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Hollywood lost one of its most versatile visionaries this week. James Foley, the director who danced between gritty indie films and glossy blockbusters with remarkable grace, passed away at 71 after battling brain cancer.

The Brooklyn native’s passing feels particularly poignant as the industry grapples with an evolving landscape. In an era where streaming platforms dominate and AI-generated content sparks heated debate, Foley’s old-school mastery of both artistic and commercial filmmaking seems almost mythical.

His journey through Hollywood reads like a fever dream of creative evolution. Starting with “Reckless” — that haunting 1984 debut starring Daryl Hannah — Foley quickly established himself as someone who couldn’t be boxed in. But it was “At Close Range” that truly showcased his raw talent. The film, featuring a young Sean Penn opposite Christopher Walken, competed at Berlin and left audiences breathless with its unflinching portrayal of family betrayal.

Then came the Madonna years. God, those music videos. “Papa Don’t Preach” and “True Blue” didn’t just capture the zeitgeist — they shaped it. The visual vocabulary Foley developed during this period still echoes through today’s music videos, though few modern directors manage to achieve that perfect balance of narrative and spectacle.

“Glengarry Glen Ross” (1992) stands as perhaps his crowning achievement. The film adaptation of David Mamet’s play could have been a disaster in less capable hands. Instead? Pure lightning in a bottle. That legendary “Always Be Closing” scene — not even in the original play — has become so deeply embedded in popular culture that half the people quoting it probably don’t know where it came from.

What makes Foley’s career trajectory so fascinating was his absolute refusal to be pigeonholed. Who else would pivot from directing “Glengarry Glen Ross” to taking on the “Fifty Shades” sequels? Those films might not have won any Oscars, but they proved Foley could turn even the most controversial source material into commercial gold, raking in over $700 million worldwide.

“I’ve had a very fluid career of ups and downs and lefts and rights,” he once mused to The Hollywood Reporter. That might be the understatement of the decade. Between prestige television gigs on “House of Cards” and “Billions,” Foley demonstrated an almost supernatural ability to adapt to changing industry demands while maintaining his distinctive visual style.

He leaves behind siblings Kevin, Eileen, and Jo Ann Foley, along with nephew Quinn Foley and their spouses — but his real legacy lives in the countless filmmakers who learned from his example that genre is just a suggestion, not a prison.

In today’s hyper-specialized entertainment landscape, we might never see another director quite like James Foley. And maybe that’s what makes his loss feel so significant right now.

Horror fans, brace yourselves — Christophe Gans is making his way back to those eerily familiar fog-shrouded streets of Silent Hill. And this time around, he’s not just dipping his toes in the murky waters; he’s diving headfirst into adapting the franchise’s crown jewel.

The buzz around Hollywood lately has been deafening. Cineverse (remember when they were just the new kids on the block?) has nabbed the U.S. rights to “Return to Silent Hill,” promising what they’re calling a faithful adaptation of Silent Hill 2. Now, we’ve all heard that one before, haven’t we?

But wait — there might actually be something different here.

Gans, who gave us that deliciously atmospheric 2006 Silent Hill film, seems dead set on breaking the video game adaptation curse that’s plagued Hollywood since… well, forever. And as we head into 2025’s surprisingly packed horror lineup, this particular project stands out like a rusty knife in the fog.

The story follows James (played by Jeremy Irvine, who’s been absolutely everywhere since that Netflix anthology series last fall) receiving a letter from his supposedly dead wife, Mary (Hannah Emily Anderson). Classic psychological horror setup? Sure. But it’s the execution that has industry insiders whispering in dimly lit studio corridors.

“I am delighted to partner with Cineverse,” Gans declared at last month’s horror convention — though honestly, what else was he going to say? But there’s something about the way he discusses the source material that feels genuine. Almost obsessive, really. The man practically glows when talking about Silent Hill 2’s legacy.

The timing’s interesting, isn’t it? With the gaming industry’s market cap hitting unprecedented heights in early 2025 and the success of last year’s unexpected hits in the adaptation space, “Return to Silent Hill” seems perfectly positioned. Perhaps too perfectly? Cineverse isn’t exactly being subtle about their expectations, what with Chief Content Officer Yolanda Macias dropping that “$156 million global box office” figure at every opportunity.

Here’s the real kicker, though — translating psychological horror from an interactive medium to film. Silent Hill 2 wasn’t just about monsters jumping out of the darkness (looking at you, every other horror film of 2024). It was about the slow burn, the creeping dread, the way it got under your skin and stayed there.

The project’s got some serious muscle behind it. Victor Hadida, Molly Hassell, and David Wulf are producing — and say what you will about their recent missteps with that cyberpunk adaptation, but these folks know how to get things done.

For those who somehow missed the cultural phenomenon (seriously, where’ve you been hiding?), Silent Hill 2 represents something special in gaming history. It proved that video games could tell sophisticated, mature stories that didn’t need explosions or boss battles every five minutes to keep audiences engaged.

Will it work? Who knows. But in an industry that’s becoming increasingly risk-averse — especially after last summer’s string of AI-generated flops — at least someone’s trying something interesting. And maybe, just maybe, that’s worth celebrating.

Or at least worth being terrified about.

Rock music’s resilient spirit faces another test as Brad Arnold, the voice behind Three Doors Down, confronts what might be his toughest battle yet. The 46-year-old frontman recently shared devastating news with fans: he’s battling stage 4 kidney cancer that has spread to his lungs.

Arnold’s announcement — delivered through a raw, unfiltered Instagram video — carried echoes of the same grit that powered anthems like “Kryptonite” through stadium speakers. “We serve a mighty God, and He can overcome anything,” he declared, his Mississippi drawl unwavering despite the weight of his words.

The timing couldn’t be more bitter. Just as concert venues across America were gearing up for Three Doors Down’s summer tour, the band’s had to pull the plug. Medical reality can be ruthless — clear cell renal carcinoma at this advanced stage typically presents a stark five-year survival rate of around 10%. Yet somehow, Arnold’s response feels like it could’ve been pulled straight from one of his lyrics.

Speaking of lyrics — there’s something almost eerily prophetic about the band’s 2008 hit “Not My Time.” Arnold referenced it directly in his announcement, and honestly, who could blame him? Those words he penned years ago — “This could be the end of me / And everything I know / But it’s not my time, I’m not going” — hit different now. They’ve transformed from radio-ready hooks into something of a personal manifesto.

Three Doors Down’s story reads like a classic rock fairy tale. Picture this: a bunch of kids from Escatawpa, Mississippi (population: barely a blip), somehow catch lightning in a bottle. Arnold, just fifteen when he wrote “Kryptonite,” probably never imagined that teenage scribbling would become the cornerstone of a multi-platinum career. But that’s exactly what happened.

The response from the music community has been swift and heartfelt. Fellow musicians, industry veterans, and fans worldwide have rallied around Arnold — a testament to the deep connections forged through two decades of honest, gut-punch rock ‘n’ roll.

Through it all, Arnold’s maintaining that characteristic Southern resolve. His request for prayers comes across less like a plea and more like an invitation to join him in battle. It’s the same authenticity that’s marked his songwriting since day one, now facing its ultimate test.

Life has a way of writing chapters we never saw coming. For Brad Arnold and Three Doors Down, this unexpected turn might just prove to be their most powerful story yet — not because anyone would choose this path, but because sometimes our truest strength shows up exactly when we need it most.

Country music’s ability to surprise and reinvent itself took center stage this week, as Gretchen Wilson — the powerhouse behind “Redneck Woman” — emerged victorious on The Masked Singer’s Season 13 finale. Her win arrives just as the genre prepares to celebrate its diamond anniversary at the 60th Academy of Country Music Awards, painting a vivid picture of country music’s remarkable evolution.

Behind the glittering “Pearl” costume, Wilson found more than just another competition stage. After wrestling with long-COVID and spending eight grueling months in a wheelchair due to an ankle injury, her journey back to performing carried deeper meaning. “When I stepped into the costume, I was transformed,” she shared after the reveal, her voice carrying a hint of hard-won wisdom. The victory marked more than just musical versatility — it represented personal triumph over adversity.

The timing couldn’t be more fitting. As Wilson celebrates her win, the country music community shifts its gaze to Frisco, Texas, where the ACM Awards promise to deliver an unforgettable celebration of the genre’s six-decade journey. The legendary Reba McEntire takes the helm at the Ford Center at The Star, where Prime Video viewers will witness what’s shaping up to be a landmark evening in country music history.

Opening the show? An ambitious 14-minute musical odyssey through time. The “Songs of the Decades” spectacular brings together an all-star ensemble — McEntire herself, alongside Clint Black, Dan + Shay, and Wynonna Judd — to trace country music’s rich heritage across 60 years of evolution.

This year’s nominations tell their own story of country music’s changing landscape. Rising star Ella Langley leads the pack with eight nods, while industry heavyweights Cody Johnson, Lainey Wilson, and Morgan Wallen follow close behind with seven each. The Entertainer of the Year category perfectly captures this dynamic — established stars like Luke Combs and Kelsea Ballerini share the spotlight with boundary-pushing newcomer Jelly Roll.

Keith Urban’s moment in the spotlight carries special significance. He’ll receive the prestigious ACM Triple Crown Award — a recognition that’s remained unclaimed since Carrie Underwood’s 2010 honor. Urban’s achievement speaks volumes about his artistic journey, having conquered new artist, artist, and entertainer of the year categories throughout his remarkable career.

The performance lineup reads like a masterclass in country music’s expanding horizons. Traditional country stalwarts Alan Jackson and Blake Shelton will share the stage with genre-defying collaborations — including an intriguing pairing of the Backstreet Boys with Rascal Flatts, and Jelly Roll joining forces with Shaboozey.

What’s becoming clear, as both Wilson’s Masked Singer triumph and the upcoming ACMs demonstrate, is country music’s remarkable capacity for growth while honoring its roots. The genre continues creating space for artists to push boundaries and explore new territories, all while maintaining the authentic storytelling that’s always been its beating heart.

Perhaps that’s the most powerful message emerging from this convergence of events — in country music, there’s always room for comeback stories, fresh perspectives, and artistic renaissance. As the industry celebrates its past and embraces its future, one thing remains certain: the heart of country music beats stronger than ever.

Who would’ve thought PAW Patrol would end up with Snoop Dogg and Bill Nye in the same movie? The beloved children’s franchise is taking an unexpected — and frankly fascinating — turn with its upcoming “PAW Patrol: The Dino Movie,” assembling what might be the most eclectic voice cast ever seen in a kids’ animated feature.

Let that sink in for a moment. Snoop Dogg, the science guy himself Bill Nye, and Paris Hilton are all lending their voices to a movie about rescue pups meeting dinosaurs. It’s either brilliantly mad or madly brilliant.

The franchise has come a long way since its humble beginnings as a preschool TV show back in 2013. Now, after raking in over $350 million from its previous theatrical releases, the series is swapping out Adventure Bay for something considerably more ambitious — a mysterious island teeming with prehistoric creatures. (Because why not add dinosaurs to the mix? Kids love ’em, and honestly, so do most adults.)

Jennifer Dodge, President of Spin Master Entertainment, seems pretty chuffed about the whole thing. She’s calling it a “dino-sized” franchise now, which feels about right given the star power they’ve managed to wrangle. Between Snoop’s laid-back charm, Jameela Jamil’s razor-sharp wit, Terry Crews’ boundless energy, and Paris Hilton being, well, Paris Hilton… this isn’t your typical kiddie fare anymore.

The plot’s got some teeth to it, too — pun absolutely intended. Our favorite rescue pups crash-land on this uncharted tropical paradise and meet Rex, a castaway pup who’s apparently been chillin’ with dinosaurs. Then there’s Humdinger (because of course he’s back) starting trouble by mining the island’s resources. Naturally, this triggers a dormant volcano, because if you’re going to go big, you might as well go extinction-level big.

Fresh faces abound in the core cast, with Carter Young taking on Marshall, Hayden Chemberlen as the mysterious Rex, and Henry Bolan stepping into Ryder’s shoes. The franchise veterans haven’t all jumped ship though — Ron Pardo’s still around, thank goodness.

What’s particularly clever about this casting mashup is how it seems designed to work on multiple levels. Bill Nye’s going to hit that sweet spot of nostalgia for millennial parents (who probably secretly still remember the theme song to his show). Meanwhile, Snoop’s been quietly building quite the voice acting portfolio — between this, “The Garfield Movie,” and “Turbo,” he’s practically becoming the Morgan Freeman of animation.

The numbers don’t lie either. The first movie pulled in $144.3 million worldwide and nabbed an impressive 82% on Rotten Tomatoes. The sequel? Even better at $205 million globally. With the third installment dropping July 31, 2026 (right in the sweet spot of summer blockbuster season), expectations are understandably high.

Cal Brunker’s back in the director’s chair, co-writing with Bob Barlen, which suggests they’re keeping the creative team that’s been working. Smart move — when you’ve got a formula that works, you don’t mess with it. You just add dinosaurs. And Snoop Dogg.

The real trick here will be maintaining that delicate balance between pleasing the preschool crowd and entertaining their parents who’ve probably seen every episode fifty times by now. But with this cast? They might just pull it off. After all, if anyone can make PAW Patrol cool for adults while keeping kids entertained, it’s probably going to be the combination of Snoop Dogg and dinosaurs.

Formula 1’s latest sensation isn’t just making waves on the track—he’s making them on social media too, albeit for slightly different reasons. Fresh off his Miami Grand Prix triumph, Oscar Piastri treated fans to what might generously be called a dance attempt, proving that even F1’s brightest stars can’t nail everything on the first try.

The 24-year-old Aussie’s post-victory “griddy” dance—a moment of pure, unfiltered joy mixed with endearing awkwardness—quickly became the talk of the paddock. His mother Nicole’s savage social media response (“Rhythm was never his strong point…”) only added to the charm of the moment. Some 900,000 Instagram likes later, Piastri’s dance moves have arguably garnered as much attention as his stellar driving.

“Look, it was an attempt at a griddy,” Piastri admitted, running a hand through his hair with a sheepish grin. “Probably shouldn’t have made that bet with Justin Jefferson, but here we are.” The Minnesota Vikings star might want to stick to teaching touchdown celebrations rather than victory dances to F1 drivers.

But beneath the viral moments and social media buzz lies a more compelling story. McLaren’s garage has become a fascinating study in shifting dynamics, with Piastri’s meteoric rise creating ripples that extend far beyond mere point tallies. Leading teammate Lando Norris by 16 points isn’t just a statistical footnote—it’s a seismic shift in the team’s internal balance.

Juan Pablo Montoya, never one to sugarcoat his opinions, put it bluntly: “Oscar Piastri has got inside Lando Norris’s head.” The Colombian’s assessment cuts through the usual paddock diplomacy like a hot knife through butter. Norris, once comfortable in his role as McLaren’s golden boy, now finds himself wrestling with a new reality.

Perhaps most telling is how the sport’s current dominant force, Max Verstappen, approaches battles with each McLaren driver. Martin Brundle’s observation that Verstappen sees something of a “street fighter” in Piastri speaks volumes about the young Australian’s growing reputation. In a sport where respect is earned in milliseconds, that’s no small feat.

Yet success in F1 rarely comes without its share of controversy. Red Bull’s Christian Horner has raised eyebrows about McLaren’s innovative rear brake design, turning the team’s superior tire temperature management into 2025’s first proper technical soap opera. Complete with thermal imaging evidence and whispers of water injection into tires, it’s classic F1 drama.

Zak Brown, McLaren’s CEO, responded with characteristic flair—sipping from a water bottle labeled “tire water” during the Miami race. Talk about throwing shade in the sunshine state. “There’s a proper way to protest a team after a race,” Brown noted, essentially daring Red Bull to put their money where their mouth is.

The FIA’s post-race investigation cleared Piastri’s car of any wrongdoing, but the episode underscores an eternal F1 truth: success attracts scrutiny like moths to a flame. Mercedes chief Toto Wolff, playing the role of paddock sage, backed McLaren: “These guys know their stuff—it’s just brilliant development work, plain and simple.”

As Piastri continues racking up wins—now surpassing his more experienced teammate’s career total—the possibility of him becoming only Australia’s third F1 world champion looms larger. It’s been 45 years since an Aussie claimed the crown, but this Melbourne native might just have the right mix of talent, temperament, and questionable dance moves to end that drought.

In a sport where precision is everything, Piastri’s ability to stay cool while setting tracks ablaze might be his most impressive feat yet. Though perhaps he might want to spend a bit less time practicing dance moves and a bit more time in the simulator—just don’t tell his mum.

Hold onto your popcorn, darlings — Hollywood’s favorite four-legged heroes are about to embark on their most ambitious adventure yet, and they’ve assembled a cast that’s turning heads faster than a Met Gala red carpet reveal. “PAW Patrol: The Dino Movie” has just dropped its star-studded lineup, and it’s nothing short of spectacular.

Picture this: Jameela Jamil, Terry Crews, Snoop Dogg, Bill Nye, and — because why not add a dash of “that’s hot” nostalgia — Paris Hilton herself. The franchise that’s already hauled in $350 million worldwide clearly isn’t playing around with this third installment.

The plot? Think less “fetch” and more “Jurassic bark.” Our intrepid pups find themselves marooned on a mysterious island that’s basically what you’d get if Mother Nature went on a prehistoric shopping spree. There’s Rex — a long-lost pup who’s apparently been living his best life as some sort of dino-whisperer. But because every proper adventure needs a villain who probably twirls their metaphorical mustache, Humdinger’s back with a mining operation that threatens to turn this Jurassic paradise into ancient history.

Jennifer Dodge, Spin Master’s President, couldn’t contain her enthusiasm about the cast — and honestly, who could blame her? When you’ve managed to get Snoop Dogg and Bill Nye in the same project, you’ve either got a stroke of genius or the most interesting fever dream in entertainment history.

The franchise has come a long way since its humble beginnings back in 2013. What started as a sweet little preschool series has morphed into a global phenomenon that speaks 30 languages and has more passport stamps than a jet-setting socialite. That’s the kind of glow-up that makes even Cinderella’s transformation look a bit basic.

Cal Brunker’s returning to the director’s chair (third time’s the charm, right?) and has penned the script with Bob Barlen. It’s the kind of creative consistency that makes studio executives sleep better at night and keeps franchise fans coming back for more.

Ramsey Naito over at Paramount Animation and Nickelodeon Animation is promising something “bigger, better, and bolder” — words that could easily describe half the fashion choices at last year’s Oscar ceremony, but in this case, might actually be an understatement.

Mark your calendars for July 31, 2026 — yes, that feels like it’s practically in the next century, but good things come to those who wait. Paramount Pictures is handling the global distribution, except in Canada, where Elevation Pictures will do the honors (because even movie distribution needs to keep things interesting).

Let’s be honest — in an era where half of children’s entertainment feels about as inspired as yesterday’s leftovers, PAW Patrol has somehow managed to keep things fresh. With this latest evolution — mixing dinosaurs, environmental messaging, and a cast that could easily headline Coachella — it’s clear these pups aren’t just surviving in Hollywood’s dog-eat-dog world, they’re running the show.

And really, in an industry where yesterday’s blockbuster is tomorrow’s bargain bin filler, that’s saying something. Now, if anyone needs me, I’ll be trying to figure out how to fast-forward to 2026 — this is one premiere that promises to be absolutely fetching.

Hollywood’s serving up quite the double feature as we roll into 2025, darlings — and this time, it’s a delightfully odd couple stealing the spotlight. Who’d have thought a mischievous sheep and a sprawling space saga would be the talk of the town?

Let’s dish about Aardman’s latest creation first. Those brilliant minds behind Wallace & Gromit are cooking up something wickedly fun with “Shaun the Sheep: The Beast of Mossy Bottom.” (And honestly, could that title be any more perfect?) This Halloween-themed romp marks Shaun’s third big-screen adventure, and from what Sarah Cox — Aardman’s chief creative director — has been teasing, we’re in for a treat. Think smashed pumpkins, mad science gone hilariously wrong, and a mysterious hairy beast causing chaos.

The plot? Well, it’s absolutely delicious. Our woolly hero apparently decides to channel his inner Dr. Frankenstein after the bumbling farmer (bless his heart) destroys the farm’s pumpkin patch. Classic Aardman — taking something simple and spinning it into pure gold.

But hold onto your popcorn, because that’s just the appetizer. Apple TV+ is finally — finally! — bringing us Season 3 of “Foundation.” After keeping us waiting since what feels like the dawn of time (or at least since early 2023), they’ve blessed us with a July 11 premiere date. And darling, the wait might actually be worth it.

This season’s taking quite the temporal leap — we’re talking 152 years after Season 2’s events. The Foundation’s gone from scrappy underdog to major player, while those fabulous Cleons aren’t quite as mighty as they used to be. Just when these frenemies decide to play nice, in struts “The Mule” — think of him as a mind-controlling warlord with universal domination on his vision board. Subtle, right?

The casting department deserves a round of applause (and maybe a stiff drink). They’ve managed to snag Emmy-winner Cherry Jones, Brandon P. Bell, and — in what might be the most inspired casting choice since, well, ever — Oscar-winner Troy Kotsur. They’ll be joining Lee Pace and Jared Harris, who continue serving us space royalty realness with every scene.

What’s fascinating about these simultaneous announcements is how they showcase the industry’s evolution. Shaun the Sheep, who first charmed us back in ’95, has become such a phenomenon that there’s literally a theme park dedicated to him in Japan. (No, seriously — look it up!) Meanwhile, “Foundation” is proving that proper sci-fi doesn’t need laser battles every five minutes to keep viewers hooked.

Speaking of success stories, Aardman’s still riding high from “Wallace & Gromit: Vengeance Most Fowl,” which not only dominated the holiday ratings but snagged two BAFTAs. Their decision to embrace spooky season — something they absolutely nailed with “Were-Rabbit” — shows they know exactly how to keep their audience coming back for more.

Whether you’re in the mood for stop-motion shenanigans or space opera sophistication, 2025’s shaping up to deliver some seriously compelling entertainment. From wooly adventures to galactic drama, it’s clear Hollywood’s determined to keep us glued to our screens — and honestly? We’re not mad about it.

Australian rock lost its heartbeat this week. James Baker, the legendary drummer who helped forge the nation’s punk and garage-rock sound, passed away Monday evening in his Perth home. He was 71.

Known affectionately as the “King of the Perth Big Beat,” Baker’s final bow came after a lengthy battle with liver cancer. Yet somehow, that seems too clinical a way to describe the departure of a man who spent five decades creating sonic mayhem behind the kit, his trademark Brian Jones bowl cut bobbing in perfect time to whatever thunder he was cooking up.

“The godfather of Perth Punk and Australia’s Garage Guru passed away around 7:30 last night at home in Perth,” read the statement announcing his departure — words that barely capture the seismic shift his absence creates in Australia’s musical landscape.

Like so many great rock tales, Baker’s story started with The Beatles. A teenage obsession with Ringo Starr led to that first drum kit at 16, and the rest… well, that’s where things get interesting. Baker went on to pound the skins for some of Australia’s most influential bands — The Scientists, Hoodoo Gurus, Beasts of Bourbon. Each group bearing his distinctive “caveman stomp” that became a cornerstone of the Aussie punk sound.

There’s a brilliant what-if moment in Baker’s story that feels ripped from a rock ‘n’ roll fever dream. Picture this: London, late ’70s, after a Damned concert. Baker — sporting a Ramones t-shirt — gets approached by Joe Strummer and Mick Jones of The Clash. They need a drummer. Baker hasn’t played in a year. The moment passes, becoming just another colorful thread in his tapestry of tales.

1977 saw Baker help birth Australian punk proper with The Victims and their raw, urgent single “Television Addict” — a track that still crackles with the same electricity today as it did nearly 50 years ago. His stint with Hoodoo Gurus produced their landmark debut “Stoneage Romeos” in ’84, though his departure shortly after prompted their manager Stuart Coupe to muse that “with [Baker’s] departure went a big part of the spirit and soul of what made them great.”

Even cancer couldn’t keep Baker from his craft. After his 2014 diagnosis, he kept the beat going, releasing his debut solo EP “Born to Rock” just last year. His final recording — a single with Dom Mariani — dropped in January 2025, barely a month before his passing.

The loss adds to a brutal year for the extended Hoodoo Gurus family, following the deaths of managers Michael McMartin and Mick Mazzone, along with founding member Kimble Rendall.

Baker leaves behind his wife Cathy, daughters Lorna and Faye, sister Barbara, and — in a bittersweet twist — an unborn grandson due in the coming weeks. That’s perhaps his most profound legacy: a new generation who’ll inherit the echoes of Australia’s rock revolution, shaped by every beat of James Baker’s drums.

Austin’s beloved Zilker Park is gearing up for another musical transformation as ACL Festival drops its 2025 lineup — and yeah, there’s plenty to unpack here. Between established heavyweights, fresh faces, and a few choices that have music fans scratching their heads, this year’s festival promises to shake things up in classic Austin fashion.

Let’s talk about Doja Cat for a minute. Fresh off that jaw-dropping James Bond tribute at the Oscars (who knew she could belt like that?), she’s bringing her theatrical brand of pop mayhem to Texas. Her recent pivot to rock-influenced sounds has definitely raised some eyebrows, but there’s no denying she’s exactly the kind of boundary-pushing artist ACL needs right now.

The Strokes showing up on the bill feels like a perfectly-timed nod to the current indie sleaze renaissance sweeping through music. Sure, they’ve been around the block, but something about Julian Casablancas growling through “Last Nite” under those massive Texas skies just feels right.

Then there’s Hozier. Look — nobody’s questioning the man’s talent. His voice could probably make the tax code sound soulful. But his headlining spot has sparked some heated debates among festival veterans. After his 2023 ACL appearance, some folks are wondering if maybe, just maybe, it’s time for something a bit more adventurous in that slot.

The booking of Colombian reggaeton powerhouse Feid might be the festival’s smartest play. Get ready for Zilker to transform into a sea of neon green (his signature color’s basically become a movement at this point). And let’s be real — the whispers about girlfriend Karol G possibly showing up for a surprise duet are already sending social media into overdrive.

Speaking of powerful moves, Doechii’s presence feels especially significant. After making history as the first woman since Lauryn Hill to snag that Best Rap Album Grammy, she’s riding high on the success of “Alligator Bites Never Heal.” That album’s been everywhere lately, and her live shows? Pure electricity.

Dig a little deeper into the lineup and you’ll find some real gems. Japanese Breakfast’s Michelle Zauner continues to prove why she’s one of indie rock’s most captivating performers — that iconic gong during “Paprika” hits different live. Her chemistry with husband/bandmate Peter Bradley adds an extra layer of magic to their sets.

The mid-card offerings deserve some attention too. Wet Leg’s angry sonic evolution on “moisturizer” suggests their sets might be heavier than previous festival appearances. Meanwhile, The Dare’s ACL debut should be interesting — that suited-up aesthetic and those Charli XCX collabs have definitely got people talking.

Festival-goers can catch all the action October 3-5 and 10-12. The usual ticket tiers are available, from regular GA to that fancy Platinum experience (because sometimes you just need those air-conditioned lounges, right?). Kids 8 and under still get in free with a ticketed adult, keeping that family-friendly vibe alive.

Can’t make it to Austin? Hulu’s got you covered, at least for weekend one. They’ll be streaming select performances and behind-the-scenes content, though we won’t know exactly what’s making the cut until later this summer.

Whether this lineup fully satisfies ACL’s notoriously opinionated audience remains to be seen. But one thing’s certain — those October weekends in Zilker Park are shaping up to be anything but predictable. The festival’s balancing act between innovation and tradition continues, even if some of the choices might raise a few eyebrows along the way.