elaborate tale about the Bidens each pocketing $5 million from Burisma, that Ukrainian energy company that just won’t seem to fade from American political discourse.

The whole mess sparked what prosecutors dubbed “a firestorm in Congress” during the Biden impeachment inquiry. Turns out Smirnov’s story was about as solid as a chocolate teapot — prosecutors pointed to his “bias” against Biden as the presidential candidate as the driving force behind his creative writing exercise.

Meanwhile, down in Sunrise, Florida (where the ice is definitely manufactured), a different kind of story was unfolding. Brad Marchand — Boston’s longtime lovable villain — potted his first goal as a Florida Panther in a solid 4-1 win over Detroit. The moment was pure hockey poetry, marking Marchand’s first NHL goal wearing anything other than Bruins’ black and gold.

The locker room banter afterward? Classic Marchand. When teammate Evan Rodrigues quipped to reporters, “I hate him a little less now,” Marchand fired back with his trademark wit: “He’s not wrong. I’ve hated him. We skated together in the summer and I’ve hated him for a long time, so that’s not gonna change now.” Some things never change — and thank goodness for that.

Panthers’ coach Paul Maurice gets it. “That’s a part of the package and an important part of it,” he noted, adding that Marchand’s energy and chatty nature are exactly what the team needs while grinding through the mid-season doldrums. “Everybody’s gonna be wired here in 10 days, whatever it is, two weeks… he brings lots of energy, right? He’s got lots to say and it makes it fun.”

The juxtaposition of these stories — political deception meeting legal consequences while athletic achievement breeds team chemistry — offers a peculiar snapshot of American life circa 2025. One man’s journey through the justice system continues to ripple through government corridors, while another’s professional reinvention brings fresh energy to a defending champion’s quest for another Stanley Cup.

Marchand’s reflection on his Florida chapter hits different: “I’m just enjoying this whole journey. It’s such a unique experience for myself… These opportunities are very few and far between and you’ve gotta enjoy every day in this league. And I’m having a lot of fun right now.”

Who’d have thought that in a week dominated by political intrigue, it’d be a notorious hockey pest providing the lesson in authenticity? Life’s funny that way sometimes.

In a delightful twist of superhero-sized irony, rising star Isabela Merced just learned that even Superman’s iconic “S” comes with its own secret identity protocols. The actress, recently cast as Hawkgirl in James Gunn’s hotly anticipated Superman reboot, accidentally sparked what could’ve been 2025’s first major superhero scandal — though “Logo-gate” might be pushing it a bit far.

Picture this: There’s Merced, fresh off landing one of the most coveted roles in Hollywood, sitting down for what should’ve been a routine table read. Like any excited newcomer to the superhero pantheon (and let’s be honest, who wouldn’t be?), she spotted her name next to “Hawkgirl” and did what any digital native would do — straight to the Instagram Stories it went.

What followed could’ve been a scene straight out of a sitcom. Four frantic phone calls interrupted what was supposed to be Merced’s movie night, as studio executives scrambled to contain what turned out to be an accidental reveal of the new Superman logo. “I was drawing that [S] since middle school,” Merced later admitted to Entertainment Weekly, perfectly capturing that surreal moment when childhood doodles collide with multi-million dollar franchise secrets.

The logo stayed online for roughly an hour — a lifetime in social media years — before being yanked down faster than a speeding bullet. Surprisingly, Warner Bros. took the whole thing in stride. Perhaps they recognized what fans have known for years: genuine enthusiasm beats carefully orchestrated PR any day of the week.

Speaking of enthusiasm, Merced’s take on the physical demands of superhero work offers a refreshingly honest peek behind the cape, so to speak. After a less-than-stellar experience with “Madame Web’s” super-suit struggles, she’s found unexpected camaraderie in Superman’s Cleveland-based production. There’s something wonderfully human about the image of spandex-clad superheroes taking turns fanning each other between takes in the summer heat.

“Every scene I’m flying, pretty much,” Merced shared, with the kind of excitement that suggests she’s found her sweet spot in the superhero genre. For an admitted adrenaline junkie who “likes being dropped from really high heights,” Hawkgirl’s aerial acrobatics seem like a perfect fit.

The film’s impressive ensemble — including Rachel Brosnahan, Nicholas Hoult, and Nathan Fillion — suggests DC Studios isn’t just rebooting Superman; they’re building an entire world around him. Merced’s Hawkgirl joins Fillion’s Guy Gardner and Edi Gathegi’s Mister Terrific in what’s shaping up to be a fresh take on the DC universe under Gunn’s creative vision.

Come July 11th, Superman will soar into theaters with his logo properly unveiled this time — though somehow, Merced’s accidental reveal feels like exactly the kind of charming mishap that makes these massive productions feel a little more down to earth. After all, in an era where every superhero detail is locked down tighter than Fort Knox, there’s something refreshingly real about an actor getting so excited about their role that they temporarily forget about studio secrets.

Sometimes the best marketing isn’t marketing at all — it’s just genuine enthusiasm breaking free from the carefully controlled confines of modern blockbuster filmmaking. And really, isn’t that what Superman’s all about?

Six years is a lifetime in the music industry. Yet somehow, Justin Vernon’s return with Bon Iver feels right on time. SABLE, fABLE landed in early 2025 like a letter from an old friend — one who’s been through the darkness and emerged, somewhat surprisingly, into the light.

This isn’t just another indie folk record. It’s a double-sided confession that plays out like a therapy session set to music.

The album’s first act — SABLE — plunges straight into familiar Vernon territory. Three tracks of brooding introspection that could’ve been recorded in that famous Wisconsin cabin (though they weren’t). “I would like the feeling gone, ’cause I don’t like the way it’s looking,” he murmurs in that distinctive baritone, and longtime fans might settle in for another beautiful bummer of a record.

But then something unexpected happens.

The album’s second act — fABLE — explodes into technicolor. It’s as if Vernon kicked down the cabin door and walked straight into sunshine. Nine tracks of… dare we say it… joy? From a guy whose brand was practically built on beautiful misery?

Take “Everything Is Peaceful Love” — a country-soul hybrid that sounds like it could’ve been pulled from some alternate-universe version of 1985 where Vernon fronted Tears for Fears. “Damn, if I’m not climbing up a tree right now,” he sings, and you can practically hear the smile in his voice.

The production values are predictably stellar. Vernon’s evolution from solitary songwriter to master collaborator is on full display here. R&B innovator Dijon adds subtle texture to several tracks. Guitar wizard Jenn Wasner weaves golden threads throughout the album’s tapestry. Even Jacob Collier shows up to sprinkle some of his harmonic fairy dust across the proceedings.

But perhaps the most poetic contribution comes from Danielle Haim, who — in a twist of fate that seems almost too perfect — ended up recording her parts during an unexpected snowstorm that trapped her at Vernon’s Wisconsin studio. Some things just come full circle.

What’s truly revolutionary about SABLE, fABLE isn’t its sound (though that’s remarkable enough). It’s Vernon’s newfound emotional directness. Gone are the layers of vocoder, the cryptic wordplay, the sonic obscurity that marked earlier releases. In their place? Raw honesty that hits harder than any amount of studio wizardry ever could.

The album’s structure tells its own story. From the depths of that trademark baritone to soaring falsetto celebrations, it charts a course from despair to… something else. Something brighter. “I’m a sable/And honey, us the fable,” Vernon declares on “Awards Season,” bridging the gap between the record’s dual personalities.

In an age where authenticity often feels like just another marketing strategy, SABLE, fABLE stands as something rare: a genuine transformation captured in real-time. It’s the sound of an artist finally ready to step out of his own shadow — and maybe even dance a little in the sunlight.

Who knew that Justin Vernon’s most radical act would be allowing himself to be happy?

Broadway’s latest meta-theatrical venture has finally arrived—and it’s quite the head-spinner. After languishing in development hell for 13 years, “Smash” has transformed from small-screen cult favorite into a full-blown stage production that’s equal parts tribute and reinvention.

The show’s opening at the Imperial Theatre marks a curious milestone in Broadway history. Here’s a television series about making a Broadway show that’s become… well, a Broadway show about making a Broadway show. (If that sounds confusing, don’t worry—it sort of is.)

Under Susan Stroman’s direction (she’s got five Tony Awards, in case anyone’s counting), this 2025 adaptation strips away the TV show’s soapier elements. Gone are the romantic subplots and backstage drama that characterized the NBC series. What remains is laser-focused on the creation of “Bombshell”—a musical chronicling Marilyn Monroe’s tumultuous life and career.

Tony nominee Robyn Hurder steps into the spotlight as Ivy, delivering a performance that’s simultaneously mesmerizing and unsettling. Her Method-driven descent into Monroe’s psyche becomes the production’s gravitational center, though whether that’s a good thing depends entirely on whom you ask.

The creative team—Marc Shaiman and Scott Wittman handling music, Bob Martin and Rick Elice tackling the book—walks a precarious tightrope between nostalgia and innovation. Sure, beloved songs from the TV series make appearances, but they’re woven through with fresh material that’s sparked heated debates among theater critics. Robert Hofler of The Wrap wasn’t exactly subtle when questioning whether a show could survive “stopping” quite so many times before, y’know, actually stopping.

Perhaps the production’s most controversial aspect is its surprisingly cynical take on Monroe herself. Rather than the usual tragic-goddess treatment, we’re presented with what Deadline’s Greg Evans describes as “an inconsiderate, amphetamine guzzling faux-intellectual.” It’s a bold choice that’s left audiences either applauding the fresh perspective or clutching their pearls in horror.

Thank heavens for Brooks Ashmanskas, whose portrayal of the perpetually frazzled director Nigel provides much-needed comic relief. His deadpan delivery of lines like “If I ever see you giving books to an actor again, I will replace you. With an app” lands perfectly in today’s AI-obsessed theater landscape.

The technical elements shine—Beowulf Boritt’s scenic design and Ken Billington’s lighting create a world that’s simultaneously realistic and theatrical. The stellar ensemble, including standouts Krysta Rodriguez, John Behlmann, and the incomparable Kristine Nielsen, keeps the energy crackling through the show’s two-and-a-half-hour runtime.

Yet there’s something oddly appropriate about the mixed reactions this show’s receiving. Time Out New York’s Adam Feldman hits the nail on the head: the production seems to embrace its own messiness, wearing its imperfections like a badge of honor. For die-hard fans of the original series, this meta-awareness might just be the perfect tribute.

Look, “Smash” isn’t perfect—but maybe that’s exactly the point. In an era where Broadway increasingly relies on jukebox musicals and movie adaptations, here’s a show that dares to examine the messy, complicated, often absurd process of creating theater itself. It’s neither triumph nor trainwreck, but something far more interesting: a mirror reflecting both the dazzling allure and chaotic reality of show business.

And really, what could be more Broadway than that?

Talk about a power move in the streaming world. Netflix’s “The Lincoln Lawyer” just landed quite the catch, snagging Sasha Alexander for its upcoming season. And honestly? The timing couldn’t be more perfect.

Alexander’s stepping into the shoes of FBI Agent Dawn Ruth — a role that practically screams “don’t mess with me.” Word is she’ll be crashing Mickey Haller’s dinner with some rather pointed questions about an FBI investigation. Classic federal agent move, right? But with Alexander’s proven track record of bringing depth to complex characters, this promises to be more than your typical procedural power play.

The numbers don’t lie — “The Lincoln Lawyer” has been absolutely crushing it. The show’s third season pulled in a whopping 7 million views in just four days, the kind of success that’s becoming increasingly rare in 2025’s fractured streaming landscape. Manuel Garcia-Rulfo continues to own the role of Mickey Haller, bringing that perfect blend of charm and legal prowess that keeps viewers coming back for more.

Let’s talk about Alexander’s journey for a moment. From her memorable run as Caitlin Todd on “NCIS” to bringing nuance to Helene Runyon in “Shameless,” she’s proven herself time and again. Throw in appearances in “Mission: Impossible III” and “He’s Just Not That Into You,” and you’ve got an actress who knows her way around both high-stakes drama and nuanced character work.

The fourth season — based on “The Law of Innocence” according to co-showrunner Dailyn Rodriguez — looks set to push the envelope even further. David E. Kelley’s adaptation of Michael Connelly’s books has consistently delivered the kind of sophisticated legal drama that makes you forget about your Sunday night blues.

Speaking of ensemble magic, the existing cast is nothing short of electric. Neve Campbell, Becki Newton, Jazz Raycole, Angus Sampson, and Yaya DaCosta have created something special here. Alexander’s addition feels less like a casting choice and more like finding the missing piece to an already impressive puzzle.

What’s particularly fascinating about this development is how it reflects the evolving nature of streaming content in 2025. While some shows are struggling to maintain momentum past their second season, “The Lincoln Lawyer” keeps finding ways to up the ante. Alexander’s dual expertise — remember, she’s directed episodes of “Bull” and Netflix’s “You” — brings an extra layer of industry savvy to the production.

Netflix is playing coy about the release date (shocking, right?), but the groundwork being laid suggests we’re in for something special. Between the federal angle Alexander’s character brings and the show’s proven track record for compelling legal drama, season four might just be the one that pushes “The Lincoln Lawyer” into must-watch territory.

After all, in an era where streaming services are tightening their belts and canceling shows left and right, this kind of thoughtful casting and story development feels like a breath of fresh air. Who knew legal drama could still feel this fresh in 2025?

Salem’s about to get a whole lot spicier. AMC Networks just dropped the most delectable news of the season — “Mayfair Witches” is conjuring up a third chapter, and darlings, they’re trading those moss-draped New Orleans oaks for Salem’s wickedly historic streets. Talk about a bewitching plot twist.

The announcement landed just as the dust settled on season two’s March 2 finale, and honey, it’s serving more than just a change of zip code. In what can only be described as television’s equivalent of mixing Dom Pérignon with absinthe, AMC’s tapped Emmy-winner Thomas Schnauz (you know, the genius behind “Breaking Bad”) to partner with Esta Spalding as co-showrunner.

Dan McDermott, entertainment president at AMC Networks, practically floated when discussing the news. The Mayfair family drama, he noted, continues to cast an irresistible spell over audiences. Salem’s rich witchcraft history? Well, that’s just the cherry on top of this particularly enchanted sundae for their expanding Anne Rice Immortal Universe.

Let’s be real — this Salem shift isn’t just about pretty colonial architecture and cobblestone streets. It’s a bold creative gambit that’s going to weave centuries-old witch trial lore into the Mayfair family’s already complicated tapestry. Spalding’s promising a “contemporary twist” on the Salem narrative that’ll be their “most delicious yet.” When a showrunner drops words like “delicious,” you know we’re not talking about basic cable soup.

Schnauz seems equally bewitched by the whole affair. Fresh off his Emmy nomination for “Better Call Saul’s” “Plan and Execution” episode, he’s already diving deep into season 3’s creative cauldron with Spalding. Their collaborative energy? Absolutely electric.

The series — anchored by the luminous Alexandra Daddario and featuring standout performances from Harry Hamlin, Tongayi Chirisa, and Alyssa Jirrels — has become the crown jewel in AMC’s supernatural empire. With “Interview with the Vampire” also scoring a third season renewal and “The Talamasca: The Secret Order” slated for fall 2025, the network’s clearly betting big on bump-in-the-night entertainment.

What’s particularly intriguing about this renewal is the whispered promise of new “spellbound” families entering the narrative. It’s giving very much “Met Gala meets Salem Witch Trials” — established houses mixing with fresh blood, creating an absolutely divine chaos.

While they’re keeping the premiere date under wraps (such teases!), the creative machinery’s already humming. Mark Johnson’s staying on as executive producer, joining forces with Spalding, Schnauz, Michelle Ashford, and Tom Williams to craft what’s shaping up to be television’s most ambitious witch’s brew yet.

In an era where supernatural shows pop up faster than TikTok trends, this reinvention of “Mayfair Witches” proves that sometimes the boldest magic comes from knowing exactly when to switch up the spell book. Salem’s witch trials might be gathering dust in history books, but darling, the Mayfair clan’s about to remind everyone why this haunted little town never goes out of style.