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CBS is turning heads this fall with a programming slate that’s got Hollywood buzzing — and not just because they’ve managed to snag some seriously enviable talent. The network’s 2025 lineup reads like a wish list of everything television should be, proving that sometimes the old guard knows exactly how to teach new dogs their tricks.

Let’s talk about Tom Ellis. Fresh off his Netflix success (and those devilishly good streaming numbers), he’s stepping into the FBI universe with “CIA.” The premise? Classic CBS procedural meets modern spy thriller, with Ellis playing the kind of smooth-talking agent who probably keeps his sunglasses on indoors. Sure, we’ve seen the maverick-meets-straight-arrow dynamic before, but there’s something deliciously promising about this particular cocktail.

Then there’s Matthew Gray Gubler making his triumphant return to network television. After spending what felt like forever solving crimes on “Criminal Minds,” he’s now tackling something even more mysterious — playing Einstein’s great-grandson. The German format finally found its footing after three false starts, and honestly? Pairing Gubler with Rosa Salazar might just be the equation CBS has been searching for.

But here’s where things get interesting.

The network’s taking a calculated risk with “DMV” — yes, that DMV. Harriet Dyer and Tim Meadows are bringing their considerable comedy chops to the fluorescent-lit hellscape we all love to hate. Think less “Parks and Recreation” and more “what happens when your license photo looks like a mugshot and there’s still two hours left in your wait time.” It’s the kind of premise that sounds ridiculous until you realize it’s actually brilliant.

Between “Sheriff Country,” “Boston Blue,” and the aforementioned “CIA,” CBS clearly isn’t abandoning its procedural comfort zone. But there’s something different in the air this season — a willingness to color outside the lines while keeping one foot firmly planted in familiar territory. The Einstein series, particularly, feels like someone finally convinced the network that smart doesn’t have to mean boring.

Not everything made the cut, naturally. “Poppa’s House” and “The Summit” got their walking papers after just one season. Television can be cruel that way — sometimes even the most promising concepts end up joining the ranks of “shows that coulda been contenders.”

What’s particularly fascinating about CBS’s strategy is how it’s positioning itself in the streaming wars. While Netflix and Amazon are throwing money at increasingly elaborate productions, CBS is doing something surprisingly clever: they’re proving that broadcast television doesn’t need to compete with streaming’s excess — it just needs to be smarter about its choices.

The 2025-26 season might just be remembered as the moment network television stopped apologizing for being network television. And in an era where everyone’s trying to reinvent the wheel, there’s something refreshingly bold about CBS saying, “Actually, we know exactly what we’re doing.”

Now wouldn’t that be something worth watching?

The Cure’s creative renaissance continues to surprise and delight. In a serendipitous turn that perfectly complements Robert Smith’s recent birthday celebrations, the legendary band has unveiled plans for an ambitious remix project that’s bound to set hearts racing among both die-hard fans and electronic music enthusiasts.

“Mixes of a Lost World” — born from an unexpected holiday gift of sorts — promises to breathe new life into the band’s 2024 comeback album through a kaleidoscope of artistic interpretations. The project’s origin story feels wonderfully organic: a few unsolicited remixes landed in Smith’s inbox just after Christmas, sparking what would become a full-scale reimagining of their latest work.

What’s particularly fascinating about this collection is its scope. The roster reads like a dream team of musical innovators — Four Tet’s experimental electronics meeting Chino Moreno’s haunting vocals, while Mogwai’s atmospheric soundscapes and Paul Oakenfold’s dance floor mastery add their own distinct flavors to the mix. Twenty-four tracks in total, each offering a fresh perspective on The Cure’s sonic landscape.

The timing couldn’t be more perfect. After breaking their 16-year recording silence with “Songs of a Lost World,” this remix collection (dropping June 13th via Fiction/Capitol Records) shows a band that’s anything but stuck in their ways. Rather than resting on their laurels, they’re actively seeking new interpretations of their work — a refreshing attitude for a group celebrating their fifth decade in the industry.

For the collectors and audiophiles out there, the release comes in various formats. Think deluxe three-LP, three-CD, and even three-cassette editions featuring both original artist tracks and remixes. Those preferring a more streamlined experience can opt for the two-disc versions focusing solely on the reimagined tracks.

There’s something particularly touching about Smith’s decision to direct all the band’s recording royalties to War Child UK. In these challenging times, it adds an extra layer of meaning to an already significant release.

But wait — there’s more brewing in The Cure’s cauldron. Smith’s been dropping hints about multiple projects in the works, including a live album dubbed “Songs of a Live World” and another studio album that’s apparently ready to roll. He’s even teased a third project, describing it as “completely different… like late-night studio stuff” — suggesting 2025 might mark one of the band’s most creatively fertile periods in recent memory.

For a group that’s weathered countless musical trends while maintaining their distinctive identity, this latest venture feels less like a remix project and more like a celebration of their enduring influence across genres and generations. It’s a testament to their continued relevance and willingness to push boundaries, even as they approach their fifth decade of making music that matters.

Who says you can’t teach an old snake new tricks? In a delightfully unexpected twist that’s got the rock world buzzing, shock rock pioneer Alice Cooper — yeah, that Alice Cooper — is getting the band back together. And not just any band — we’re talking about the original lineup that gave us anthems like “School’s Out” and “No More Mr. Nice Guy.”

The 77-year-old maestro of mayhem hasn’t lost his bite. Cooper’s reuniting with guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neil Smith for their first album since — get this — the Nixon administration. “The Revenge of Alice Cooper” isn’t just a clever title; it’s practically a statement of defiance against Father Time himself.

“It was very much like this was our next album after Muscle of Love,” Cooper recently told Billboard, that familiar dry wit crackling through. “Isn’t that funny after 50 years? All of a sudden it just falls into place.” There’s something wonderfully absurd about discussing a follow-up album with a half-century gap, yet somehow it makes perfect sense in rock ‘n’ roll’s twisted timeline.

The new record carries extra emotional weight by featuring two tracks with original guitarist Glen Buxton, who passed away in ’97. “What Happened to You” showcases one of Buxton’s signature riffs, while “Return of the Spiders 2025” gives a modern makeover to a 1970 classic — proof that some spiders never lose their bite.

Meanwhile, across America’s festival landscape, a fascinating phenomenon is unfolding. Take the Austin Blues Fest, coinciding with legendary blues joint Antone’s golden anniversary. Here’s 85-year-old Mavis Staples — the last standing member of the mighty Staple Singers — sharing billing with 15-year-old guitar whiz Taj Farrant. Now that’s what you call a generational bridge.

Producer Bob Ezrin, who helped craft Cooper’s sound during their ’70s glory days, nails it when describing these musical reunions: “Obviously everyone’s older and more mature and more settled, but when we all get together… it’s like they just walked out of high school and were hanging out in the local cafe.” Some things never change — thank goodness for that.

The timing feels right for these musical homecomings. As Ashley McDurmon of Orion Financial puts it, “Music brings us together — a space where we can all gather.” In an age where everything seems disposable, there’s something reassuring about legends refusing to fade away.

Mark your calendars — Cooper’s new single “Black Mamba” slithers onto streaming platforms April 22, with the full album dropping in July. Tour rumors are already spreading faster than backstage gossip, and longtime fans are practically vibrating with excitement. “I’ve been looking forward to this since 1973!” one follower posted, and honestly? Same.

Maybe that’s the real magic here. Whether it’s Cooper’s theatrical shock rock or Staples’ soul-stirring vocals, authentic musical expression doesn’t come with an expiration date. Some things just get better with age — like fine wine, vintage guitars, and apparently, rock ‘n’ roll rebels who refuse to go quietly into that good night.

Sometimes reality has an uncanny way of catching up with fiction. Just as Netflix finally dropped “Conclave” from its lineup, Pope Francis’s passing at 88 has thrown the Vatican into precisely the kind of succession drama that the Oscar-winning political thriller depicts. Talk about divine timing.

Ralph Fiennes — who’s practically made a career out of wearing elaborate costumes while wrestling with moral dilemmas — leads the cast as Cardinal Thomas Lawrence. The role fits him like a well-tailored cassock, letting him navigate Vatican politics with that signature blend of gravitas and subtle unease that’s become his trademark.

The film’s premise sounds like something cooked up in a Hollywood writer’s room during a particularly caffeinated brainstorming session. A cardinal finds himself entangled in ancient traditions and modern conspiracies while overseeing the selection of a new Pope. Yet here we are in 2025, watching life mirror art in ways that would make even the most jaded studio executive raise an eyebrow.

Speaking of timing — good luck trying to stream it right now. The film’s currently playing hide-and-seek across various platforms, set to resurface on Amazon Prime Video come April 22nd (midnight ET, for those keeping watch). Until then, viewers can fork over $5.99 for rental access across multiple services. Because apparently, even divine inspiration comes with a price tag these days.

Meanwhile, the actual Vatican’s gearing up for its own version of events. Cardinal Kevin Farrell’s Easter Monday announcement has set in motion that centuries-old machinery of papal succession. Unlike the film’s tight 108-minute runtime, though, the real process takes its sweet time — 15 to 20 days before those 138 cardinals even begin their deliberations. Seems some things just can’t be rushed, even in our binge-watching era.

The film itself packs quite the ecclesiastical punch, with a cast that reads like a who’s who of distinguished character actors. Stanley Tucci, John Lithgow, Sergio Castellitto, and Isabella Rossellini join Fiennes in what might be the year’s most elegantly dressed power struggle. Their performances elevate what could’ve been merely a religious procedural into something far more compelling.

For those curious about content warnings, “Conclave” carries a 12A rating for “moderate threat and infrequent strong language.” Though one suspects the actual Vatican proceedings might warrant their own unique rating system — “mild political intrigue” and “occasional divine intervention,” perhaps?

As the Catholic Church braces for one of its most significant transitions in recent memory, “Conclave” offers viewers an artfully dramatized peek behind those soon-to-be-sealed doors. Whether the real-world events will prove as cinematically gripping remains to be seen, but one thing’s certain — no marketing budget in the world could buy this kind of timing.

Remember when premium tech meant emptying your savings account? Well, 2025’s bringing some surprising plot twists to that story. Major retailers are unleashing a wave of discounts that’s turning yesterday’s luxury gadgets into today’s surprisingly affordable must-haves.

Take Samsung’s Crystal UHD TV lineup — specifically that sweet 43-inch CU7020 4K model that Argos just dropped to £215.10. Not too long ago, that price tag would’ve seemed like a typo. But here we are, looking at a display that pumps out more than a million shades of color in 4K HDR. The real kicker? Samsung’s Crystal Processor 4K doesn’t just display content — it transforms it, upscaling everything to crystal-clear 4K resolution. And that Object Tracking Sound Lite feature? Pretty clever stuff, actually. The audio follows the action on screen, making those intense gaming sessions or movie marathons feel surprisingly immersive.

Speaking of Samsung (they’re really on a roll lately), their Galaxy S24 FE just got a hefty $150 haircut over on Amazon. Lead Analyst Iyaz Akhtar hit the nail on the head when he pointed out how it delivers most of the flagship experience without the flagship price tag. Here’s the thing about the FE (Fan Edition) — it’s not just some watered-down version of the premium model. The battery life is genuinely impressive, keeping pace with even the most demanding social media addicts and mobile gaming enthusiasts. Perhaps most surprisingly, Samsung kept all those fancy AI features that usually get stripped out of their mid-range devices.

Then there’s Dell’s XPS 13 9350 — now $300 cheaper and suddenly making OLED technology feel less like a luxury and more like an attainable upgrade. The display on this thing… well, it’s something else. Colors practically jump off the screen, and those blacks? They’re deeper than a philosopher’s late-night thoughts. At 2.6 pounds, it’s practically floating, yet somehow packs the latest Intel Core Ultra CPU under the hood.

The integration of Copilot+ PC deserves a special mention. Come to think of it, it’s pretty remarkable how Dell’s managed to bring local AI processing to the masses. Document summarization and image generation without cloud dependency? That’s the kind of feature that used to be reserved for high-end workstations gathering dust in corner offices.

What’s particularly fascinating about this whole situation is how it’s reshaping our expectations of mid-range tech. The lines between premium and mid-range are getting delightfully blurry. Samsung’s Gaming Hub platform, the S24 FE’s flagship features, the XPS 13’s professional-grade display — these aren’t just random improvements. They represent a fundamental shift in how we interact with technology.

Gone are the days when “good enough” was the best most could hope for. In its place? “Surprisingly excellent” at prices that won’t send your bank account into therapy. Now that’s what you call progress.

Hollywood’s most deliciously wicked game of hide-and-seek is about to get a seriously A-list upgrade, darlings. The sequel to 2019’s breakout hit “Ready or Not” has finally emerged from development purgatory with a title that’s pure chef’s kiss: “Ready or Not: Here I Come.”

Samara Weaving — whose blood-spattered wedding dress should really be enshrined in the Smithsonian by now — is stepping back into the role of Grace. But this time around, the stakes (pun absolutely intended) are higher, thanks to an ensemble cast that reads like the guest list for Hollywood’s most exclusive dinner party.

Hold onto your champagne flutes, because Sarah Michelle Gellar is joining the mayhem. That’s right — Buffy herself is trading stakes for… well, probably different kinds of stakes. After her scene-stealing turn in last year’s “Wolf Pack,” it’s delightful to see her diving back into the horror genre that made her an icon.

But wait — there’s more deliciousness to this casting feast. Elijah Wood (who’s been absolutely killing it lately with his indie horror choices) is bringing his particular brand of wide-eyed intensity to the mix. And in a twist that’s got cinema purists clutching their pearls, body horror maestro David Cronenberg is stepping in front of the camera. Fresh off his surprisingly charming run on “Star Trek: Discovery,” he’s proving that sometimes the most fascinating monsters lurk in plain sight.

The ensemble continues to grow more intriguing with each announcement. Shawn Hatosy, Néstor Carbonell, and Kevin Durand are joining the fray, along with Kathryn Newton (whose recent turn in “Lisa Frankenstein” proved she knows her way around both comedy and carnage). It’s the kind of cast that makes one wonder if the Le Domas family mansion might need a few extra rooms.

Searchlight Pictures clearly knows they’ve struck gold — or should we say blood diamonds? The original film transformed a modest $6 million budget into a $57 million global triumph, proving that sometimes the best parties are the ones that go horrifically wrong. As Searchlight president Matthew Greenfield so cleverly put it, “This is for those who’ve been waiting, and those who didn’t see it coming.” Honestly, the wordplay alone deserves a standing ovation.

Behind the scenes, Radio Silence (Matt Bettinelli-Olpin and Tyler Gillett) are back in the director’s chairs, fresh from their triumphant revival of “Scream” and that absolutely wicked vampire romp “Abigail.” They’re bringing their A-team too — production designer Andrew Stearn, cinematographer Brett Jutkiewicz, and costume designer Avery Plewes. Given how the original served up “Clue” meets “The Purge” with a dash of family dysfunction, one can only imagine what twisted games await us this time.

Production kicks off today in Toronto, where the Canadian winter should provide the perfect chilly backdrop for whatever murderous shenanigans are in store. Here’s hoping someone remembered to pack the crossbows — and maybe a few extra wedding dresses, just in case.

Hollywood’s revolving door has always been a fickle beast, but few exits have sparked as much curiosity as Sara Gilbert’s abbreviated run on The Big Bang Theory. After years of speculation (and countless fan theories), the truth behind Dr. Leslie Winkle’s vanishing act has finally surfaced – and darlings, it’s deliciously complicated.

Let’s dish. Gilbert recently spilled the tea on The Official Big Bang Theory Podcast, and her revelation hits different than the usual “creative differences” spiel we’re used to hearing. “I would have done more at the time,” she admitted, with that signature no-nonsense delivery that made Dr. Winkle such a breath of fresh air. The real kicker? The writers simply ran out of road with her character.

Now, anyone who’s spent more than five minutes in writers’ rooms (and honey, I’ve logged my share of hours) knows that sometimes even the juiciest characters get caught in the machinery of bigger narrative plans. Executive producer Steve Molaro – bless his candid heart – laid it out in the show’s definitive inside story: Leonard’s romantic destiny was always meant to revolve around Penny. Dr. Winkle? She was just a pit stop on that journey.

But hold onto your lab coats, because this story might have an unexpected third act. Word around Burbank (as of early 2025) is that the newly announced spinoff “Stuart Fails to Save the Universe” could be Gilbert’s ticket back to the Big Bang universe. With Kevin Sussman, Brian Posehn, and Lauren Lapkus already on board, the show’s shaping up to be quite the gathering of familiar faces.

Remember Dr. Winkle’s final appearance? That perfectly timed “dumbass” aimed at Sheldon during the 200th episode? Pure television gold. It’s exactly the kind of sharp-tongued brilliance that’s been missing from our screens lately – especially now that streaming services are churning out increasingly sanitized content.

The original series – all 279 episodes of it – proved that brains and entertainment could coexist without dumbing down either. Chuck Lorre and Bill Prady (now teaming up with Zak Penn for the spinoff) somehow managed to make physics sexy before it was cool. Remember when that seemed impossible?

Gilbert’s openness to returning feels particularly refreshing in today’s landscape of precious actors who “need to explore other opportunities” (translation: their ego couldn’t fit in the studio anymore). “I like to work, so I’m always happy to show up,” she said – probably the most honest statement uttered in Hollywood since… well, ever.

Look, in this business, sometimes the most memorable characters are the ones who leave us wanting more. Dr. Leslie Winkle might have disappeared faster than last season’s fashion trends, but like all great supporting players, she left an indelible mark. And in the ever-expanding universe of reboots and revivals, perhaps it’s time for this particular star to shine again.

After all, in both physics and television, timing is everything. And right now? The timing feels pretty damn perfect.

Coachella 2025’s second weekend erupted into controversy when Irish hip-hop group Kneecap turned their performance into a politically charged statement that’s left the music industry deeply divided.

The Belfast trio’s transformation from their relatively subdued first weekend showing to an inflammatory anti-Israel display caught festival organizers completely off guard. Gone were the shadowy figures performing under dim lights – replaced by provocateurs wielding stark political messaging and calls for Palestinian liberation that reverberated through the intimate confines of the Sonora tent.

Paul Tollett, Goldenvoice’s veteran CEO, found himself thrust into an impossible position. Having recently spent five hours at the Nova Music Festival memorial sitting with survivors of the October 7 attacks, Tollett’s reported shock at the performance carries particular weight. Music mogul Scooter Braun jumped to Tollett’s defense, highlighting the CEO’s genuine engagement with the memorial – though that’s done little to quell the growing storm.

“The Irish are not so longer persecuted under the Brits, but we were never bombed under the fucking skies with nowhere to go,” the group declared during their set, drawing heated parallels between historical Irish persecution and current events. The statement landed like a bombshell in an already tense atmosphere.

The Creative Community for Peace didn’t hold back. Executive director Ari Ingel called for venues to boycott Kneecap outright, even suggesting their visas should be revoked. “Festivals such as Coachella are meant to bring people together to celebrate music and life,” Ingel noted, his frustration evident. “Instead they allowed the festival to devolve into a forum of hate.”

Yet amidst the heated reactions, the Nova Community’s response stood out for its remarkable restraint. Rather than condemning the group, they extended an olive branch – inviting Kneecap to visit their exhibition and witness firsthand the stories of those affected by recent events. Their statement emphasized empathy over anger, a striking contrast to the surrounding fury.

The timing couldn’t be more complex for Kneecap. Fresh off their biopic success alongside Michael Fassbender and riding high on film award recognition, this controversy threatens to overshadow their artistic achievements. Their bold stance at Coachella 2025 might well become the defining moment of their international career – for better or worse.

What’s particularly fascinating is how this incident has cracked open larger questions about art’s role in political discourse. Sure, Coachella’s seen its share of political statements over the years – but Kneecap’s specific messaging and alleged connections to controversial groups have pushed well beyond the festival’s usual boundaries of acceptable expression.

As spring festival season winds down, the reverberations of that fateful performance continue to echo through the entertainment industry. Festival organizers everywhere are likely revisiting their policies on political expression, while artists watch closely to see how this delicate balance between creative freedom and community sensitivity plays out.

The dust may have settled on the polo fields, but the conversations sparked by Kneecap’s provocative performance are far from over. In an era where social media amplifies every controversy and global tensions run high, this incident serves as a stark reminder of music’s enduring power to both unite and divide.

Who says punk rock legends can’t have a sense of humor? Green Day just turned what could’ve been another tedious festival controversy into pure comedy gold at Coachella’s second weekend, proving that sometimes the best response to drama is a roll of toilet paper and a knowing wink.

The whole thing started when Charli XCX showed up to a post-show party during the festival’s first weekend sporting a “Miss Should Be Headliner” sash. Bold move? Sure. Controversial? You bet. Social media did what it does best – erupted into a frenzy of hot takes and heated debates.

Enter Green Day, those crafty veterans of both mosh pits and media storms. During their headline set, guitarist Tré Cool (looking every bit the mischief-maker at 52) strutted onstage wearing what has to be the world’s first “Actual Headliner” sash made from toilet paper. Not to be outdone, Billie Joe Armstrong rocked a Brat hat – a cheeky nod to Charli’s latest record that had industry insiders chuckling.

The beauty of it? Charli absolutely loved it. Her one-word response on social media – “obsessed” – spoke volumes about how veterans and newcomers can share the spotlight without stepping on each other’s toes.

Look, the numbers don’t lie. Green Day’s got enough hardware to fill a museum – 96 awards, 218 nominations, and chart success that reads like a math problem (five UK album number ones, anyone?). They’ve spent a mind-boggling 500 weeks in the top 75. That’s nearly a decade, for those keeping score at home.

Meanwhile, Charli XCX – or Charlotte Aitchison, as her passport would tell you – is writing her own success story. With 47 wins from 172 nominations and her 2024 “Brat” album finally landing her first UK number one in ten years with “Guess,” she’s hardly some rookie playing at stardom.

Sure, some keyboard warriors couldn’t resist taking shots. “One ‘summer’ album and these girls are acting like they’re bigger than everyone else,” snarked one X user. Another dismissed her as “a two hit wonder” – though that math seems a bit sketchy given her track record.

But here’s the thing about the music industry in 2025 – it’s big enough for everyone. When Charli’s bringing out guests like Billie, Lorde, and Troye Sivan during her sets, it’s pretty clear she’s got some serious pull in the industry. The whole “toilet paper sash” moment wasn’t just funny – it was a masterclass in how different generations of artists can share the spotlight while keeping their dignity (and sense of humor) intact.

Maybe that’s what makes this year’s Coachella story worth telling. In an era where every tweet can spark a war, Green Day and Charli XCX reminded us that sometimes the best way to handle potential drama is with a laugh, a nod, and maybe a little bathroom tissue creativity. Now that’s what you call punk rock diplomacy.

Coachella’s second weekend just served up the kind of generational culture clash that would make Andy Warhol grab his Polaroid and start snapping. Picture this: TikTok superstar Addison Rae, draped in what looked like Madonna’s laundry basket circa 1985 had a baby with a millennial Pinterest board, sharing the main stage with pop provocateur Charli XCX.

The whole affair felt like watching pop culture eat itself — in the best possible way.

Rae’s surprise appearance during Charli’s set wasn’t just another festival moment; it was a carefully orchestrated power move that spoke volumes about the shifting tectonic plates of music industry influence. Sporting a halter corset that screamed “I’ve studied my pop history” and polka-dotted leggings that wouldn’t look out of place in a Cyndi Lauper video, Rae seemed determined to prove she’s more than just another social media sensation trying to crack the music industry.

But here’s where things get spicy.

Just days before this pink-hued lovefest, Charli XCX had thrown some grade-A shade at the festival’s booking decisions. Strutting around in a sash reading “Miss Should Be Headliner,” she basically threw down the gauntlet at Green Day’s combat boots. The punk veterans — never ones to miss a chance at some good old-fashioned drama — clapped back with delicious pettiness. Tre Cool rocked his own “Actual Headliner” sash, while Billie Joe Armstrong’s choice of a lime green “BRAT.” cap felt about as subtle as a sledgehammer to a guitar amp.

The social media fallout was predictably nuclear. “You have to be terminally online to think she should be a headliner over Green Day” one X user scoffed, while the other camp insisted Green Day hasn’t dropped anything worth remembering since Bush was in office. (The second Bush, that is.)

Meanwhile, back at the main stage, Charli’s set — complete with her newfound “darker, grungier aesthetic” — felt less like a performance and more like a manifesto. When she declared it “an Addison Rae summer” as the set wrapped, you could practically hear the collective eye-roll from rock purists echoing across the desert.

Let’s be real — this whole weekend was essentially a masterclass in the current identity crisis gripping popular music. Traditional metrics like album sales and radio play are about as relevant as a Myspace top 8 in 2025, while TikTok views and streaming numbers have become the new gold standard. The question of who “deserves” to headline Coachella isn’t just about music anymore — it’s about influence, algorithms, and the ever-blurring line between internet fame and artistic credibility.

And there, right in the middle of it all, stood Addison Rae in her carefully curated throwback outfit, performing alongside Charli XCX on one of music’s biggest stages. Whether this signals the evolution or extinction of pop music probably depends on whether you remember life before Instagram — or if you’ve ever had to explain to someone what a CD player is.

Welcome to 2025, where the future of music looks suspiciously like its past, just with better social media strategy.