Blog

Rock’s Catman Prowls Again: Peter Criss Returns with Star-Studded Solo Album

Sometimes the best stories in rock aren’t about endings, but unexpected new beginnings. Just when everyone thought the final curtain had fallen on Peter Criss’s musical journey, the original Kiss drummer is proving there’s still plenty of life left in the Catman’s tale.

Word dropped last week that Criss — yeah, the voice behind that tear-jerking classic “Beth” — is stepping back into the spotlight with his first solo venture since 2007. Talk about perfect timing, right? With Kiss hanging up their platform boots at Madison Square Garden just months ago, this announcement feels like the universe throwing rock fans a much-needed bone.

The album’s shaping up to be quite the family reunion of rock royalty. Criss has assembled what you might call a dream team: guitar wizard John 5 (who’s been absolutely everywhere lately), the eternally groove-heavy Billy Sheehan, Piggy D holding down the low end, and — in what might be the most intriguing wild card — Paul Shaffer bringing his B3 and piano magic to the mix. Not too shabby for a “comeback” record.

Barry Pointer’s sliding into the producer’s chair alongside Criss, and that’s where things get really interesting. Here’s a guy who’s somehow managed to work with both Ozzy and Dolly Parton — talk about range. The pairing suggests we might be in for something that honors the old while embracing the new. As they say in the business, you can’t fake that kind of chemistry.

Let’s be real, though. The Kiss saga — particularly Criss’s role in it — reads like a rock ‘n’ roll soap opera. Those dramatic exits, the tension with Gene and Paul (especially that whole studio drummer debacle), the bittersweet Rock Hall moment in 2014… it’s enough material for a Netflix series. Or three.

“I never thought this could happen in my life,” Criss said during that Hall of Fame speech. There was something raw and honest in those words that still resonates. Even Gene Simmons — never one to mince words — recently acknowledged on Rick Rubin’s podcast what many fans have always known: those first few years of Kiss were lightning in a bottle, powered equally by all four original members.

The timing of this release feels particularly poetic. Just as the dust settles on Kiss’s final bow, here comes the Catman, prowling back into the spotlight. Remember that 2017 show at the Cutting Room? The one everyone thought was his swan song? Turns out it was more of an intermission.

Looking ahead to the fall 2025 release, there’s something beautifully defiant about this whole endeavor. In an era where AI-generated music is becoming a thing (yeah, we’re looking at you, “lost” Beatles track), there’s something refreshingly human about a rock veteran getting the band back together for one more ride.

For the true believers, this isn’t just another album announcement — it’s proof that rock ‘n’ roll’s spirit of rebellion is alive and well. Even after the greasepaint fades and the smoke machines run dry, sometimes the most compelling chapters are the ones nobody saw coming.

The Catman’s got at least one more life left. And from the looks of things, he’s planning to make it count.

Rock ‘n’ roll’s got nine lives, and this spring’s proving it all over again. In a twist that feels pulled straight from a music fan’s wildest dreams, two legendary acts are writing their own comeback stories – and they couldn’t be more different.

The impossible has happened: Oasis is back. After fifteen years of Twitter spats and tabloid drama, the Gallagher brothers have been spotted together at a working men’s club in London’s Newington Green. There they were – Liam, 52, wrapped in his trademark khaki trench coat like armor, while Noel, 57, rocked an electric blue Adidas jacket that screamed classic Manchester cool. The sight of them together nearly broke social media.

Meanwhile, across the pond, Billy Idol’s been quietly crafting his own renaissance. “Dream Into It” marks his first album in what feels like forever, and at 69, he’s not just surviving – he’s thriving. The punk pioneer’s been hitting the interview circuit with the kind of raw honesty that’s become rare in this age of carefully curated PR statements.

The Oasis reunion tour (kicking off this July in Cardiff, of all places) comes with enough anticipation to power a small city. But don’t expect the same chaos that defined their ’90s heyday. A source close to Noel told The Mirror that while he’s been practically living in the studio, Liam’s taking things slower. “The main thing his voice needs at the moment is rest” – words that would’ve been unthinkable in 1995.

Speaking of unexpected developments, Noel actually showed up on talkSPORT sounding downright… pleasant? “He’s great,” he said about Liam. “I was with him yesterday actually.” For anyone who remembers his infamous 2009 “I quit” statement, this newfound diplomacy feels almost surreal.

The parallel with Idol’s journey hits hard. The “White Wedding” legend doesn’t mince words about his wild years: “There was a point in my life when I was living like every day was my last.” Then comes the sobering kicker – his observation about today’s dangers: “If I was doing what I was back then now, I would be dead because I would have run into fentanyl.”

The Oasis Live 25 tour’s shaping up to be massive – from Cardiff’s Principality Stadium through Manchester’s Heaton Park and Wembley Stadium, before heading overseas. Yet Noel’s already managing expectations in The Sun, admitting it “won’t be as raucous as back in the day” because they’re on the “wrong side of 50.” Fair enough.

For both Idol and Oasis, 2025’s shaping up to be more than just another tour date or album release. These aren’t just comeback stories – they’re testimonies to survival, adaptation, and rock’s stubborn refusal to fade away. When Idol reflects on his Rock & Roll Hall of Fame nomination, connecting dots from Bo Diddley to punk rock, it’s a reminder of music’s endless cycle of reinvention.

Sure, the coming months will reveal whether these rock veterans can still deliver the goods. But maybe that’s not even the point anymore. The real victory? They’re still here, still creating, still willing to face the music – together or solo, depending on the day. In an industry that often feels increasingly manufactured, there’s something beautifully human about that.

A somber cloud descended over Italy’s 80th Liberation Day celebrations when tragedy struck the central town of Lanciano. What should have been a moment of collective remembrance turned devastating as an elderly driver lost control of his vehicle, claiming one life and leaving two others injured in the wake of commemorative festivities.

The day had begun like countless Liberation Days before — streets filled with proud citizens, flags waving in the spring breeze. Yet as ANPI’s traditional parade (organized by the stalwart Italian partisans’ association) drew to a close, fate took a cruel turn. An 80-year-old local resident, apparently overcome by a sudden medical emergency, veered into dispersing celebrants. The impact proved fatal for an 81-year-old man, while two women were rushed to nearby hospitals.

This year’s Festa della Liberazione carried particular weight. Eight decades have passed since Italy broke free from the dark grip of Fascist rule and Nazi occupation — a milestone that deserved proper recognition. Yet circumstances conspired to create an unusually complex backdrop: the nation found itself in the midst of a five-day mourning period for Pope Francis. The timing prompted Italy’s right-wing government to call for more subdued celebrations, though many questioned whether such restraint truly honored the spirit of liberation.

Across the peninsula, from Sicily to the Alps, Liberation Day typically transforms Italy’s urban landscape. Shops draw their shutters, schools fall silent, and public offices close their doors. Citizens gather in piazzas and along centuries-old streets, their presence a living testament to the partisan movements that restored democracy to Italian soil.

The Lanciano incident — tragic in any context — carries a particularly bitter irony. At the very moment meant to honor those who sacrificed everything for liberty, death visited again. Early investigations point to a medical emergency rather than mechanical failure or malicious intent, though local authorities continue their careful probe.

Meanwhile, in Turin, Milan, and Rome, Liberation Day ceremonies pressed forward. Citizens gathered beneath April skies to pay homage to freedom fighters of generations past. Yet now these gatherings carried an additional weight: a stark reminder that life’s delicate thread can unravel in an instant, even on days meant for celebration.

Perhaps there’s a deeper lesson in this cruel convergence of commemoration and catastrophe. The values that drove Italy’s liberation — resilience, community, and unwavering hope — remain as vital today as they were eight decades ago. In moments of tragedy, these same principles bind communities together, offering strength when it’s needed most.

Hell just got a whole lot more accessible. In a move that’s turning heads across the streaming landscape, Amazon Prime Video has swooped in to claim “Helluva Boss,” the wickedly entertaining spinoff of “Hazbin Hotel.” But here’s the kicker – they’re not just grabbing the existing content; they’re doubling down with two fresh seasons of demonic shenanigans.

The deal, unveiled at LVL UP Expo through a characteristically unhinged animation sequence, breaks the usual streaming mold. Rather than following the typical scorched-earth policy of exclusive rights, Prime Video’s playing nice – the show gets to keep its YouTube presence while expanding its reach through the streaming giant’s platform. Talk about having your cake and eating it too (though in Hell, it’s probably made of something less appetizing).

Brandon Rogers’ Blitzo – that’s with a silent ‘o,’ as fans know all too well – delivered the news with trademark snark: “You thought The Hashbrown Hotel was the only Hell show that Daddy Amazon was horny for?” The series, which follows the misadventures of a demon-run assassination company, has carved out its own bizarre niche through a perfect storm of dark humor, unexpected emotional depth, and the occasional musical number that somehow works.

For those who haven’t descended into this particular circle of Hell yet, “Helluva Boss” centers on I.M.P. (Immediate Murder Professionals). The company’s led by the irrepressible Blitzo, whose management style could generously be described as “chaos incarnate.” His crew includes Moxxie (Richard Horvitz), a weapons expert who probably needs therapy, his deadly capable wife Millie (Vivian Williams), and Loona (Erica Lindbeck), a hellhound receptionist whose eye-rolls could kill – literally, probably.

Creator Vivienne Medrano might have pulled off the impossible – securing creative autonomy in an industry known for executive meddling. Her first-look deal with Prime Video includes final cut privileges, a rare win that’s got animation creators buzzing. In an era where entire series get axed faster than you can say “tax write-off,” this level of creative control feels almost… heavenly?

The announcement also confirmed what fans have been theorizing about since day one: “Helluva Boss” and “Hazbin Hotel” share the same infernal universe, dubbed the “Hellaverse.” The announcement video treated viewers to an unprecedented crossover moment between Charlie Morningstar and Blitzo – a taste of the diabolic possibilities ahead.

For Prime Video, nabbing “Helluva Boss” represents another strategic push into adult animation territory, building on “Hazbin Hotel’s” success. But for indie creators, it’s something more significant – proof that maintaining creative vision while securing mainstream distribution isn’t just a pipe dream. Though it might still require dealing with the devil (or Jeff Bezos – same difference, really).

Seasons 3 and 4 will debut exclusively on Prime Video before potentially making their way to YouTube, ensuring both platforms’ audiences can continue their descent into this particularly entertaining version of Hell. With distribution planned across more than 240 countries and territories, it seems the world is about to get a lot more… hellish. In the best possible way, of course.

Money meets art in a sun-soaked spectacle on the French Riviera, as Cannes Film Festival’s Marché du Film unveils its most ambitious Investors Circle yet. The third edition of this high-stakes matchmaking event transforms the Plage des Palmes into a cinematic crucible where visionary directors face off with potential financiers.

Think of it as the world’s most sophisticated pitch meeting — minus the fluorescent lighting and corporate PowerPoints. Ten of international cinema’s boldest voices are preparing to woo investors under the Mediterranean sun, and the lineup practically sparkles with potential.

Belgium’s Lukas Dhont, still basking in the afterglow of his 2022 Grand Prix win for “Close,” leads a roster that reads like a masterclass in contemporary filmmaking. There’s Hungary’s provocateur Kornél Mundruczó, whose “White God” left audiences simultaneously stunned and transformed back in 2014.

Guillaume Esmiol, the Marché du Film’s Executive Director, doesn’t mince words about the initiative’s significance. “As new economic models continue to emerge,” he notes, “the Marché du Film reaffirms its role as a global accelerator for innovative film financing.” Between the lines: traditional funding models are showing their age faster than a Hollywood starlet avoiding Botox.

The budget range this year — €3M to €9M ($3.4M-$10.2M) — might seem modest by blockbuster standards. Yet these figures represent the sweet spot where artistic ambition meets commercial viability. In an era where streaming giants are clutching their pearls (and their purse strings), these mid-range projects often yield the most interesting creative fruits.

Geographic diversity takes center stage, with filmmakers ranging from Iceland’s contemplative Hlynur Pálmason to Bosnia and Herzegovina’s powerhouse Jasmila Žbanić. American director Eliza Hittman brings her raw storytelling prowess to the mix, promising the kind of unflinching narratives that make standard studio fare look positively anemic.

Last year’s success stories lend credibility to the whole affair. Take Chie Hayakawa’s “Renoir” — from pitch session to main competition contender. Now that’s what industry veterans call a trajectory worth watching.

Aleksandra Zakharchenko, heading up the Investors Circle, cuts through the glamour to the initiative’s essence: “These are films with real cultural relevance and global potential – and they need thoughtful, long-term support.” The subtext? These aren’t just investment opportunities; they’re chances to shape cinema’s future.

The May 18 gathering promises more than your typical industry schmooze-fest. As traditional funding streams run dry and streaming platforms tighten their belts heading into 2025, this Mediterranean matchmaking service feels less like a luxury and more like cinema’s life raft — albeit one decorated with Champagne flutes and Riviera sunshine.

In the end, it’s about more than numbers on a spreadsheet or names on a poster. It’s about preserving the kind of thoughtful, boundary-pushing filmmaking that keeps cinema vital. And really, darling, what could be more glamorous than that?

Hold onto your wardrobes, darlings — Netflix’s Narnia universe is about to get a deliciously wicked makeover. In what might be the most thrilling piece of casting news since Margot Robbie donned those pink heels, Emma Mackey has just claimed the crystalline crown of Jadis the White Witch in the streaming giant’s upcoming Chronicles adaptation.

The industry’s collective jaw hit the floor yesterday afternoon. (And yes, several perfectly good martinis were spilled in the process.) After months of speculation that had everyone from Charli XCX to Margaret Qualley’s names floating through the Hollywood ether, it’s the Sex Education breakout who’ll be stepping into those iconic ice-queen shoes.

Perhaps the most intriguing aspect of this whole delectable affair is the reunion of Mackey with Greta Gerwig, fresh off their billion-dollar Barbie triumph. They’re tackling The Magician’s Nephew — you know, that absolutely fascinating prequel that explains how that mysterious lamp post wound up in the middle of a magical forest. (Come to think of it, has anyone checked if Gerwig’s been secretly hoarding Turkish Delight during pre-production meetings?)

A particularly chatty studio executive — who may or may not have been three glasses deep into a rather lovely Château Margaux — shared that the final casting decision came down to the wire. Qualley apparently gave such a compelling screen test that the crew needed smelling salts afterward. But darling, when you know, you know — and Mackey simply was Jadis.

Now, here’s a tidbit that’s setting tongues wagging faster than a Hollywood divorce announcement: whispers about Meryl Streep potentially signing on as a gender-flipped Aslan are gaining serious traction. The mere thought of La Streep bringing her incomparable gravitas to Narnia’s beloved lion has certain Beverly Hills power lunches buzzing with possibility.

Gerwig, proving yet again why she’s become Hollywood’s most sought-after director since… well, possibly ever, has managed to secure a two-week IMAX exclusive before the film hits Netflix in late 2026. That’s the kind of industry muscle that makes studio executives weak at the knees.

Meanwhile, Mackey’s dance card is filling up faster than the Vanity Fair Oscar party guest list. Between a hush-hush project with J.J. Abrams (featuring Glen Powell and Jenna Ortega), her leading role in James L. Brooks’ Ella McCay, and that absolutely stunning turn in Julia Ducournau’s Alpha at Cannes — she’s everywhere, darling. Absolutely everywhere.

Following Tilda Swinton’s ethereally chilling portrayal might seem daunting, but something tells me Mackey’s got more than a few tricks hidden up those royal sleeves. Production kicks off this July at Shepperton Studios, where countless magical tales have sprung to life before (though perhaps with slightly less Turkish Delight involved).

In an era where Instagram followers often trump actual talent, this casting feels like a refreshing gulp of… well, something considerably stronger than Narnian air. It’s a victory for pure, undiluted talent — and isn’t that exactly the kind of magic we’ve been craving?

The New Kids on the Block just proved they’re anything but old news. On their official day — a slice of pop culture history carved out by former Massachusetts governor Michael Dukakis back in ’89 — the beloved boy band dropped an announcement that’s got longtime “Blockheads” buzzing with excitement.

Remember “Step by Step”? That game-changing album from 1990 is getting the royal treatment with a 35th-anniversary reissue. Landing June 13, this expanded edition promises to crack open the vault, serving up never-before-heard tracks and remixes that’ll have fans feeling like teenagers all over again.

Danny Wood, speaking with the kind of perspective that only comes from decades in the spotlight, gets reflective about the album’s significance. “Step by Step was really important to us as a band — then and now.” Sure, “Hangin’ Tough” might’ve been their rocket ship to teen idol stardom, but “Step by Step”? That was different. That was five Boston kids growing up in real-time, all while crafting some seriously catchy pop hooks.

The making of the album reads like a rock ‘n’ roll fairy tale gone slightly sideways. Jordan Knight paints the picture: recording sessions squeezed into hotel rooms, vocals laid down backstage before shows, all while living in the eye of a fan-frenzy hurricane that’d give the Beatles a run for their money. “It was a wild time,” he recalls, “but we were soaking up everything around us, learning about music on the fly.”

Fast forward to 2025, and NKOTB isn’t just riding the nostalgia wave — they’re making fresh splashes. Their upcoming Vegas residency at Dolby Live at Park MGM, cleverly dubbed “The Right Stuff,” promises something beyond your typical greatest-hits showcase. Jonathan Knight can barely contain his enthusiasm: “Vegas is going to be insane… a little more upscale, definitely sexier, and the stage? Absolutely massive.”

Behind the scenes, the show’s taking shape through some serious collaborative effort. Jordan Knight recently camped out at Donnie Wahlberg’s Chicago pad for three days, fine-tuning what he describes as “stringing together moments, like a movie.” It’s clear they’re not just phoning this one in.

In an unexpected twist that somehow makes perfect sense, they’re also venturing into the wellness space. “Step By Step To Sleep” — their collaboration with the Calm app — might sound like an odd fit at first glance. Even Jordan admits he initially thought it was “corny” before coming around to its charm.

The Vegas experience extends beyond the main stage, with Block-E’s Clubhouse at Double Barrel Roadhouse set to become a fan paradise. Think NKOTB museum meets themed hangout spot, with the guys themselves promising to pop in regularly. “We always try to over-deliver,” Danny Wood emphasizes, and honestly? Their track record backs that up.

Select shows will wrap with after-parties at On the Record Speakeasy, where Jordan swears they’ll be “partying with the Blockheads like crazy” — because some things never change, even if the venues get fancier.

Watching NKOTB navigate this next chapter feels like catching up with old friends who’ve somehow managed to keep their magic intact. They’re not just rehashing greatest hits or banking on nostalgia — they’re crafting new memories, one step at a time. And somehow, that makes all the difference.

Nashville’s music scene just got a fascinating throwback with a modern twist. Universal Music Group Nashville’s decision to resurrect the legendary Music Corporation of America (MCA) name isn’t just another corporate rebrand — it’s a bold statement about country music’s evolving identity as we head into 2025.

The timing couldn’t be more perfect. Country music’s been riding high lately, with UMG Nashville commanding a whopping 39.4% of the market share. That’s not just impressive — it’s downright dominant in today’s fragmented music landscape.

Mike Harris, the newly minted CEO, puts it pretty straightforwardly: “Country music’s cultural impact just keeps growing, and Nashville’s always been at the heart of that American story.” Sure, it might sound like typical executive speak, but there’s real truth behind those words.

Think of the new MCA as something like a musical solar system. At its center, you’ve got the heavyweight planets — Mercury Nashville, EMI Nashville, Capitol Nashville, and MCA Nashville. But what’s really got folks talking is the unexpected new addition: Lucille Records. Dave Cobb’s fresh imprint feels like a comet blazing through Nashville’s traditional skies, promising to shake things up in the best possible way.

The roster? Well, that’s where things get really interesting. You’ve got your country music royalty — George Strait and Reba McEntire holding court alongside modern-day monarchs like Carrie Underwood and Luke Bryan. But don’t sleep on Lucille Records’ newcomers. Acts like Lamont Landers and Isabel Dumas might not be household names yet, but given MCA’s track record… well, let’s just say 2025 might be their year.

Dave Cobb’s vision for the company’s creative direction reads like a love letter to authentic artistry. “Let the art lead, embrace community, approach the business with intention” — it’s the kind of philosophy that might’ve seemed naive a decade ago, but in today’s authenticity-hungry market? It just might be genius.

Here’s where things get really creative: they’ve gone and named Jessie Jo Dillon as “Song Buddy.” Yeah, you read that right. In any other industry, that title might raise eyebrows, but in Nashville? It’s perfectly on-brand for a town where songwriting is practically a religion.

The leadership shuffle doesn’t stop there. Katie McCartney’s jumped ship from the now-defunct Monument Records to take the EVP/general manager spot, while Tom LaScola’s stepping in to handle artist and audience strategy. It’s like watching a master chess player position their pieces for the perfect game.

What makes this whole rebrand particularly intriguing is how it’s swimming against the current. While everyone else is chasing TikTok trends and algorithm-friendly formats, MCA’s playing the long game — honoring its roots while planting seeds for tomorrow’s harvest.

The move mirrors Universal Music Group’s broader strategy of breathing new life into classic brands like PolyGram and Geffen. But there’s something different about MCA in Nashville. Maybe it’s because in this town, history isn’t just something you study — it’s something you live and breathe.

Harris’s approach to running these labels — keeping them independent while fostering “healthy competition as a shared agenda” — sounds almost contradictory. But in practice? It’s kind of brilliant. With Republic Collective’s muscle and UMG’s global reach, MCA’s artists get the best of both worlds: hometown nurturing with worldwide potential.

When you step back and look at the bigger picture, this isn’t just another corporate reshuffling. It’s more like watching Nashville write its next chapter — one that somehow manages to keep all the good parts of its story while leaving room for plenty of plot twists ahead.

The morning TV landscape has sparked an utterly fascinating game of “spot the missing presenter” — and this time, it’s Good Morning Britain’s Kate Garraway who’s pulled the vanishing act. Her conspicuous absence from the usual Thursday-Friday slot has set tongues wagging, and honestly? The timing couldn’t be more deliciously suspicious.

Let’s connect the dots, shall we? The BBC’s gearing up for their celebrity version of The Traitors (y’know, that addictively dark game of deception that’s been living rent-free in everyone’s head since last winter). And suddenly — poof! — Garraway’s nowhere to be found.

Entertainment correspondent Melvin Odoom might as well have winked directly at the camera when he dropped what has to be 2025’s least subtle hint: “None of us have been able to get hold of Kate on the phone.” Right. Because that’s totally normal in an age where even your gran’s smart fridge can send text messages.

The rumored cast list reads like somebody threw a dart at the British entertainment industry and just… went with it. Stephen Fry potentially sharing breathing space with rugby powerhouse Joe Marler? Clare Balding trading her racing commentary for castle conspiracies? It’s either gonna be absolute television gold or the most glorious train wreck since that infamous Love Island/Question Time crossover attempt last autumn.

Yesterday’s GMB broadcast served up a particularly meta moment when Richard Madeley — fresh from his own bombshell about approaching 70 — actually reached for his phone mid-show to message his absent colleague. Classic British morning telly, that. Unscripted, slightly awkward, and absolutely perfect.

Susanna Reid (bless her) couldn’t resist stirring the pot with a knowing observation about how Garraway would “make an excellent Traitor if we can’t even get hold of her!” The studio practically crackled with the kind of energy that suggests everyone’s in on some massive secret — or at least enjoying pretending they are.

The original Traitors format has proven itself proper television gold, hasn’t it? But chuck celebrities into the mix and suddenly you’re watching something entirely different. It’s less about the prize money (let’s be honest, they’ve all got decent day jobs) and more about watching familiar faces try to maintain their carefully crafted public personas while basically lying through their teeth.

The potential cast keeps getting more intriguing. Alan Carr swapping his chat show comfort zone for castle mind games? Paloma Faith bringing her particular brand of artistic chaos to psychological warfare? And Cat Burns, fresh off her chart-topping “Quarter-Life Crisis” album, mixing it up with telly veterans? It’s either genius or madness — probably both.

Mind you, this wouldn’t be the first time a beloved morning show presenter has mysteriously “gone on holiday” only to pop up on a reality show. The pattern’s so familiar now that telly insiders have started calling it “doing a Holly” — a nod to last autumn’s similarly suspicious Willoughby disappearance.

Whether Garraway’s actually prowling around a Scottish castle in a cloak or just having a well-earned break, the speculation alone has provided more entertainment than half the streaming services’ combined output this month. And isn’t that just perfectly fitting for 2025’s increasingly meta television landscape?

Life has a funny way of imitating art — just ask Charlotte Ritchie. The British actress, who stepped into the twisted world of Netflix’s “You” as Joe Goldberg’s wealthy wife Kate Lockwood, found herself living through her own psychological thriller during filming. Unlike her character, though, Ritchie’s suspense came from the production’s intense secrecy rather than a murderous spouse.

“There were these surreal moments in the makeup room,” Ritchie recalled to Radio Times, describing the delicious tension of catching Penn Badgley’s knowing glances. “He’d start hinting at Kate’s fate, and I’d be sitting there completely clueless!” The irony wasn’t lost on anyone — here was Kate’s portrayer, as much in the dark about her character’s destiny as viewers watching at home.

The show’s finale brought everything full circle, landing Joe right back in New York where his reign of terror began. Kate and Joe’s marriage imploded spectacularly (honestly, was there ever any doubt?) amid a crescendo of flames and long-buried secrets at Mooney’s bookstore. That confrontation scene? Pure dramatic dynamite. Joe shoots Kate, they both somehow escape, and viewers collectively remembered to breathe again.

But here’s where things get interesting. Ritchie isn’t just another actor playing make-believe psycho-bait. She’s got serious artistic chops — a former member of classical crossover group All Angels, no less. Creativity runs deep in her family; her brother Luke’s got the music bug too (they even dropped an EP together back in 2014), while sister Alice wields her pen in journalism.

The series wrapped up with Joe finally facing something resembling justice — though “facing” might be generous, given his persistent talent for self-delusion. Kate survived to reclaim her artistic passions, which feels particularly fitting given Ritchie’s thoughtful take on the whole mess. “It’s as close to satisfying as you could get,” she mused, though there’s a hint of ambivalence in her voice. “Seeing Joe have to face himself, even though he won’t… well, the possibility that he could is quite exciting.”

Let’s talk about that elephant in the room — our collective obsession with true crime and charismatic monsters. Ritchie doesn’t shy away from it: “This is a fantastical realisation of the darkest sides of humanity, packaged in an attractive, charismatic man.” She pauses, considering. “It’s going to hold a really weird place for people because of that.”

The show’s ending diverges significantly from Caroline Kepnes’ source material — in the latest book, Joe’s still running free, probably terrorizing some other unsuspecting city’s dating pool. Instead, TV Joe’s behind bars… still getting fan mail, because of course he is. It’s a meta-commentary so on the nose it actually works.

These days, you’ll find Ritchie in her North London flat, sharing space with her boyfriend and what she describes — with a hint of amusement — as “a lot of spiders.” It’s about as far from Kate Lockwood’s glossy world as you can get, but maybe that’s exactly the point. Sometimes the most compelling storytellers are the ones who can step into darkness while keeping their own light intact.

The cultural impact of “You” will likely echo well into 2025 and beyond, as streaming platforms scramble to recreate its particular brand of psychological warfare. But there’s something special about how this series wrapped up — messy, unsettling, and just satisfying enough to make us question our own complicity in Joe’s five-season reign of terror.