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Hollywood lost one of its most intriguing character actors last week — Nicky Katt, whose mercurial presence defined some of the most compelling indie films of the ’90s and 2000s, passed away at 54. The news hit particularly hard for those who remember when independent cinema wasn’t just a marketing label, but a genuine creative revolution.

His death was confirmed through John Sloss of Sloss Law, though (in a twist that seems oddly fitting for an actor who always kept audiences guessing) the details remain private. Katt’s departure feels like watching the credits roll on an era of filmmaking that wasn’t afraid to push boundaries and ruffle feathers.

Remember that moment in “Dazed and Confused” when Katt’s Clint Bruno first appeared on screen? That wasn’t just acting — it was a masterclass in creating genuine menace without chewing the scenery. God, they really don’t make high school bullies like that anymore, do they?

Steven Soderbergh — who had an almost supernatural ability to spot raw talent — gave Katt one of his most deliciously bizarre roles in “Full Frontal.” Playing an actor portraying Hitler in a play called “The Sound and the Fuhrer” (seriously, darlings, even ChatGPT couldn’t dream up something this wonderfully weird), Katt delivered what Soderbergh dubbed an “absolutely fearless” performance. And honey, he wasn’t just being nice.

What set Katt apart wasn’t just his acting chops — it was his brutal honesty about the industry. He once told the Los Angeles Times something that rings even truer in 2025: “There’s so much desperation in the air, in Los Angeles especially… Stanley Kubrick called the vibe in LA a ‘low-level malevolence.’ It eats away at you at some point.” Looking at today’s algorithmically-engineered content landscape, those words feel downright prophetic.

Television audiences might remember him best as Harry Senate in “Boston Public,” where he brought the same intensity that made him indie film’s secret weapon. Even his blink-and-you’ll-miss-it appearance on “Friends” (yes, that “Friends”) showed how he could elevate even the most mainstream material.

His final role — a 2018 guest spot on Hulu’s “Casual” — wasn’t exactly the grand finale such a career deserved. But maybe that’s fitting for an actor who always seemed more interested in the work than the applause. From “Boiler Room” to “Behind the Candelabra,” Katt brought an old-school dedication that’s becoming rarer than a Hollywood executive without a TikTok strategy.

In an industry increasingly obsessed with algorithms and engagement metrics, Katt represented something beautifully analog — an actor who treated his craft like a calling rather than a brand-building exercise. His passing doesn’t just mark the end of a remarkable career; it’s another farewell to an era when Hollywood still had the courage to be gloriously, unapologetically weird.

The mercury hit a punishing 102 degrees in Indio this weekend, but that didn’t stop the masses from descending upon the California desert for Coachella 2025’s kickoff. Paper fans fluttered like exotic birds across the Empire Polo Club grounds, while clever festival veterans sought refuge beneath parasols that dotted the landscape like mushrooms after rain.

Welcome to festival season — where sunscreen stations have become the new water cooler meetups, and staying hydrated is practically an Olympic sport.

The scorching heat merely added another layer of drama to what’s shaping up to be Coachella’s most ambitious lineup yet. Lady Gaga — fresh off her “Mayhem” album that’s been absolutely everywhere since dropping last month — promised chaos, and honestly? In these temperatures, chaos feels inevitable. “Dance till we drop,” she posted. (Though maybe not the best choice of words when medical tents are already busy handling heat exhaustion cases.)

But here’s where things get interesting: Coachella’s taking a sharp left turn back to its rock roots. Green Day’s inclusion isn’t just nostalgia bait — it’s a statement. Billie Joe Armstrong, sporting that same raw energy that defined the ’90s, put it perfectly backstage: “Rock ‘n’ roll is forever.” Simple words, massive impact.

Then there’s the curve ball nobody saw coming: The Los Angeles Philharmonic. Sure, we’ve had Danny Elfman and Hans Zimmer bringing orchestral vibes before, but a full symphony orchestra? At Coachella? Gustavo Dudamel’s sunset performance might just redefine what festival music can be.

Speaking of unexpected turns — whoever booked Yo Gabba Gabba! deserves a raise. These aren’t just random bookings; they’re carefully calculated risks that acknowledge how the festival crowd has evolved. Those teens who first hit Coachella in the early 2010s? They’re bringing their kids now. Wild, right?

The lineup reads like someone’s perfectly curated Spotify playlist gone rogue. Lisa from Blackpink’s making her solo debut (and yeah, that “White Lotus” cameo definitely didn’t hurt her booking power). Kraftwerk’s bringing their pioneering electronic soundscapes to the desert. Tyla’s finally getting her moment after last year’s heartbreaking cancellation — proof that timing really is everything in this industry.

Travis Scott’s surprise appearance after Green Day feels particularly poignant. Remember that canceled 2020 headline slot? Different world back then. Meanwhile, Charli XCX — once alternative pop’s best-kept secret — is now commanding main stage real estate. Her signature neon green aesthetic about to paint the desert in ways that even the most spectacular sunset couldn’t manage.

As day one unfolds under that relentless California sun, one thing’s crystal clear: streaming might rule our daily lives, but there’s still nothing quite like sweating it out in the desert with thousands of strangers, united by nothing more than the promise of musical transcendence. And maybe a few good stories to tell afterward — assuming we all survive the heat.

In a masterful blend of romance and rivalry, Kendrick Lamar and SZA’s latest visual offering for “Luther” arrives at a fascinating moment in hip-hop’s ever-shifting landscape. The video dropped just weeks after Lamar’s controversial Grammy appearance — you know, the one where he showed up in that perfectly calculated Canadian tuxedo that had Twitter buzzing for days.

Set against the stark elegance of an empty office building, the Karena Evans-directed piece feels both intimate and expansive. There’s something almost poetic about how the downtown skyline serves as a silent witness to the artists’ performance, while that Luther Vandross and Cheryl Lynn sample (“If This World Were Mine”) weaves through the track like a golden thread.

The choice of Evans as director? Well, that’s where things get interesting. The Canadian visionary, best known for her groundbreaking work with Drake — particularly “In My Feelings” — brings her signature style to the project. Given the simmering tension between Lamar and Drake (which, let’s be honest, has dominated hip-hop discourse since New Year’s), the selection feels less like coincidence and more like calculated chess.

“Luther” has been absolutely crushing it on the charts. After a No. 3 debut on the Billboard Hot 100, the track climbed to the top spot and hasn’t budged for seven straight weeks. Not too shabby for a song that’s part of Lamar’s surprise drop “GNX” — an album that casually landed all twelve of its tracks on the Hot 100, with five breaking into the top spots.

An industry veteran (speaking off the record, naturally) put it perfectly: “The video captures something timeless while feeling completely current.” It’s the kind of visual that reminds everyone why these two artists consistently push the boundaries of modern music. They’ve taken what could’ve been a straightforward concept and transformed it into something magnetic.

Meanwhile, as Drake pursues legal action against Universal Music Group over streaming practices, both artists seem content letting their work do the talking. The “Luther” video manages to thread the needle — it’s both a statement piece and a genuine artistic expression, never letting industry drama overshadow its emotional core.

Looking ahead to spring 2025, fans won’t have to wait long to see this dynamic duo bring “Luther” to life on stage. The Grand National Tour kicks off April 19 in Minneapolis, with 18 North American cities lined up before they jet across the pond for 13 European shows. Something tells me those performances will be anything but ordinary.

What’s particularly striking about “Luther” is how it transcends the typical hip-hop narrative. Sure, there’s the underlying industry chess match — but at its heart, this is artistry that resonates across genres and generations. As Lamar and SZA prepare to take this show on the road, they’re proving that sometimes the best response to industry drama is simply creating something undeniable.

Move over, retirement parties — Berlin Zoo’s most distinguished resident is about to hit a milestone that puts human celebrations to shame. Fatou, the world’s oldest gorilla in captivity, is turning 68 this Sunday, and her caretakers aren’t letting this remarkable occasion pass without proper fanfare.

Just yesterday, the zoo’s staff presented their elderly matriarch with an early birthday treat: a carefully curated basket of fruits and vegetables. It’s not exactly avocado toast and craft coffee (those millennial gorillas, right?), but for a grande dame who’s outlived most of her contemporaries by decades, it’s the perfect celebration feast.

The secret to Fatou’s longevity? Well, it’s not yoga or green smoothies. Zoo veterinarian André Schüle and his team have developed a specialized care regime that would make most luxury spa retreats look amateur. Having bid farewell to her teeth somewhere along her remarkable journey, Fatou’s meals require the kind of careful preparation that would impress a Michelin-starred chef.

Her story reads like a time capsule from another era. Back in 1959, when the Beatles were still playing in Hamburg clubs and Berlin stood divided, Fatou arrived in West Berlin. She’s since witnessed the fall of the Wall, the rise of the internet, and probably wondered what all the fuss was about TikTok (okay, maybe not that last bit).

These days, Fatou enjoys what you might call an “exclusive residence” — separate from the zoo’s five younger gorillas, who range from a sprightly 4 to a middle-aged 39. “She has the peace she deserves at her high age,” notes Schüle, in what might be the understatement of 2025. After all, when you’ve made it to 68, you’ve earned the right to some peace and quiet.

The significance of Fatou’s age becomes crystal clear when compared to recent news from Zurich, where N’Gola, considered ancient at 47, was recently laid to rest. Fatou hasn’t just broken records — she’s shattered them, surpassing typical life expectancy by decades.

Until recently, Fatou shared her “eldest resident” status with Ingo, a flamingo who strutted his stuff well into his 75th year before bidding farewell in early 2024. Now she stands alone as the zoo’s senior celebrity, a living testament to how far we’ve come in understanding and caring for our closest animal relatives.

As Sunday approaches, Fatou’s birthday celebration serves as more than just a party — it’s a milestone in zoological achievement. Her remarkable longevity offers precious insights into great ape aging, knowledge that could benefit generations of gorillas to come. Not bad for a lady who’s probably seen more Berlin winters than most of her caretakers combined.

The black-and-white visual for “Luther” landed this week with the quiet intensity of a chess master’s calculated move. Seven weeks into its Billboard Hot 100 reign, Kendrick Lamar and SZA’s chart-dominating collaboration finally got its visual treatment — and the timing couldn’t feel more deliberate.

Let’s be real: dropping this video just as Drake’s “Nokia” threatens to dethrone “Luther” isn’t exactly subtle. But then again, subtlety was never really the point.

Director Karena Evans — yeah, the same visionary behind Drake’s “God’s Plan” and “Nice For What” — transforms the Luther Vandross-sampling track into something that feels both timeless and distinctly 2025. The stark monochrome palette does heavy lifting here, turning even mundane locations (there’s this one fast-food joint scene that’s weirdly haunting) into spaces charged with emotional weight.

Here’s where things get interesting. Evans keeps Kendrick and SZA apart for most of the video, a choice that somehow amplifies their connection rather than diminishing it. The geometric architecture looming over both artists becomes its own character — cold, imposing, yet strangely intimate.

Perhaps the most revealing moment comes when Kendrick locks eyes with Whitney Alford, his longtime partner, during his verses. It’s a rare crack in the typically private rapper’s armor, and it hits different. Meanwhile, SZA practically floats through her scenes, bringing an otherworldly presence that’s become her trademark since dominating the charts last summer.

The video arrives at a pivotal moment. With their stadium tour kicking off next week (their first together, surprisingly enough), “Luther” has been sitting pretty at #1 for seven straight weeks. It’s GNX’s second chart-topper after “Squabble Up” — not bad for an album that dropped with zero marketing.

But you can’t ignore the Drake factor. Evans jumping ship from Drake’s camp to direct this? That’s gonna spark conversations. Some fans are already drawing parallels between this video’s aesthetic and Drake’s “Nokia” visual — though whether that’s coincidence, homage, or clever commentary is anybody’s guess.

The original sample — Cheryl Lynn and Luther Vandross’s “If This World Were Mine” from ’82 — gets room to breathe here. There’s something poetic about Vandross finally reaching #1, albeit posthumously through this reimagining. The video treats his contribution with the reverence it deserves.

As stadium crews prep for what’s shaping up to be 2025’s most talked-about tour, this visual serves multiple purposes. Sure, it’s promotion — but it’s also art that rewards repeated viewing. In an era of 15-second viral clips, there’s something refreshing about a music video that actually wants you to think.

Sometimes the best moves in chess are the ones that make your opponent second-guess everything they thought they knew about the game.

Hollywood’s luminaries are mourning the loss of Ted Kotcheff, the maverick director who dared to dance between genres with the grace of a seasoned choreographer. At 94, the filmmaker took his final bow Thursday night in Nuevo Nayarit, Mexico — leaving behind a legacy that would make most modern directors’ heads spin.

What a delicious irony that the man who gave us both “First Blood” and “Weekend at Bernie’s” started life as a wide-eyed kid in Toronto’s working-class streets. The son of Bulgarian immigrants, young Kotcheff witnessed something that would haunt his artistic soul forever: a family’s brutal eviction over a measly $2 rent. “What sort of world would do that?” he’d later recall asking at just four years old. (Honestly, some questions never get easier to answer, do they?)

His outsider’s perspective became something of a calling card. “All my pictures deal with people outside or people who don’t know what’s driving them,” he mused to The Times back in ’75. Well, darlings, didn’t that philosophy just crystallize perfectly in John Rambo? Sylvester Stallone’s tortured Vietnam vet became an instant cultural touchstone — though Kotcheff, ever the principled artist, wisely stepped away when the franchise veered toward mindless carnage.

Talk about putting your money where your mouth is. When offered the first Rambo sequel, Kotcheff didn’t just pass — he flat-out refused to celebrate what he called “one of the stupidest wars in history.” The decision probably cost him millions, but dahling, integrity like that is priceless in Tinseltown.

His range? Simply staggering. From the sun-scorched psychological thriller “Wake in Fright” to the gleefully macabre “Weekend at Bernie’s” (where he couldn’t resist a cheeky cameo, bless him), Kotcheff proved that genre was merely a suggestion, not a prison. Times critic Kevin Thomas nailed it when he dubbed him an “acid social satirist” — though that barely scratches the surface of his talents.

Before the curtain call, Kotcheff found an unexpected home in television, shepherding nearly 300 episodes of “Law & Order: SVU” as executive producer. Not too shabby for a cinema purist, wouldn’t you say?

His artistic philosophy — heavily influenced by Chekhov — was refreshingly humble: “I am not the judge of my characters.” In an era where everyone’s got a hot take, that kind of measured approach feels downright revolutionary.

Kotcheff leaves behind his wife, Laifun Chung, and children Kate and Thomas. But more than that, he leaves us with a reminder that the best storytellers don’t just capture life — they help us see it through fresh eyes, even if those eyes belong to a dead guy named Bernie.

Hold onto your designer seats, darlings — Warner Bros. is diving headfirst into the remake pool again, this time with a splash that’s bound to make waves across Hollywood Boulevard. The studio’s latest announcement? They’re resurrecting “The Bodyguard,” that deliciously dramatic 1992 romantic thriller that gave us Whitney Houston’s earth-shattering rendition of “I Will Always Love You.”

In a rather intriguing twist (and honestly, who saw this coming?), Warner Bros. has handed the directorial reins to Sam Wrench. Fresh from capturing Taylor Swift’s billion-dollar Eras Tour phenomenon, Wrench’s appointment suggests we’re in for something decidedly different from the original’s moody glamour. Perhaps we’ll see TikTok-worthy musical moments splashed across IMAX screens? The social media possibilities are endless, darling.

The original film wasn’t just a hit — it was a cultural supernova that raked in $411 million worldwide. Those numbers might sound quaint by 2025’s inflation-adjusted standards, but make no mistake: the film’s impact still reverberates through Hollywood’s gilded halls. That soundtrack? Pure platinum magic that earned two Oscar nods and cemented Whitney’s status as entertainment royalty.

Studio chiefs Mike De Luca and Abdy dropped this little bombshell during a Friday chat, casually mentioning that Jonathan A. Abrams (of “Juror No. 2” fame) will pen the screenplay. Naturally, the casting speculation has already begun. Good luck finding a pair to match the electric chemistry between Kevin Costner’s stoic Frank Farmer and Whitney’s luminous Rachel Marron — that’s like trying to recreate lightning in a Champagne bottle.

The timing feels… peculiar. With streaming wars reaching fever pitch and box office numbers still recovering from the great theatrical drought, Warner Bros. seems determined to mine their vault of classics. They’re not exactly being subtle about it either, what with The Matrix revival and Beetlejuice sequel already in motion. But then again, when has Hollywood ever done subtle?

Let’s be real — this isn’t the studio’s first rodeo with “The Bodyguard.” A 2011 attempt fizzled faster than a flat prosecco at brunch. But now? With audiences practically mainlining nostalgia-tinged content and the entertainment landscape dramatically shifted, the timing might actually be perfect. Or perfectly terrible. Only time (and box office receipts) will tell.

The pressure’s certainly on. De Luca and Abdy could use a solid win after some recent box office disappointments that we won’t name (but darling, you know exactly which ones). A successful “Bodyguard” remake could be just the ticket — assuming they can capture even a fraction of the original’s magic without coming across as a mere karaoke version of greatness.

One thing’s crystal clear: whoever steps into those iconic roles better bring their A-game. Because in Hollywood’s current climate, where every misstep becomes instant social media fodder, there’s precious little room for anything less than extraordinary. Now, who’s ready to run to that stage door?

Broadway’s latest meta-theatrical venture has finally arrived—and it’s quite the head-spinner. After languishing in development hell for 13 years, “Smash” has transformed from small-screen cult favorite into a full-blown stage production that’s equal parts tribute and reinvention.

The show’s opening at the Imperial Theatre marks a curious milestone in Broadway history. Here’s a television series about making a Broadway show that’s become… well, a Broadway show about making a Broadway show. (If that sounds confusing, don’t worry—it sort of is.)

Under Susan Stroman’s direction (she’s got five Tony Awards, in case anyone’s counting), this 2025 adaptation strips away the TV show’s soapier elements. Gone are the romantic subplots and backstage drama that characterized the NBC series. What remains is laser-focused on the creation of “Bombshell”—a musical chronicling Marilyn Monroe’s tumultuous life and career.

Tony nominee Robyn Hurder steps into the spotlight as Ivy, delivering a performance that’s simultaneously mesmerizing and unsettling. Her Method-driven descent into Monroe’s psyche becomes the production’s gravitational center, though whether that’s a good thing depends entirely on whom you ask.

The creative team—Marc Shaiman and Scott Wittman handling music, Bob Martin and Rick Elice tackling the book—walks a precarious tightrope between nostalgia and innovation. Sure, beloved songs from the TV series make appearances, but they’re woven through with fresh material that’s sparked heated debates among theater critics. Robert Hofler of The Wrap wasn’t exactly subtle when questioning whether a show could survive “stopping” quite so many times before, y’know, actually stopping.

Perhaps the production’s most controversial aspect is its surprisingly cynical take on Monroe herself. Rather than the usual tragic-goddess treatment, we’re presented with what Deadline’s Greg Evans describes as “an inconsiderate, amphetamine guzzling faux-intellectual.” It’s a bold choice that’s left audiences either applauding the fresh perspective or clutching their pearls in horror.

Thank heavens for Brooks Ashmanskas, whose portrayal of the perpetually frazzled director Nigel provides much-needed comic relief. His deadpan delivery of lines like “If I ever see you giving books to an actor again, I will replace you. With an app” lands perfectly in today’s AI-obsessed theater landscape.

The technical elements shine—Beowulf Boritt’s scenic design and Ken Billington’s lighting create a world that’s simultaneously realistic and theatrical. The stellar ensemble, including standouts Krysta Rodriguez, John Behlmann, and the incomparable Kristine Nielsen, keeps the energy crackling through the show’s two-and-a-half-hour runtime.

Yet there’s something oddly appropriate about the mixed reactions this show’s receiving. Time Out New York’s Adam Feldman hits the nail on the head: the production seems to embrace its own messiness, wearing its imperfections like a badge of honor. For die-hard fans of the original series, this meta-awareness might just be the perfect tribute.

Look, “Smash” isn’t perfect—but maybe that’s exactly the point. In an era where Broadway increasingly relies on jukebox musicals and movie adaptations, here’s a show that dares to examine the messy, complicated, often absurd process of creating theater itself. It’s neither triumph nor trainwreck, but something far more interesting: a mirror reflecting both the dazzling allure and chaotic reality of show business.

And really, what could be more Broadway than that?

Six years is a lifetime in the music industry. Yet somehow, Justin Vernon’s return with Bon Iver feels right on time. SABLE, fABLE landed in early 2025 like a letter from an old friend — one who’s been through the darkness and emerged, somewhat surprisingly, into the light.

This isn’t just another indie folk record. It’s a double-sided confession that plays out like a therapy session set to music.

The album’s first act — SABLE — plunges straight into familiar Vernon territory. Three tracks of brooding introspection that could’ve been recorded in that famous Wisconsin cabin (though they weren’t). “I would like the feeling gone, ’cause I don’t like the way it’s looking,” he murmurs in that distinctive baritone, and longtime fans might settle in for another beautiful bummer of a record.

But then something unexpected happens.

The album’s second act — fABLE — explodes into technicolor. It’s as if Vernon kicked down the cabin door and walked straight into sunshine. Nine tracks of… dare we say it… joy? From a guy whose brand was practically built on beautiful misery?

Take “Everything Is Peaceful Love” — a country-soul hybrid that sounds like it could’ve been pulled from some alternate-universe version of 1985 where Vernon fronted Tears for Fears. “Damn, if I’m not climbing up a tree right now,” he sings, and you can practically hear the smile in his voice.

The production values are predictably stellar. Vernon’s evolution from solitary songwriter to master collaborator is on full display here. R&B innovator Dijon adds subtle texture to several tracks. Guitar wizard Jenn Wasner weaves golden threads throughout the album’s tapestry. Even Jacob Collier shows up to sprinkle some of his harmonic fairy dust across the proceedings.

But perhaps the most poetic contribution comes from Danielle Haim, who — in a twist of fate that seems almost too perfect — ended up recording her parts during an unexpected snowstorm that trapped her at Vernon’s Wisconsin studio. Some things just come full circle.

What’s truly revolutionary about SABLE, fABLE isn’t its sound (though that’s remarkable enough). It’s Vernon’s newfound emotional directness. Gone are the layers of vocoder, the cryptic wordplay, the sonic obscurity that marked earlier releases. In their place? Raw honesty that hits harder than any amount of studio wizardry ever could.

The album’s structure tells its own story. From the depths of that trademark baritone to soaring falsetto celebrations, it charts a course from despair to… something else. Something brighter. “I’m a sable/And honey, us the fable,” Vernon declares on “Awards Season,” bridging the gap between the record’s dual personalities.

In an age where authenticity often feels like just another marketing strategy, SABLE, fABLE stands as something rare: a genuine transformation captured in real-time. It’s the sound of an artist finally ready to step out of his own shadow — and maybe even dance a little in the sunlight.

Who knew that Justin Vernon’s most radical act would be allowing himself to be happy?

In a delightful twist of superhero-sized irony, rising star Isabela Merced just learned that even Superman’s iconic “S” comes with its own secret identity protocols. The actress, recently cast as Hawkgirl in James Gunn’s hotly anticipated Superman reboot, accidentally sparked what could’ve been 2025’s first major superhero scandal — though “Logo-gate” might be pushing it a bit far.

Picture this: There’s Merced, fresh off landing one of the most coveted roles in Hollywood, sitting down for what should’ve been a routine table read. Like any excited newcomer to the superhero pantheon (and let’s be honest, who wouldn’t be?), she spotted her name next to “Hawkgirl” and did what any digital native would do — straight to the Instagram Stories it went.

What followed could’ve been a scene straight out of a sitcom. Four frantic phone calls interrupted what was supposed to be Merced’s movie night, as studio executives scrambled to contain what turned out to be an accidental reveal of the new Superman logo. “I was drawing that [S] since middle school,” Merced later admitted to Entertainment Weekly, perfectly capturing that surreal moment when childhood doodles collide with multi-million dollar franchise secrets.

The logo stayed online for roughly an hour — a lifetime in social media years — before being yanked down faster than a speeding bullet. Surprisingly, Warner Bros. took the whole thing in stride. Perhaps they recognized what fans have known for years: genuine enthusiasm beats carefully orchestrated PR any day of the week.

Speaking of enthusiasm, Merced’s take on the physical demands of superhero work offers a refreshingly honest peek behind the cape, so to speak. After a less-than-stellar experience with “Madame Web’s” super-suit struggles, she’s found unexpected camaraderie in Superman’s Cleveland-based production. There’s something wonderfully human about the image of spandex-clad superheroes taking turns fanning each other between takes in the summer heat.

“Every scene I’m flying, pretty much,” Merced shared, with the kind of excitement that suggests she’s found her sweet spot in the superhero genre. For an admitted adrenaline junkie who “likes being dropped from really high heights,” Hawkgirl’s aerial acrobatics seem like a perfect fit.

The film’s impressive ensemble — including Rachel Brosnahan, Nicholas Hoult, and Nathan Fillion — suggests DC Studios isn’t just rebooting Superman; they’re building an entire world around him. Merced’s Hawkgirl joins Fillion’s Guy Gardner and Edi Gathegi’s Mister Terrific in what’s shaping up to be a fresh take on the DC universe under Gunn’s creative vision.

Come July 11th, Superman will soar into theaters with his logo properly unveiled this time — though somehow, Merced’s accidental reveal feels like exactly the kind of charming mishap that makes these massive productions feel a little more down to earth. After all, in an era where every superhero detail is locked down tighter than Fort Knox, there’s something refreshingly real about an actor getting so excited about their role that they temporarily forget about studio secrets.

Sometimes the best marketing isn’t marketing at all — it’s just genuine enthusiasm breaking free from the carefully controlled confines of modern blockbuster filmmaking. And really, isn’t that what Superman’s all about?