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Just three days into Celebrity Big Brother 2025, and already the show’s serving up a peculiar cocktail of cringe-worthy moments, unexpected alliances, and — surprisingly enough — some genuinely touching displays of human compassion.

Let’s address the elephant in the room, shall we? Former MP Michael Fabricant managed to create what might be this year’s most unfortunate viral moment with an accidental poolside flash that had viewers scrambling for their remote controls. The Conservative politician’s attempt to channel his inner “sexy pool boy” went spectacularly wrong when his swimming shorts decided to rebel against their primary function — proving once again that politics and hot tubs rarely mix well.

Social media, predictably, went into meltdown. “Seen the worst f**king possible thing in my life,” declared one traumatized viewer. Host AJ Odudu couldn’t resist taking a cheeky swipe: “Well it’s not the first time a former MP has made an a** of themselves on TV, am I right?”

But amid the chaos, something rather wonderful has emerged. In what feels like a script even the most optimistic producer couldn’t have dreamed up, Love Island veteran Chris Hughes and pop phenomenon JoJo Siwa have developed this season’s most compelling “bromance.” Night-vision footage caught the unlikely pair holding hands and giggling like kids at a midnight feast — the kind of pure, unscripted moment that reminds us why reality TV can still surprise and delight.

One social media pundit hit the nail on the head: “The producers wanted to drive a Chris and Ella love story, but we’re gonna get a Chris and JoJo bromance story instead.” Funny how the best television often happens when producers just let things unfold naturally, isn’t it?

Perhaps the most significant development, though, comes in the form of the show’s thoughtful accommodation of Trisha Goddard’s participation. The beloved television personality, currently battling stage four terminal cancer, has been provided with private facilities to manage her health needs — a refreshing departure from reality TV’s often exploitative tendencies.

Goddard’s courage hasn’t gone unnoticed. “Literally losing her life and taking all opportunities coming to her to live her life and have all the experiences she can,” observed one viewer, capturing the bittersweet nature of her participation. The production team’s collaboration with Goddard’s palliative care specialists demonstrates a level of responsibility that deserves recognition.

“My palliative care team is working with the team here too,” Goddard explained, noting how her treatment schedule has been carefully woven into the show’s timeline. It’s a small but significant step forward for reality television — proving that entertainment doesn’t have to come at the cost of compassion.

As winter draws to a close and this latest iteration of Celebrity Big Brother unfolds, it’s already delivering that perfect storm of awkward moments, genuine connections, and unexpected heart that keeps audiences coming back for more. Who knows? Maybe by next week, we’ll have witnessed another poolside disaster or — hopefully — more moments of authentic human connection. Though perhaps with slightly more secure swimwear this time around.

Netflix’s latest documentary series hits uncomfortably close to home. “Bad Influence: The Dark Side of Kidfluencing” peels back the perfectly filtered veneer of social media stardom to expose something that’s been lurking in the shadows of our screens all along — a disturbing reality where childhood dreams morph into profit machines, and likes become a currency paid for with innocence.

The story begins deceptively simple. Back in 2016, eight-year-old Piper Rockelle uploaded a DIY slime tutorial to YouTube. Pretty standard fare for the platform — except what followed was anything but standard. That innocent video became the cornerstone of an empire that would eventually spark a $22 million lawsuit and send shockwaves through the creator economy.

Behind the camera stood Tiffany Smith, Piper’s mother, a former pageant mom from Georgia who’d spotted the shifting winds of child stardom. Smith had already guided her daughter to success in the beauty pageant circuit (Piper’s first crown came at age four), but the real gold rush was happening online. First came Musical.ly — now known as TikTok — then YouTube, where the serious money waited.

“She’s making this so perfect for me,” Piper told the Los Angeles Times in 2022, defending her mother’s involvement. But perfection, as it turns out, came with a price tag that no child should ever have to pay.

The allegations that surfaced in January 2022 read like a horror story. Eleven former members of “The Squad” — the rotating cast of young performers who helped build Rockelle’s channel into a viewership behemoth — filed suit against Smith and her boyfriend Hunter Hill. Their claims? A nightmarish cocktail of emotional, verbal, and physical abuse, with darker undertones that make even seasoned industry veterans flinch.

Some details from the lawsuit are almost too disturbing to print. Former Squad members describe inappropriate touching, sexually explicit comments about children’s bodies, and — in perhaps the most skin-crawling revelation — allegations that Smith mailed Rockelle’s undergarments to “an unknown individual” with specific… interests.

Sawyer Sharbino’s testimony cuts deep: “Tiffany absolutely wanted to do more questionable content to get more views and likes.” The kids allegedly faced pressure to participate in increasingly inappropriate challenges, including a “last to stop kissing” video where they received explicit instructions that no child should hear.

But the exploitation didn’t stop at content creation. When Squad members tried to break free, they claim Smith and Hill unleashed digital warfare — false flagging content, deploying bots to tank their followings, even embedding their videos on adult websites. Talk about scorched earth tactics.

What makes this whole mess particularly gut-wrenching is how it exemplifies a broader problem. The kidfluencer industry operates in a Wild West of minimal oversight and maximum profit potential. As co-director Jenna Rosher noted, many kids joined The Squad during Covid lockdowns, seeking community and creative outlet. Instead, they found something far more sinister.

The lawsuit eventually settled for $1.8 million — pocket change compared to the original ask — with Smith maintaining her innocence. Sophie Fergi, a former Squad member, put it plainly: “This lawsuit was never about money. It was to make sure she couldn’t do what she did to me to another kid.”

Fast forward to spring 2024, and 17-year-old Rockelle still commands an empire: 6.1 million Instagram followers, 14.8 million on TikTok, and 12.1 million YouTube subscribers. She stands by her mother, dismissing the accusations as “mean, untrue, and honestly all about money.”

Yet cracks are showing. In a recent video, Rockelle admitted some of her previous content “wasn’t real” — a rare glimpse behind the curtain that suggests all might not be well in the house that clicks built.

As “Bad Influence” climbs Netflix’s trending charts, it serves as more than just another true-crime documentary. It’s a wake-up call about the true cost of early fame and the desperate need for better protections in an industry that’s grown too big, too fast, with too little oversight. Sometimes, it seems, the brightest filters hide the darkest truths.

The entertainment industry’s ever-shifting power dynamics took center stage this week, serving up a stark reminder of how differently female artists’ paths can unfold in the spotlight.

Dick Clark Productions dropped some major news Wednesday — Jennifer Lopez is making her way back to the American Music Awards stage. Not as a performer this time, but as the show’s host for the upcoming 2025 ceremony. Talk about perfect timing, right? The Memorial Day spectacular in Vegas marks a decade since J.Lo first commanded the AMAs hosting gig.

CEO Jay Penske couldn’t contain his enthusiasm (and honestly, who could blame him?). “Jennifer’s incredible talent and incomparable stage presence make her the ideal host,” he gushed. Let’s face it — there’s something pretty special about booking an artist who’s the only woman to ever score a number-one album and film simultaneously.

But hold up. While J.Lo’s star continues its meteoric rise, another story bubbling up from the industry’s underbelly paints a much darker picture.

Keri Hilson finally broke her silence about that infamous 2009 Beyoncé diss track — and whew, it’s not what anyone expected. During a raw conversation with The Breakfast Club, Hilson dropped a bomb that’s got everyone rethinking what they thought they knew about the incident.

“Those weren’t even my words,” Hilson revealed, her voice carrying years of pent-up frustration. The truth? She was basically strong-armed into recording lyrics she wanted nothing to do with.

Picture this: A young artist, debut album hanging in the balance, stuck between a rock and a hard place. Producer Polow da Don hands her some pre-written shade aimed straight at Queen Bey. “Automatically, I was like, ‘I’m not saying that,’” Hilson remembered. But sometimes in this business, “no” isn’t really an option.

The controversial verse — you know the one, taking shots at “Irreplaceable” with that “move it to the left, left” dig — became the albatross around Hilson’s neck. “Super young… no power… no choice,” she shared, describing tears and protests that fell on deaf ears. The ultimatum was crystal clear: record it, or watch that debut album collect dust on a shelf.

In an unexpected twist, songwriter Ester Dean stepped into the fray via Instagram, owning up to her part in the drama. “Looking back, it was childish and didn’t age well,” Dean admitted. “I see how it hurt people, especially women, and I take full accountability.”

The contrast couldn’t be sharper. As Lopez preps for what’s sure to be a dazzling return to the AMAs stage (word is she’s cooking up something special for the show’s new CBS/Paramount+ home), Hilson’s revelations remind us that the entertainment industry’s glittering facade often masks some pretty ugly truths.

Maybe that’s what makes Lopez’s continued success so remarkable — she’s managed to navigate these treacherous waters while maintaining creative control. Meanwhile, Hilson’s story serves as a sobering reminder that for every artist who breaks through the industry’s power structure, there’s another who got caught in its gears.

As we look ahead to that Memorial Day broadcast in 2025, these parallel narratives offer more than just entertainment news. They’re a testament to how far the industry’s come — and a stark reminder of how far it still needs to go.

The Library of Congress just dropped its latest additions to the National Recording Registry, and boy, does this year’s lineup feel like flipping through the ultimate American mixtape. Twenty-five new recordings — each one a distinct thread in our cultural fabric — have earned their spot in this prestigious archive, and the selections are nothing short of fascinating.

Remember that six-second Windows 95 startup sound? (Yeah, the one that used to wake up half the office.) Well, Brian Eno’s brief-but-iconic composition just landed itself a place alongside some pretty impressive company. Who’d have thought that tiny digital chime would one day share shelf space with the likes of Miles Davis and Elton John?

Speaking of musical giants, Davis’s “Bitches Brew” finally gets its due recognition. That 1970 masterpiece didn’t just push boundaries — it flat-out ignored them, creating something entirely new from the collision of jazz and rock. And then there’s Sir Elton’s “Goodbye Yellow Brick Road,” an album so stuffed with hits it’s practically bursting at the seams.

But here’s where things get really interesting. Minecraft’s “Volume Alpha” soundtrack made the cut — and honestly, it makes perfect sense. Daniel Rosenfeld’s haunting melodies have probably logged more listening hours than most pop songs, accompanying millions through their digital adventures. Not bad for a bunch of bleeps and bloops, right?

The registry’s choices reflect some powerful moments in our collective journey, too. Tracy Chapman’s debut album, with “Fast Car” leading the charge, reminds us how a single voice armed with truth can stop everyone in their tracks. Mary J. Blige’s “My Life” — raw, real, and absolutely essential — showcases why she’ll always be royalty in the hip-hop soul world.

Some selections feel particularly poignant now in 2025. Chuck Thompson’s 1960 World Series broadcast captures a slice of pure Americana that seems almost quaint in our era of augmented reality sports coverage. Helen Reddy’s “I Am Woman” hits differently too, especially given the recent developments in gender equality legislation.

The collection spans decades and genres with impressive reach. From the groundbreaking success of Charley Pride’s “Kiss an Angel Good Mornin’” to the cultural phenomenon of “Hamilton,” from Amy Winehouse’s soul-baring “Back to Black” to Celine Dion’s “My Heart Will Go On” (c’mon, you’re humming it now, aren’t you?), each recording tells its own unique story.

Librarian of Congress Carla Hayden summed it up perfectly when she called these selections “the sounds of America.” They’re more than just recordings — they’re timestamps of our evolution, preserved not just for their technical merit but for their role in shaping who we’ve become.

In the end, this year’s additions to the Registry prove something rather beautiful: whether it’s through a protest song, a jazz fusion experiment, or even a video game soundtrack, music remains our most faithful storyteller. And now these stories have a permanent home, right where they belong.

Hollywood’s latest sweet spot? A deliciously unexpected biopic that’s stirring up quite the buzz as we head into 2025. The story of chocolate titan Milton Hershey is getting the silver screen treatment, and darling, the casting is absolutely divine.

Mark Waters — yes, the genius who gave us Mean Girls and its endless quotable gems — has signed on to direct “Hershey.” The project’s already generating serious heat with Finn Wittrock (fresh off his stellar run in American Horror Story) and Alexandra Daddario (who absolutely owned The White Lotus) stepping into the roles of Milton and Kitty Hershey.

Talk about perfect timing. While audiences are still digesting the wave of brand-origin stories that flooded theaters last year, this one promises something different — a love story wrapped in chocolate and sprinkled with genuine philanthropy. Not your typical corporate puff piece, thank heavens.

Meanwhile, across town (well, across the country, really), Film at Lincoln Center just dropped their own bombshell. Daniel Battsek — the mastermind who’s been absolutely crushing it at Film4 with gems like “The Zone of Interest” and “Poor Things” — is taking the helm as president. His appointment feels particularly significant as the institution navigates the ever-shifting landscape of contemporary cinema.

The Hershey project kicks off this May in Pennsylvania (where else would you film it?), and Waters seems genuinely moved by the material. “Unlike a lot of other wealthy men of his time,” he noted during last week’s press junket, “he shared his success with the working people and community around him.” There’s something rather refreshing about that sentiment, especially in our current climate of billionaire space races and crypto drama.

What’s particularly fascinating about the Hershey story is how it transcends the typical rags-to-riches narrative. The couple’s creation of the Hershey Industrial School in 1909 — providing free education and housing to underprivileged children — wasn’t just some PR stunt. They built an entire community: theaters, recreation centers, public transportation. It was a chocolate-funded utopia before anyone even knew what corporate social responsibility meant.

The convergence of these announcements — Battsek’s appointment and the Hershey project — feels oddly symbolic. Here’s the industry, simultaneously embracing its artistic roots through Film at Lincoln Center while exploring the surprisingly complex legacy of an American icon. It’s that perpetual dance between commerce and art, isn’t it? Between entertainment and enlightenment?

Perhaps that’s the real story here. While Battsek prepares to shepherd one of cinema’s most prestigious institutions through whatever curves 2025 throws our way, Waters and his cast are cooking up what could be — fingers crossed — a genuinely touching testament to American philanthropy and romance.

Now wouldn’t that be something sweet to savor?

Werner Herzog just proved, yet again, why he’s Hollywood’s most deliciously defiant maverick. Upon learning of his upcoming Golden Lion for Lifetime Achievement at Venice Film Festival, the legendary filmmaker didn’t just graciously accept – he essentially told everyone to hold his metaphorical beer.

“I have always tried to be a Good Soldier of Cinema,” Herzog declared with that unmistakable German inflection that’s become as iconic as his films. Then – because timing is everything, darlings – he proceeded to casually drop his jam-packed production schedule. The man who once hauled a 320-ton steamship over a mountain isn’t about to let a lifetime achievement award suggest he’s done achieving.

His current slate? Simply extraordinary. There’s “Ghost Elephants,” a documentary fresh from the wilds of Africa (and knowing Herzog, probably filmed while dangling from a helicopter). “Bucking Fastard” is taking shape in Ireland’s misty landscapes. Oh, and just for kicks, he’s voicing some presumably existential creature in Bong Joon Ho’s latest animated venture. Take that, content creators of 2025.

Venice Film Festival’s artistic director Alberto Barbera – bless his poetic soul – described Herzog as a “physical filmmaker and indefatigable hiker.” Which feels rather like calling the Pacific Ocean “a bit wet.” This is, after all, the man who turned film-making into an extreme sport long before GoPros existed.

Born amid the chaos of 1942 Munich, Herzog’s journey reads like a fever dream penned by a particularly ambitious screenwriter. College dropout turns auteur at 19, proceeds to redefine cinema’s boundaries for the next six decades. “Aguirre, the Wrath of God,” “Nosferatu the Vampyre,” “Grizzly Man” – each a masterpiece that laughs in the face of convention.

But what’s truly fabulous about Herzog? His absolute refusal to be pigeonholed. Documentary? Fiction? Darling, please – those are suggestions, not rules. Between directing operas and publishing poetry, he’s found time to pop up in “The Mandalorian” and “Jack Reacher.” Because when you’re Werner Herzog, why shouldn’t you add “scene-stealing character actor” to your résumé?

Barbera – clearly warming to his task – dubbed Herzog “the last heir of the great tradition of German romanticism, a visionary humanist, and tireless explorer.” The description captures something essential about a filmmaker whose career has been equal parts fascinating and hazardous, always in pursuit of what Herzog calls “a decent and fitting place for mankind, a Landscape of the Soul.” (Only Herzog could make soul-searching sound simultaneously profound and slightly dangerous.)

He joins an absolutely divine lineup of Golden Lion recipients – David Lynch, Pedro Almodóvar, Jane Fonda, and more recently, Peter Weir and Sigourney Weaver. Though something suggests Herzog’s less interested in this glittering pantheon than in whatever wild adventure he’s planning next.

“I am not done yet,” he reminded everyone, in that gloriously matter-of-fact way of his. And honestly? Thank heavens for that. In an era of carefully curated content and AI-generated everything, we desperately need more of Herzog’s beautifully untamed cinema.

Remember when “nepo baby” was the hottest insult in Hollywood? As we roll into 2025, that conversation’s gotten way more interesting — and complicated.

Take Sy’rai Smith. While everyone’s been busy debating the merits of famous offspring, Brandy’s daughter quietly went and graduated Summa Cum Laude with a Bachelor’s in Entertainment Business. Not exactly the move you’d expect from someone content to coast on their parent’s fame, right?

Her mom’s Instagram response hit that sweet spot between proud parent and industry veteran: “I’m soooooooooo proud of you and the woman you continue to become!” wrote Brandy, calling her daughter “the brightest light I’ve ever seen.” Sure, it’s a bit extra with those o’s, but hey — when your kid graduates top of their class, maybe you earn the right to spam some vowels.

Speaking of famous kids growing beyond their parents’ shadows… Sometimes that growth is literal. Tobey Maguire’s son Otis Tobias has been making headlines lately, less for his acting chops and more for towering over his Spider-Man star dad during their recent Beverly Hills sushi run. At 15, the kid’s already making his 5’8″ father look like he needs a booster seat. (Sorry, Tobey — but someone had to say it.)

The wealth factor in this whole nepo baby discussion can’t be ignored, especially when you’re talking Kardashian numbers. Kim’s sitting pretty with £1.3 billion, while Kylie’s “modest” £550 million fortune would make most trust fund babies blush. But here’s the thing — they’ve taken inherited opportunity and turned it into empire expansion. Love ’em or hate ’em, you can’t deny they’ve got business savvy.

Jennifer Meyer, Maguire’s ex, probably has the most refreshing take on navigating these complicated family dynamics. She describes their post-divorce relationship as that of siblings — “brother and sister” — which, let’s be honest, is probably the healthiest way to approach co-parenting in the spotlight. Especially now that their kids are hitting those tricky teen years.

The entertainment industry’s always been something of a family business — that’s hardly breaking news. But what’s fascinating to watch in 2025 is how this new generation’s approaching their inheritance. Whether it’s Smith hitting the books before the recording studio, the Kardashians diversifying their empires faster than a hedge fund manager on espresso, or Maguire’s kids just trying to live their best lives while ducking paparazzi at Nobu, these “nepo babies” are writing their own scripts.

Maybe it’s time to retire that term altogether. After all, in an industry that’s always chasing the next big thing, the most compelling story isn’t about who these kids’ parents are — it’s about who they’re becoming despite (or because of) that legacy.

Then again, maybe that’s just what happens when privilege meets purpose. And in 2025’s entertainment landscape, that’s starting to look less like nepotism and more like evolution.

Marvel’s marketing department has officially lost their minds — and it’s absolutely glorious. In what might be the most delightfully unhinged promotional stunt since that time someone livestreamed paint drying for 24 hours, they’ve blessed us with an 8.5-hour video of Hugh Jackman’s Wolverine… breathing. Just breathing. With some ambient music thrown in for good measure.

Let that sink in for a moment.

The entertainment behemoth dropped this marathon of measured respiration to commemorate National Stress Awareness Month. “Breathe deep and feel your adamantium bones melt away,” declares the caption, with the kind of straight-faced earnestness that makes you wonder if someone’s been huffing too much Infinity Stone dust in the marketing department.

But here’s the kicker — Jackman isn’t just lounging around in sweats. He’s decked out in that gorgeous yellow suit (minus the cowl, naturally), striking poses that would probably raise your blood pressure rather than lower it. Around the four-hour mark — because apparently that’s a thing we need to reference now — he recreates Frank Miller’s iconic cover from Claremont’s Wolverine #1. It’s the kind of detail that transforms this utterly bonkers concept into something approaching… well, still bonkers, but with a dash of comic book reverence.

This isn’t Marvel’s first rodeo with marathon-length promotional stunts, either. Remember that bizarre five-hour chair video announcing the “Avengers: Doomsday” cast? At this point, it seems like someone at Marvel Studios has developed a peculiar fascination with testing just how long fans will stare at their screens. (Spoiler alert: apparently forever.)

Speaking of “Doomsday” — there’s an interesting wrinkle here. While the old Fox X-Men guard (Stewart, McKellen, even Kelsey Grammar, bless him) are all confirmed for the upcoming superhero extravaganza, Jackman’s name was conspicuously absent from that endless chair announcement. Makes you wonder what game they’re playing, doesn’t it?

The timing’s particularly curious, what with “Deadpool & Wolverine” fresh on Disney+. Their new synopsis reads like something scribbled on a napkin after one too many chimichangas: “Marvel Studios presents their most significant mistake to date – Deadpool & Wolverine.” Classic Marvel, throwing shade at themselves while counting their $1.3 billion box office haul.

Oh, and because someone at Marvel apparently has a twisted sense of humor, there’s a jump-scare waiting at the end of those 510 minutes. Nothing says “stress relief” quite like an unexpected fright after spending a full workday watching the world’s most famous Canadian mutant practice his breathing exercises.

Look, maybe this is brilliant marketing. Maybe it’s complete madness. Perhaps it’s both — a beautiful testament to the fact that Marvel could probably release eight hours of Hugh Jackman reading the phone book, and millions would still tune in. In an era where TikTok has convinced us that our attention spans are shorter than a goldfish’s, there’s something almost rebelliously refreshing about Marvel’s commitment to these absurdly lengthy promotional videos.

Then again, when you’re sitting atop the entertainment industry, maybe you can afford to get a little weird. And honestly? We’re here for it.

The musical landscape of 2024 keeps serving up surprises. Just when everyone thought they’d settled into their playlists for the year, two major comebacks are reshaping expectations for the months ahead.

Montreal’s indie rock powerhouse Arcade Fire is breaking their silence with “Pink Elephant,” their seventh studio album dropping May 9th. Meanwhile, pop-punk’s favorite troublemakers Blink-182 are plotting their own return to center stage with an ambitious new tour schedule. Talk about different flavors of nostalgia colliding.

The first taste of Arcade Fire’s new direction comes through “Year of the Snake” – a track that feels both timely and symbolic, given its connection to 2025’s upcoming Lunar Year. The accompanying video catches band leaders Win Butler and Régine Chassagne in surprisingly candid moments. There’s something oddly compelling about watching them navigate the wild energy of New Orleans during Mardi Gras, then somehow ending up in a card game with Willie Nelson (yeah, that Willie Nelson).

Behind the boards for “Pink Elephant” sits Daniel Lanois, the producer whose magic touch helped shape some of U2 and Bob Dylan’s most memorable work. The band’s describing their new sound as “cinematic mystical punk” – whatever that means. Though honestly? That kind of wonderfully weird description feels right at home in Arcade Fire’s universe of theatrical rock.

Let’s address the elephant in the room, though. This comeback follows a rocky period for the band, particularly the 2022 allegations against Butler – which he denied while acknowledging certain personal choices. Their new material, especially “Year of the Snake,” seems to wrestle with these themes. When Butler sings “It’s the season of change, and if you feel strange, it’s probably good,” it’s hard not to read between the lines.

Over in the pop-punk corner of the musical universe, Blink-182’s “Missionary Impossible” tour announcement hits different notes entirely. Starting August 28th, Mark Hoppus, Tom DeLonge, and Travis Barker will remind audiences why they fell in love with power chords and drum fills in the first place. Adding Alkaline Trio as support? That’s just throwing gasoline on the nostalgic fire.

Both bands seem to understand the delicate dance of the modern comeback. Arcade Fire’s launching their “Circle of Trust” app – complete with exclusive tracks like “Cars and Telephones” and their “Santa Pirata Radio” feature. It’s a clever way to rebuild connections with fans, creating something that feels more personal than your typical social media presence.

Summer’s gonna be interesting. Between Arcade Fire’s intimate album preview shows and Blink-182 lighting up venues from Florida’s Hard Rock Live to the When We Were Young Festival in Vegas, music fans have some choices to make. These aren’t just shows – they’re chapters in ongoing stories of reinvention.

The timing feels significant, doesn’t it? In an age where cancel culture and comeback narratives duke it out daily, both bands are letting their music do the heavy lifting. For Arcade Fire, “Pink Elephant” (named for that weird phenomenon where trying not to think about something makes you think about it more) might be their most loaded release yet. And Blink-182? They’re sticking to what they know best – serving up summer anthems with a side of pop-punk attitude.

Maybe that’s what 2024 needs – a reminder that music still has the power to write new chapters in old stories. Whether those stories end up being redemption arcs or victory laps? Well, that’s what makes it interesting.

Broadway dimmed its lights this week, mourning the loss of William Finn — a musical theater maverick who dared to push boundaries when others played it safe. The Tony Award-winning composer and lyricist, whose distinctive voice gave us both “Falsettos” and “The 25th Annual Putnam County Spelling Bee,” passed away Monday in Bennington, Vermont. He was 73.

Pulmonary fibrosis claimed the life of this theatrical pioneer, according to his longtime partner Arthur Salvadore. In recent years, Finn had been wrestling with neurological issues, though his creative spirit never wavered.

“Bill was totally original — sui generis,” reflected his frequent collaborator James Lapine. “Songs just poured out of him, always in his voice and always very personal.” That personal touch transformed Broadway’s landscape, tackling subjects others wouldn’t dare touch with a ten-foot pole.

Think about it: When AIDS was still whispered about in hushed tones, Finn sang it from the rooftops. While others tiptoed around complex family dynamics, he embraced them with open arms and razor-sharp wit. His work on “Falsettos” — combining “March of the Falsettos” and “Falsettoland” — earned him two well-deserved Tony Awards in ’92, proving that musical theater could handle life’s toughest moments without losing its soul.

The Boston native’s journey from penning his first play (a self-proclaimed “horrible” Hebrew School project) to Broadway legend reads like its own kind of theatrical production. Yet perhaps his most endearing contribution came through “The 25th Annual Putnam County Spelling Bee” — a show that found profound humanity in adolescent awkwardness. Starting in a high school cafeteria in the Berkshires, it blossomed into a Broadway gem that ran nearly three years. Today, with over 7,000 productions worldwide, it stands as testament to Finn’s knack for finding extraordinary magic in ordinary lives.

André Bishop, Lincoln Center Theater’s producing artistic director and longtime champion of Finn’s work, put it perfectly: “In the pantheon of great composer-lyricists, Bill was idiosyncratically himself — there was nobody who sounded like him.”

Even as health challenges mounted, Finn’s creative fire burned bright. At the time of his passing, he was crafting a pandemic-themed song cycle called “Once Every Hundred Years” — because of course he was. That’s just who he was: always creating, always pushing forward, always transforming life’s challenges into art.

Beyond the footlights, Finn’s legacy lives on through the countless writers and composers he mentored at his musical theater lab at Barrington Stage Company and NYU’s Tisch School of the Arts. Broadway hasn’t just lost a composer — it’s lost a revolutionary who proved that musical theater could challenge minds while touching hearts.

In these early months of 2025, as Broadway faces new challenges and opportunities, Finn’s influence feels more relevant than ever. His work reminds us that great theater doesn’t just entertain — it transforms, challenges, and ultimately celebrates the messy beauty of being human.