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Just when Hollywood thought it had caught its breath after the “Succession” finale, Jesse Armstrong is back to remind everyone why he’s the king of eat-the-rich entertainment. His latest venture? A deliciously twisted romp through the snow-capped peaks of Park City, Utah, where billionaire bros are about to get the Armstrong treatment.

“Mountainhead” — wrapping production as we speak — marks Armstrong’s first foray into feature directing. And darling, the timing couldn’t be more perfect. With wealth inequality reaching fever pitch in early 2025 (hello, tech baron space races), who better to skewer the privileged class than the mastermind behind TV’s most savage family dynasty?

The cast? Simply *chef’s kiss*. Steve Carell fresh off his surprisingly nuanced turn in “The Four Seasons” series. Jason Schwartzman, riding high from “Between the Temples” and “Queer.” Then there’s Ramy Youssef and — perhaps most intriguingly — Cory Michael Smith, whose recent “Saturday Night” appearances have been nothing short of revelatory.

But here’s where it gets really interesting.

Armstrong hasn’t just assembled an A-list cast — he’s brought the whole “Succession” dream team along for the ride. Frank Rich, Lucy Prebble, Mark Mylod… it’s like getting the band back together, except this time they’re trading boardroom battles for what promises to be an absolutely savage takedown of billionaire bromance culture. (And let’s be honest, after watching certain tech titans’ playground spats on what-used-to-be-Twitter last month, this couldn’t be more timely.)

Speaking of “Succession” — at January’s rather rain-soaked Emmy ceremony, Matthew Macfadyen effectively crushed hopes for any Roy family reunions. “Highly unlikely,” he muttered, between sips of presumably very expensive champagne. “We left them… to carry on in their strange and crappy world.” Fair enough, though some of us are still in denial.

The HBO original film drops May 31st at 8:00 p.m. ET/PT (streaming on Max, naturally), and early whispers from Park City suggest Armstrong hasn’t lost his touch for making the ultra-wealthy squirm. His Oscar-nominated “In The Loop” proved he could translate that signature acidic wit to feature length — now, with HBO’s coffers and creative freedom at his disposal, “Mountainhead” looks set to be the kind of sophisticated skewering that premium subscribers live for.

After all, in a world where billionaires are buying up bunkers in New Zealand faster than vintage Birkins, we could all use Armstrong’s particular brand of catharsis. May can’t come soon enough.

James Gunn’s upcoming Superman reboot isn’t just pushing boundaries—it’s shattering them. Fresh footage from CinemaCon suggests we’re in for something that feels more like hard science fiction than your typical cape-and-cowl adventure.

The opening sequence alone sends a clear message: this ain’t your grandfather’s Superman. David Corenswet’s Man of Steel lies crumpled in Arctic snow, looking decidedly un-superheroic. No pristine costume, no dramatic pose—just raw vulnerability that makes Christopher Reeve’s classic portrayal seem almost quaint by comparison.

But here’s where things get interesting. The Fortress of Solitude has undergone a radical transformation that would make even the most ardent sci-fi enthusiasts do a double-take. Gone are the crystal formations of yesteryear, replaced by something that could’ve been pulled straight from the fevered imagination of Ridley Scott. Sleek Kryptonian robots—bearing more resemblance to the unsettling creations of “Ex Machina” than anything from previous Superman outings—harness concentrated sunlight in a sequence that somehow manages to feel both cutting-edge and true to the character’s solar-powered roots.

Social media naturally erupted with speculation about Corenswet’s appearance, particularly regarding possible CGI enhancement. Gunn, in characteristic fashion, didn’t let the rumors simmer. “There is absolutely zero CG in his face,” he fired back, adding a technical explanation about wide-angle lens effects that probably sent a few amateur cinematographers scrambling for their cameras.

The real scene-stealer? Krypto the Superdog’s live-action debut. In what might be the footage’s most endearing moment, Superman’s four-legged friend responds to his master’s whistle with all the grace of an excited puppy who hasn’t quite figured out their super-strength. The result? A rescue attempt that leaves the Man of Steel “crying and writhing in pain”—a delightfully human touch in the midst of all the cosmic spectacle.

Speaking of spectacle, Gunn’s vision extends far beyond Arctic rescue scenes. Metropolis faces destruction from creatures that wouldn’t look out of place in a kaiju film, while something called “Solaris the Tyrant Sun” looms as an ominous threat. There’s also a black-clad figure—rumored to be Ultraman—though DC’s keeping that particular mystery under wraps until the film’s summer 2025 release.

While Rachel Brosnahan’s Lois Lane and Nicholas Hoult’s Lex Luthor remain largely glimpsed in shadows, the supporting cast reads like a comic fan’s wish list come true. Hawkgirl soars, Metamorpho shape-shifts, and—perhaps most surprisingly—Guy Gardner’s Green Lantern makes his presence known. The message is clear: Gunn isn’t just crafting another Superman movie; he’s laying the groundwork for DC’s next cinematic universe.

The iconic John Williams theme still makes an appearance, but it’s accompanying something far removed from traditional Superman fare. This is blockbuster filmmaking that dares to dream bigger—imagine “2001: A Space Odyssey” with a cape and heat vision. Come July 11, 2025, audiences will discover whether Gunn’s gamble pays off: a Superman who shows weakness, a truly alien Fortress, and yes, a super-powered dog who occasionally forgets to check his enthusiasm at the door.

Remember that weird, wide-eyed girl from those ancient memes about clingy girlfriends? Behind those deliberately unsettling eyes lies a fascinating tale about internet fame’s peculiar nature — and how a single moment can hijack someone’s entire life trajectory.

The year was 2012. Justin Bieber had just released “Boyfriend,” and somewhere in Texas, a college student named Laina Morris decided to film a parody for a fan contest. Little did she know that her deliberately creepy performance — complete with those now-infamous lyrics about secretly recording devices — would catapult her into the strange pantheon of internet immortality.

“You’re a meme,” her roommates announced one morning. Just like that, Morris’s face became digital shorthand for obsessive relationship behavior, spawning countless variations across the web’s endless landscape. Her video’s quarter-million views might seem quaint by today’s standards (looking at you, TikTok billionaires), but in 2012’s digital ecosystem, it was enough to change everything.

The universe has a weird sense of humor sometimes. Morris — who’d been plotting a perfectly normal teaching career — suddenly found herself navigating the uncharted waters of accidental internet stardom. “It fell into my lap,” she’d later reflect, describing that surreal moment when viral fame kicks down your door and demands attention.

But here’s where things get complicated.

Building a sustainable career from a viral moment turns out to be about as easy as catching lightning in a bottle — twice. Sure, Morris managed to parlay her meme status into a respectable YouTube following (1.23 million subscribers ain’t nothing) and even scored some late-night TV appearances. Yet beneath the surface, something darker was brewing.

The pressure of maintaining relevance in the attention economy’s endless churn began taking its toll. “Starting at the top means there’s nowhere to go but down,” Morris would later explain — a sentiment that probably resonates even more strongly in 2025’s hyperactive content landscape. When everyone’s watching to see what you’ll do next, and you’re just as clueless as they are… well, that’s a special kind of pressure cooker.

By 2014, depression had crept in — though you wouldn’t have known it from her content. “I felt ashamed,” she admitted in her 2019 farewell video, highlighting that weird guilt that comes with struggling despite having “made it.” It’s a particularly cruel irony: achieving the very thing countless creators dream about, only to find it’s not quite the dream they imagined.

Perhaps the most fascinating aspect of Morris’s story is how she learned to dissociate herself from her meme persona. “There’s my meme” versus “there’s my face” — it’s the kind of psychological gymnastics that feels uniquely suited to our digital age. When your image becomes public property, maybe creating that mental separation is less a coping mechanism and more a survival strategy.

Today’s viral sensations face an even more intense version of what Morris experienced. In an era where fame’s half-life keeps shrinking (seriously, can anyone remember last month’s main character on Twitter?), her story reads like both cautionary tale and survival guide. The landscape she navigated in 2012 seems almost quaint compared to the pressure cooker of contemporary content creation.

“I am where I am because of [Overly Attached Girlfriend],” Morris acknowledges, while wishing she could tell her younger self to “chill a little bit.” It’s advice worth considering in an age where anyone’s random Tuesday could suddenly turn into their viral moment — whether they want it to or not.

After all, behind every meme, every viral sensation, every fleeting moment of internet fame, there’s a real person trying to figure out what the hell just happened to their life. And maybe that’s the real lesson here: in the endless churn of digital culture, maintaining your humanity might be the trickiest feat of all.

From Basketball Courts to Billboard Charts: LiAngelo Ball’s Unexpected Musical Evolution

Who would’ve thought that LiAngelo Ball — the middle child of basketball’s most talked-about family — would end up making waves in the music industry? Yet here we are in early 2025, watching GELO (his artist moniker) drop another head-turning track that’s got both hip-hop heads and sports fans buzzing.

His latest single “Law N Order” isn’t just another athlete’s vanity project. The track showcases a surprisingly mature artistry that’s been steadily developing since his viral breakout hit “Tweaker” caught everyone off guard last year. Between the crystalline piano melodies and those earth-shaking bass lines, GELO’s unhurried flow feels right at home — like he’s been doing this his whole life.

The transformation’s been something to witness. Remember when Ball was making headlines for his stint with Astros de Jalisco in Mexico? Now he’s commanding stages at Rolling Loud California, where “Law N Order” first grabbed the spotlight. The hometown crowd’s reaction? Pure electricity. Social media practically exploded with clips of his performance, and honestly? The confidence was undeniable.

Music critics haven’t missed the beat either. Stereogum’s Chris DeVille drew an interesting parallel to peak-era 50 Cent, noting how GELO seems to “swim” through his beats with similar ease. That’s no small praise for someone who was primarily known for his jump shot just a couple years back.

The industry’s taken notice too. After “Tweaker” blew up, Def Jam and Universal Music Group didn’t waste time — they locked him down with a recording contract this January. His first release under the label, “Can You Please” featuring GloRilla, proved they weren’t just taking a shot in the dark.

Perhaps the most telling moment came during All-Star Weekend in San Francisco. There was something almost poetic about GELO performing “Tweaker” for the NBA crowd — a full-circle moment that showed just how far he’s come. The basketball world wasn’t just accepting his new path; they were celebrating it.

Looking ahead, whispers of a debut album are getting louder, and with three solid singles already making waves, GELO’s musical journey is shaping up to be more than just another celebrity side hustle. It’s becoming increasingly clear that this Ball brother might’ve found his true calling behind the mic rather than behind the three-point line.

And you know what? In an era where authenticity often feels in short supply, there’s something refreshingly genuine about watching someone pivot so successfully from one passion to another. Who’s to say where GELO’s musical evolution might lead? But right now, it’s hitting all the right notes.

The MTV Video Music Awards is trading its rebellious cable TV roots for something decidedly more… mainstream. In a move that’s got industry insiders buzzing, the iconic awards show — forever linked with those “did that really just happen?” moments — is heading to CBS this fall. Mark your calendars for September 7, when the UBS Arena in New York plays host to what promises to be a fascinating experiment in cultural evolution.

Let’s be real — this isn’t just another channel hop. The VMAs have always been pop culture’s wild child, serving up the kind of unscripted chaos that makes network executives reach for their antacids. Remember Madonna’s wedding dress performance? Or that Kanye-Taylor moment that launched a thousand memes? Yeah, those kinds of moments.

The show’s not completely abandoning its MTV homeland, though. In a clever bit of programming gymnastics, it’ll air simultaneously on its original cable home while also streaming on Paramount+. Smart move — keeping one foot in the past while pirouetting into the future. They’re even keeping the traditional red carpet pre-show across Paramount Media Networks, because heaven knows we can’t miss those fashion moments (or potential fashion disasters).

Speaking of moments, Taylor Swift’s absolutely bonkers night at the 2024 VMAs probably helped seal this deal. Seven awards? Including Video of the Year for “Fortnight” with Post Malone? That’s the kind of star power CBS is banking on. Swift’s now tied with Beyoncé at 30 lifetime VMAs — a fact that’s probably giving Eminem (stuck at 15) a bit of FOMO.

The timing’s pretty interesting, actually. CBS has been the go-to network for prestige awards shows forever — they’ve had the Tonys since forever and the Grammys since bell-bottoms were unironically cool (1973, for those keeping score). But here’s the plot twist: the Grammys are packing their bags for ABC in 2027. It’s like a high-stakes game of musical chairs, except with billion-dollar TV properties.

Since its wild debut in 1984, the VMAs have been more than just an awards show — they’re where pop culture goes to create headlines. The real question is whether that edge can survive in the somewhat stuffier world of network television. Sure, the multi-platform approach suggests they’re trying to have their cake and eat it too, but anyone who’s watched network TV lately knows it’s a different ballgame.

The 2025 show could be make-or-break. With streaming numbers climbing and traditional TV viewership doing… well, not that, this move feels both bold and slightly desperate. But maybe that’s exactly what both the VMAs and network television need right now — a shake-up that could redefine what awards shows look like in this increasingly fragmented media landscape.

For now, music fans are left wondering what this new chapter will bring. Will we still get those jaw-dropping performances? Those acceptance speeches that make social media explode? Those wonderfully awkward celebrity reaction shots? Time will tell, but one thing’s certain — the VMAs aren’t going quietly into that good night. They’re just turning up the volume on a different frequency.

Miley Cyrus has done it again. The pop maverick’s latest visual offering — a dreamy music video for “End of the World” — arrives like a glitter bomb of nostalgia and modern flair, marking the third glimpse into her upcoming ninth studio album, Something Beautiful.

The video feels like stumbling into some hazy, neon-lit ’70s nightclub that’s been transported to 2025. Cyrus, ever the visual storyteller, commands the screen in an emerald Mugler mini-dress that somehow manages to channel both Studio 54 and tomorrow’s red carpet. There’s something deliciously meta about watching her navigate this retro-future landscape she’s created alongside directors Jacob Bixenman and Brendan Walter.

“Let’s pretend it’s not the end of the world,” she sings, her voice carrying that distinctive blend of honey and grit that’s become her calling card. The soft-rock ballad marks yet another evolution for the artist — though, really, when hasn’t Cyrus been evolving?

What’s particularly fascinating about this new era is the sheer ambition behind it. Fresh off her somewhat surprising Grammy win with Beyoncé for “II Most Wanted” (who saw that country collaboration coming?), Cyrus isn’t just making an album — she’s crafting what she’s dubbed a “pop opera.” It’s the kind of swing-for-the-fences move that could either become legendary or land with a thud, but that’s always been part of her charm.

The Tennessee native’s comparison to Pink Floyd’s The Wall might raise some eyebrows, but there’s something refreshingly bold about her vision for Something Beautiful. “Like The Wall, but with a better wardrobe and more glamorous,” she explains, adding that it’s meant to be “filled with pop culture.” Whether this ambitious fusion will resonate with audiences remains to be seen, but you can’t fault her for dreaming big.

Behind the scenes, Cyrus has assembled quite the creative dream team. The album, dropping May 30 via Columbia, brings together executive producer Shawn Everett with songwriting heavyweights Michael Pollack, Jonathan Rado, and Maxx Morando. Their collaborative fingerprints are all over “End of the World,” which somehow manages to feel both timeless and thoroughly modern.

Perhaps most intriguing is Cyrus’s stated mission for the album — “an attempt to medicate somewhat of a sick culture through music.” It’s the kind of statement that might sound pretentious coming from someone else, but from an artist who’s spent nearly two decades shape-shifting through pop culture, it feels earned.

The May release will be accompanied by an album-length film, because apparently, Cyrus didn’t get the memo about scaling back creative ambitions in uncertain times. Then again, when has playing it safe ever been her style?

Hollywood’s latest reboot gambit might just be its most brilliant yet. In a casting choice that feels both wildly unexpected and somehow perfectly right, Liam Neeson — yes, that Liam Neeson — is stepping into Leslie Nielsen’s legendary gumshoes for Paramount’s reimagining of “The Naked Gun.”

The first trailer dropped yesterday, and honestly? It’s a masterclass in subverting expectations. There’s something absolutely delicious about watching the man who practically trademarked the grim-faced action hero transform into comedy’s newest unlikely star. Picture this: Neeson, disguised as a little girl (complete with pigtails), confronting bank robbers with… a lollipop. It’s the kind of scene that shouldn’t work on paper, yet somehow lands with spectacular absurdity.

Pamela Anderson — who’s been experiencing quite the career renaissance lately — couldn’t contain her enthusiasm during a recent Late Night appearance. “Liam is hysterical,” she gushed to Seth Meyers, before adding, “I’m literally running into walls, which I’ve always wanted to do.” There’s something wonderfully meta about watching the Baywatch icon embrace pure slapstick comedy in 2025.

Behind the camera, SNL alum Akiva Schaffer’s bringing his sketch comedy expertise to the director’s chair. With Seth MacFarlane producing (because apparently this project needed more irreverent humor), the film seems determined to walk that tricky tightrope between nostalgia and fresh absurdity.

The supporting cast? Pure chef’s kiss material. Paul Walter Hauser inherits another legacy role as Captain Ed Hocken Jr., while CCH Pounder and Kevin Durand round out the ensemble. And in a twist that feels perfectly aligned with our current pop culture moment, AEW superstar Cody Rhodes is making his comedic debut — because why not throw a wrestling phenomenon into the mix?

Neeson himself has admitted to some jitters about the role. “My comedy chops have to be proven,” he confessed during the trailer launch. But darling, isn’t that precisely what makes this whole endeavor so fascinating? Watching one of cinema’s most intense actors willingly throw dignity to the wind for our entertainment — now that’s commitment to the craft.

The August 1st release date marks a 31-year gap since the last installment. The marketing team’s clearly having a field day with it, crafting taglines that perfectly blend Neeson’s action hero persona with the franchise’s signature goofiness: “Only one man has the particular set of skills… to lead Police Squad and save the world!”

In an era where most reboots feel about as fresh as last year’s Met Gala looks, “The Naked Gun” seems to be doing something remarkably different. By casting an actor whose very presence screams gravitas in a role that demands complete abandonment of dignity, they’ve created a perfect storm of high-concept comedy.

Let’s face it — in a world where superhero films take themselves far too seriously and Oscar bait gets more pretentious by the minute, watching Liam Neeson face-plant into physical comedy might be exactly what cinema needs right now. And if early buzz is any indication, this particular set of comedic skills might just give us the laugh-out-loud summer blockbuster we didn’t know we were craving.

Hollywood’s favorite action-packed family drama is getting a seriously intriguing upgrade. Netflix just dropped some jaw-dropping news about “FUBAR” Season 2 — and trust us, this isn’t your typical sophomore season announcement.

Remember how Season 1 left us wanting more of Arnold Schwarzenegger’s surprisingly charming turn as a CIA operative with family issues? Well, hold onto your streaming passwords, because the June 12 premiere is bringing something even better: Carrie-Anne Moss is joining the cast. Yeah, that Carrie-Anne Moss. The one who made leather trench coats and martial arts look effortlessly cool in The Matrix (and honestly, still does).

The casting department deserves a raise for this one. Moss steps into the role of Greta Nelso, a former East German spy with — wait for it — a “passionate history” with Schwarzenegger’s Luke Brunner. It’s the kind of inspired pairing that probably had Netflix executives high-fiving in their boardroom. Trinity meets the Terminator? In 2025? Sure beats another reboot.

Showrunner Nick Santora (bless his heart) couldn’t contain his excitement when discussing the upcoming season. He’s been throwing around words like “bananas” to describe what’s coming — which, in Hollywood speak, typically means they’ve blown the budget on something spectacularly entertaining. The plot revolves around Moss’s character threatening not just world destruction (because apparently that’s still in fashion), but also promising to demolish Luke’s entire life. Dramatic much? Absolutely. Here for it? One hundred percent.

Let’s address the elephant in the room: Season 1’s somewhat lukewarm critical reception (that 50% on Rotten Tomatoes stings a bit). But here’s the thing — audiences got it. That 68% viewer score speaks volumes about what people actually want from their evening entertainment. Sometimes critics forget that not every show needs to be the next “Succession.”

The returning cast reads like a perfectly balanced recipe card: Monica Barbaro bringing the family drama, Fortune Feimster handling the comedy relief, and Travis Van Winkle… well, being Travis Van Winkle. Santora’s whole “they are family” spiel might sound a tad cheesy, but in the current landscape of fractured streaming services and endless doom-scrolling, maybe that’s exactly what we need.

Speaking of needs — Moss seems genuinely thrilled about this role, which says something when you’re dealing with an actress who helped define millennial sci-fi cinema. When someone of her caliber admits to having the time of her life on set, it’s worth paying attention. Plus, in an era where AI is literally writing scripts (looking at you, ChatGPT 7.0), there’s something refreshingly human about this particular chaos.

Eight hour-long episodes are heading our way, promising the kind of summer entertainment that pairs perfectly with whatever’s left of your pandemic snack stockpile. It’s refreshingly self-aware television that knows exactly what it is — no pretense, just pure entertainment value.

In a year when Sam Mendes is tackling the Beatles biopic and streaming services are battling it out like it’s the Hunger Games, “FUBAR” Season 2 feels like a breath of fresh, explosion-filled air. After all, if Arnold can successfully transition from action hero to streaming star while keeping his charm intact, maybe there’s hope for all of us. Even those still trying to figure out which streaming service actually has the rights to “Friends” this month.

DC Studios just dropped a bombshell that’s sending ripples through the superhero community. Their extended preview of James Gunn’s “Superman” doesn’t just push boundaries—it shatters them, serving up a sci-fi spectacle that might leave even the most ardent Man of Steel fans doing a double-take.

Let’s talk about that footage. Picture this: Superman, played by newcomer David Corenswet, sprawled in the snow, beaten and bloodied. Not exactly your typical boy scout moment, right? But what happens next perfectly captures the heart of Gunn’s vision. Krypto the Superdog—yeah, the four-legged friend himself—comes to the rescue, dragging his cape-wearing buddy through the snow. It’s the kind of scene that’ll probably spawn a thousand memes come summer 2025.

The real kicker? The Fortress of Solitude sequence. Gone are the days of crystal-studded ice caves with a few holograms thrown in for good measure. Gunn’s taken Superman’s arctic hideaway and transformed it into something straight out of the most ambitious space opera you’ve never seen. Advanced Kryptonian medical robots (definitely not your grandfather’s C-3PO) work their magic using concentrated sunlight to heal their fallen hero. Smart move—it’s both a clever nod to Superman’s powers and a fresh spin on the mythology.

Between glimpses of kaiju-sized monsters wreaking havoc in Metropolis and something called Solaris the Tyrant Sun, it’s clear this Superman won’t be spending much time helping old ladies cross the street. There’s also a mysterious black-suited baddie making trouble—word on the street points to Ultraman, though nothing’s confirmed yet.

While Gunn’s still neck-deep in post-production (his words at CinemaCon, not mine), what’s already visible suggests a Superman story that’s simultaneously more cosmic and more personal than previous incarnations. Sure, Rachel Brosnahan’s Lois Lane and Nicholas Hoult’s Lex Luthor didn’t make it into this particular preview, but honestly? Krypto stole the show anyway.

Come July 11, 2025, superhero fans might just find themselves watching something unprecedented—a Superman film that manages to be both larger than life and surprisingly intimate. Whether this bold new direction pays off remains to be seen, but one thing’s certain: this ain’t your dad’s Superman movie.

Just when the pop landscape seemed destined for an endless stream of TikTok-optimized snippets, Miley Cyrus throws a glittery curveball that nobody saw coming. Her latest single “End of the World” doesn’t just nod to disco’s golden age — it practically time-travels there, dragging Pink Floyd’s conceptual ambitions along for the ride.

The track’s accompanying video feels like a fever dream conjured up in Studio 54’s heyday. Cyrus, decked out in an emerald sequined number that would make even the most seasoned disco divas do a double-take, commands a minimalist set that somehow manages to feel both retro and distinctly 2025.

Here’s where things get interesting. Rather than tapping the usual suspect producers, Cyrus has assembled an unlikely dream team. Alvvays’ Molly Rankin and Alec O’Hanley — indie rock’s current golden children — have joined forces with Shawn Everett, the sonic architect behind some of Kacey Musgraves’ and Alabama Shakes’ most memorable moments. The result? Something that defies easy categorization.

“Let’s pretend it’s not the end of the world,” she belts in the chorus. It’s the kind of line that hits differently in our current climate — equal parts escapist fantasy and stark reality check. The song, which first surfaced during an intimate Chateau Marmont set last summer, has evolved into something far more ambitious than those early acoustic renditions suggested.

But this single is just the tip of the iceberg. Cyrus’s upcoming album “Something Beautiful” (dropping May 30 via Columbia) apparently aims to be nothing less than a pop culture prescription for our collective malaise. She’s described it as “The Wall, but make it glamorous” — which might sound absurd if anyone else said it. Yet somehow, coming from the artist who’s consistently zigged when everyone expected her to zag, it makes perfect sense.

The whole project’s getting the full treatment, too. Word is there’s a “pop opera” in the works — directed by Cyrus herself alongside Jacob Bixenman and Brendan Walter — scheduled to hit theaters this June. Thirteen original tracks, each with its own visual fantasy… because apparently, regular music videos just won’t cut it anymore.

Fresh off “Endless Summer Vacation,” most pop stars would’ve played it safe. Instead, Cyrus seems dead set on creating something that could either be brilliant or completely bonkers — probably both. With “End of the World,” she’s served up an appetizer that suggests this might be exactly what pop music needs right now: something unafraid to think big, even if it means risking looking ridiculous.

And y’know what? In a landscape of carefully calculated streaming algorithms and focus-grouped hooks, there’s something refreshing about an artist swinging for the fences while wearing sequins.