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Fall 2025’s entertainment calendar is shaping up to be deliciously overstuffed, darlings — and what a spectacular collision of high art and pop culture we’re witnessing. Between Lady Gaga’s jaw-dropping VMA nominations sweep and the New York Film Festival’s absolutely sumptuous lineup, autumn’s looking positively golden.

Let’s dish about Gaga first, shall we? Mother Monster’s nabbed an astounding 12 VMA nominations — her third time commanding the leader board, and honestly, who’s even surprised anymore? The woman’s visual artistry continues to leave jaws on the floor, even as we’re all still recovering from her holographic Super Bowl performance last February.

Hot on her stilettoed heels, Bruno Mars snagged 11 nods, while Kendrick Lamar’s 10 nominations have set the stage for what’s bound to be the most deliciously competitive VMAs in recent memory. The addition of Best Country and Best Pop Artist categories feels particularly timely, especially given the genre-bending explosion we’ve witnessed since streaming platforms ditched traditional categorization last year.

Speaking of categories — this year’s Artist of the Year lineup reads like a fever dream of contemporary music royalty. Bad Bunny, Beyoncé, Kendrick, Gaga, Morgan Wallen, Taylor Swift, and The Weeknd? Darling, the UBS Arena might just spontaneously combust from the sheer star wattage on September 7.

But let’s pivot to the more… shall we say, refined end of the spectrum? The New York Film Festival’s 63rd edition is serving up the kind of programming that makes cinephiles weak in the knees. NYFF Artistic Director Dennis Lim isn’t mincing words about the state of cinema: “Anyone who cares about film knows that it is an art in need of defending, like many of our core values today.” Truer words, Dennis. Truer words.

The festival’s main slate — 34 films from 26 countries — reads like a love letter to contemporary cinema. Claire Denis returns with “Desert Star,” which promises to be every bit as psychologically gripping as her previous work. Park Chan-wook’s “No Other Choice” looks set to deliver his signature cocktail of violence and social commentary, though perhaps with a dash more political bite than usual.

Noah Baumbach’s “Jay Kelly” feels almost meta in its casting of George Clooney as the last great movie star — particularly poignant given Hollywood’s ongoing identity crisis in the wake of last year’s AI actor rights debacle.

The crown jewel might just be Jafar Panahi’s Palme d’Or winner “It Was Just an Accident.” Created under the shadow of government restrictions, it’s both a masterpiece and a middle finger to censorship. Speaking of which, the festival’s decision to screen it simultaneously in Tehran via VR channels? Absolutely inspired.

Fresh voices are getting their moment too. Mary Bronstein’s “If I Had Legs I’d Kick You” showcases Rose Byrne in her Silver Bear-winning role — and honestly, it’s about time someone gave Byrne material worthy of her range. Bradley Cooper and Kahlil Joseph’s debuts suggest the festival hasn’t lost its talent-spotting touch.

The VMAs’ jump to CBS alongside MTV marks a fascinating shift — remember when MTV was considered too edgy for network television? Meanwhile, NYFF’s expansion across the boroughs feels like a much-needed democratization of high culture. Art for all, darling. It’s about time.

Between Gaga’s pop cultural coronation and NYFF’s carefully curated celebration of cinema, autumn 2025 is shaping up to be a season where visual storytelling reigns supreme. Whether you’re here for the sequins or the subtitles (or both — no judgment), there’s something deliciously satisfying about seeing both ends of the cultural spectrum thriving simultaneously.

After all, isn’t that what entertainment should be? A gorgeous, messy, thought-provoking celebration of creativity in all its forms? Darlings, we’re in for quite a ride.

Leave it to Beyoncé to turn a denim campaign into the music industry’s most talked-about mystery. Her latest Levi’s collaboration, dropping this Thursday, has sparked a wildfire of speculation about what might be the most dramatic transformation of her career — and honestly? The evidence is pretty compelling.

The short film “The Denim Cowboy” feels less like an advertisement and more like a carefully orchestrated preview of something bigger. Much bigger. Split into three chapters (The Ice, The Heat, and The Smoke), it’s that final sequence that’s got everyone talking: Queen Bey trades her signature horse for a motorcycle, swapping out Western wear for a rhinestone-studded denim getup that screams rock star more than rodeo queen.

And here’s where things get really interesting.

The timing couldn’t be more perfect as we head into summer 2025, with Act III of Beyoncé’s ambitious trilogy project looming on the horizon. After revolutionizing dance music with “Renaissance” and making history with “Cowboy Carter” — which, let’s not forget, became the highest-grossing country tour ever — she’s been dropping breadcrumbs about her next evolution.

That subtle “Come on, baby, it’s time to rock” lyric from “Cowboy Carter” hits different now, doesn’t it?

But hold up — Beyoncé’s rock credentials aren’t coming out of nowhere. She’s got serious connections to the genre’s heavyweights. There’s her long-standing relationship with the late Tina Turner, that memorable Prince collaboration, and even a personal thank-you note to Jack White acknowledging his influence. Not to mention her recent Beatles cover on “Cowboy Carter,” where she tipped her hat to Paul McCartney for “writing one of the best songs ever made.”

Some fans are going full detective mode, analyzing every frame of the Levi’s ad for hidden messages. (Texas 53 equals a May 3rd release date? Well… maybe.) What’s undeniable is the visual storytelling at play — that shift from horseback to motorcycle feels too intentional to ignore, especially given how both previous album covers featured Bey astride a horse.

Look, whatever shape Act III takes, it’s bound to be groundbreaking. Remember when “Texas Hold ‘Em” made Beyoncé the first Black woman to top the US country charts? Yeah, imagine that kind of barrier-breaking energy applied to rock music. The industry might never be the same.

As one particularly excited fan put it on Reddit: “OMG she starts on a horse and leaves on a bike!!!!!!!!!!!!!!!!!! act iii here we go” — and while the excessive exclamation points might be a bit much, the enthusiasm? Totally justified.

The Levi’s collection launches Thursday on Levis.com, but let’s be real — for most fans, these clothes are just the opening act of something much more explosive. And if the past is any indication, we’re all in for one hell of a show.

The music industry delivered a double-header of news this week that reads like a tale of two cities — or perhaps more accurately, a tale of two eras. While legendary rockers The Who announced their (latest) farewell tour, Brooklyn’s premier venue operator Avant Gardner stumbled into Chapter 11 bankruptcy. Talk about a stark reminder of just how much the live music landscape has shifted.

Let’s start with The Who — yeah, the same band that first said goodbye to fans way back in ’82. Pete Townshend and Roger Daltrey are giving it one last go (for real this time, they swear) with “The Song Is Over North American Farewell Tour” in 2025. Gotta love the tongue-in-cheek name choice there.

“Well, all good things must come to an end,” Townshend mused during the announcement. There’s something bittersweet about watching these rock titans prep for their final victory lap — especially considering their American journey kicked off in ’67 with, as Townshend fondly recalled, “hippies smoking dope, sitting on their blankets, and listening deeply and intensely.”

The 16-date tour promises to hit the usual suspects — Madison Square Garden, Hollywood Bowl, y’know the drill. Ticket prices start at a surprisingly reasonable $62 for MSG (though don’t expect those to last long once the scalpers get their hands on ’em).

Meanwhile, over in Brooklyn’s typically bustling electronic music scene, things aren’t looking quite so rosy. Avant Gardner’s bankruptcy filing sent shockwaves through the industry, with their crown jewel — the 6,200-capacity Brooklyn Mirage — sitting dark after a renovation project went sideways. Regulatory headaches and spiraling costs pushed the company toward that dreaded $500 million debt ceiling.

The venue operator’s troubles read like a checklist of modern entertainment industry pitfalls. State Liquor Authority scrutiny over reported drug use? Check. Festival mishaps reminiscent of the infamous Fyre disaster? You bet — their Electric Zoo festival’s premature shutdown last year still stings.

But here’s the thing about the music biz — it’s always been about evolution. While The Who can still pack arenas based on decades of cultural impact, newer venues gotta navigate a maze of modern challenges. Changing consumer tastes, byzantine regulations, social media backlash… running a successful venue in 2024 (and beyond) ain’t for the faint of heart.

Still, even amid Chapter 11 proceedings, Avant Gardner’s keeping the beat alive. Their indoor spaces — the Great Hall and Kings Hall — remain open for business. Sometimes you gotta take a step back to move forward, right?

As Daltrey’s words about America being “the land of the possible” echo across these parallel stories, they take on new meaning. For The Who, it meant musical revolution. For Avant Gardner? Well, maybe it’s about finding that sweet spot between ambition and reality in today’s complex entertainment landscape.

One thing’s certain — while The Who gear up to celebrate their 57-year legacy, the business of bringing live music to the masses continues its own evolution. Different tune, same passion. The song might be ending for some, but somewhere, another one’s just beginning.

When Levi’s dropped their latest “Reimagine” campaign featuring Beyoncé, nobody quite expected the perfect storm of denim, country vibes, and pure star power that followed. The fourth chapter, “The Denim Cowboy,” isn’t just another celebrity endorsement — it’s a masterclass in brand reinvention that somehow manages to feel both fresh and wonderfully familiar.

Let’s paint the scene: Queen Bey herself, perched atop a horse, rolls up to a laundromat at precisely 8:53 a.m. (because apparently, even cultural icons need to do their laundry). The 90-second spot cleverly ties together previous campaign chapters — “Launderette,” “Pool Hall,” and “Refrigerator” — while serving up a hefty dose of nostalgia for anyone who remembers those iconic Levi’s ads from the ’80s and ’90s.

The timing couldn’t be more perfect. With Beyoncé’s “Cowboy Carter” tour breaking records as the highest-grossing country tour in Boxscore history, the collaboration feels less like calculated marketing and more like cultural kismet. The accompanying Beyoncé x Levi’s collection — featuring that eye-catching Western Crystal ’90s Shrunken Trucker jacket ($250) and Western Crystal 501 Curve jeans ($150) — practically flew off shelves before hitting them.

Kenny Mitchell, Levi’s global chief marketing officer, frames it all in typical corporate-speak about “leading with intent and confidence.” But there’s something genuinely compelling happening beneath the surface. The campaign’s narrative thread — those jeans Beyoncé wins from Timothy Olyphant in a late-night pool hall showdown becoming the very pair she’s washing later — shows attention to detail that’d make any storyteller proud.

And the numbers? They’re speaking volumes. Three looks from Chapter 2 already rank as European bestsellers, suggesting Levi’s strategy of staying “brand led” while “keeping the brand at the center of culture” isn’t just marketing fluff — it’s actually working. Their renewed focus on women’s offerings seems particularly prescient as we head into 2025’s projected denim boom.

The real magic here lies in how seamlessly everything connects. Each chapter builds on the last, creating a narrative that feels both planned and somehow spontaneous. It’s the kind of campaign that makes other brands wonder why they didn’t think of it first — though few could pull it off with such style.

Looking ahead, Levi’s faces the enviable challenge of topping their own success. Mitchell’s hints about future endeavors involving “music and storytelling” suggest they’re not resting on their laurels, with eyes already set on 2026’s double-header of the Super Bowl at Levi’s Stadium and the World Cup.

For a 170-year-old company, Levi’s sure knows how to keep things interesting. Then again, when you’ve got Beyoncé — an artist who’s practically written the book on reinvention — leading your campaign, perhaps that’s not so surprising after all.

Top seed Alexander Zverev needed every ounce of his trademark resilience — and perhaps a dash of divine intervention — to book his spot in the Toronto semifinals. The German star, who’s been practically living in championship matches this season, weathered a nail-biting three-setter against 18th seed Alexei Popyrin, 6-7 (8), 6-4, 6-3.

Tennis matches often hinge on mere moments, and this one nearly slipped through Zverev’s fingers. After squandering two set points in an opening frame that felt more like a psychological thriller than a tennis match, lesser players might have crumbled. Not Zverev.

The world number three — fresh off his runner-up showing at last month’s Australian Open — switched gears with the precision of a Formula One driver. He stormed to 3-0 leads in both the second and third sets, leaving Popyrin to play catch-up in the sweltering Toronto afternoon.

“Sometimes you’ve just got to laugh off those first-set moments,” Zverev mused afterward, running a hand through his characteristically disheveled hair. “We were both playing solid tennis… just happened to catch a nasty net cord on set point. That’s the sport, right?”

The match statistics tell an intriguing tale. While Popyrin edged the winner count 30-28, his 45 unforced errors proved costly — particularly against Zverev’s more measured approach (30 miscues). In today’s power-baseline era, it’s refreshing to see patience rewarded over pure aggression.

Surprisingly enough, this marks Zverev’s first ATP 1000 semifinal appearance of 2024. Rather odd for someone who’s already claimed the Munich crown and reached finals in Melbourne and Stuttgart. Then again, the season’s still young, and with seven Masters titles already decorating his trophy cabinet (including that remarkable Rome-Paris double last year), who’d bet against him adding number eight?

The late-night quarter between Karen Khachanov and American rising star Alex Michelsen looms next — though Toronto’s notoriously fickle weather might have something to say about that schedule. Meanwhile, Zverev’s finding his groove at precisely the right moment, looking every bit like the player who dominated the latter half of 2023.

For the German ace, it’s all about building momentum toward the sunshine swing and beyond. And if today’s performance is any indication, his opponents might want to stock up on antacids of their own.

In a plot twist worthy of a premium cable drama, MSNBC is staging its own independence day — breaking free from its longtime marriage to NBC News and sashaying into the arms of the freshly-minted Versant media empire. Darling, this isn’t just another corporate reshuffling — it’s the media equivalent of “conscious uncoupling,” and everyone’s choosing sides.

The peacock’s spreading its wings and flying solo, while MSNBC prepares to strut down a different runway under the Versant banner. At the heart of this deliciously complex transition stands Jacob Soboroff, the impossibly earnest 42-year-old correspondent whose decision to go steady with MSNBC has tongues wagging from Rockefeller Center to Sunset Boulevard.

Speaking of star power, the talent shuffle happening behind the scenes would put any Hollywood casting director to shame. Meghan Rafferty — the creative genius who made “NBC Nightly News” must-see TV — is trading her executive producer crown for a vice president throne at Versant’s news standards department. Honey, that’s what we call a power move.

But let’s dish about the elephant in the room: MSNBC’s viewership has taken a nosedive that would make even the most seasoned Olympic diver wince — we’re talking a 33% plunge in pay TV reach over the past decade. Yet somehow, like a perfectly preserved starlet of yesteryear, the network continues to attract A-list talent. Ken Dilanian’s keeping his eagle eye on Justice Department drama, while Vaughn Hillyard’s nabbed the coveted White House correspondent position. Work it, darlings.

Parent company Comcast’s decision to spin off its cable networks into Versant reads like a script we’ve seen before — traditional cable television’s fighting for its close-up in a streaming world. One insider (who’s clearly been reading too many Tennessee Williams plays) called these networks “an albatross weighing down its stock price.” Yet Versant’s throwing money around like a studio exec with something to prove.

Not everyone’s buying a ticket to this particular show, though. Steve Kornacki — MSNBC’s beloved numbers wizard who makes election nights feel like Oscar night — is sticking with NBC News and Sports. Can’t blame a star for knowing where their spotlight shines brightest.

For Soboroff, whose recent coverage of the Palisades fire hit closer to home than any method actor’s preparation (his childhood home literally went up in flames), the choice to go all-in with MSNBC feels perfectly on-brand. His coverage of the 2018 border crisis earned him a Cronkite Award — darling, that’s like an Oscar in news circles — and his upcoming book “Firestorm” promises more of the hard-hitting storytelling that’s become his signature.

This grand NBC-MSNBC divorce isn’t just business — it’s a fascinating peek behind the media curtain, showing us how traditional networks are trying to reinvent themselves faster than a starlet after a box office bomb. Whether this bold move turns out to be a blockbuster hit or straight-to-streaming disaster remains to be seen, but one thing’s certain: in the ever-evolving show business of news, the only constant is change.

Darlings, grab your popcorn because the latest legal drama starring former Representative Devin Nunes and MSNBC’s queen of quips Rachel Maddow just reached its season finale – and honey, it’s deliciously anticlimactic.

Picture it: U.S. District Judge Kevin Castel, serving pure Joan Crawford energy, just dropped the gavel on Nunes’ defamation lawsuit against Maddow with the kind of devastating finality usually reserved for season-ending cliffhangers. The verdict? About as shocking as finding out the Bachelor doesn’t actually find true love – absolutely no one saw this coming (wink, wink).

This particular episode of “Law & Disorder: Political Edition” stems from a 2021 segment where Maddow – serving facts with a side of shade – discussed a mysterious package addressed to Nunes from Ukrainian legislator Andrii Derkach (think supporting character with suspicious backstory). Derkach, darling, isn’t exactly on Hollywood’s A-list – unless you count his alleged starring role in Russian intelligence operations.

The whole affair reads like a rejected plot from “Succession” – Nunes claimed Maddow and MSNBC harbored “institutional hostility, hatred, extreme bias, spite and ill-will” toward him. Honestly, sweetie, that’s not a legal complaint; that’s a pitch for a Ryan Murphy series.

But here’s the tea: Judge Castel served the kind of reality check usually reserved for aging starlets trying to play ingenues. “No reasonable jury could find that NBCU made the statement with constitutionally-defined actual malice,” he declared. Translation? You can’t sue someone just because they read you for filth on national television.

Let’s not forget our leading man Nunes, who traded his congressional close-up for a new role as CEO of Truth Social – a career pivot that’s about as successful as Lindsay Lohan’s singing career (too soon?). This legal fumble adds another flop to his IMDb page of courthouse appearances, proving once again that not everyone’s cut out for litigation literacy.

While Judge Castel initially gave this production the green light in 2022 – noting that Nunes’ team had “plausibly alleged actual malice” – the final cut hit the cutting room floor faster than a Real Housewife’s deleted scene. Turns out “plausible” in legal terms is about as meaningful as a “lifetime guarantee” on a Hollywood marriage.

Meanwhile, Maddow continues to reign supreme in her prime-time slot, delivering political commentary sharper than a Christian Louboutin stiletto. As for Nunes? Well, darling, in the immortal words of Hollywood’s greatest philosophers: don’t call it a comeback – seriously, don’t.

And scene! 💋

Sometimes a festival performance transcends mere entertainment to become a defining moment. That’s exactly what happened when Doechii took command of Lollapalooza’s T-Mobile stage last Saturday, delivering a set that felt less like a routine festival appearance and more like a declaration of artistic arrival.

The 26-year-old rapper’s presence hit different. Between the sweltering August heat and the packed crowd’s electric energy, something special was brewing. Her 50-minute set wove together ’90s hip-hop nostalgia with thoroughly modern swagger — and yeah, she dropped some pretty major news while she was at it.

Working through bangers like “Nissan Altima” and “Anxiety,” Doechii showed exactly why she’s been turning heads lately. “Denial Is a River” hit particularly hard, the bass reverberating across the festival grounds while she switched effortlessly between rapid-fire verses and melodic hooks. But here’s where things got interesting — she brought out JT for their collaboration “Alter Ego,” cheekily referencing her own viral Met Gala umbrella moment from earlier this year.

Just when the crowd thought they’d seen it all, she casually dropped the bomb everyone had been waiting for: “Before we get out of here, I want to make an announcement. I’m gonna be going on tour on Oct. 14. What’s up, y’all? Bye!”

The “Live from the Swamp Tour” announcement (full details dropping Monday) marks a massive step forward for an artist who’s been steadily climbing the ranks. Though honestly? After a performance like that, a headline tour feels less like a surprise and more like an inevitability.

But Doechii’s triumph was just one highlight in a festival that seemed determined to outdo itself. Tyler, the Creator set the bar astronomically high with Thursday’s headline set — that unreleased track he debuted? Still got people talking.

Speaking of making history — TWICE became the first all-female K-pop group to headline Lollapalooza on Aug. 2. That dance break between Momo and Nayeon? Pure fire. Already racking up millions of views across social platforms, and rightfully so.

Between sets, the festival grounds buzzed with those perfectly unscripted moments that make live music special. Chicago’s Mayor Brandon Johnson vibing with T-Pain’s crowd was definitely a mood. And whoever came up with Winnetka Bowling League’s failed-flip routine poking fun at Benson Boone deserves a raise — sometimes the best festival moments happen when artists don’t take themselves too seriously.

As Sunday approaches with A$AP Rocky and Sabrina Carpenter ready to close things out, Doechii’s performance stands as one of those “you had to be there” moments — when an artist doesn’t just meet expectations but completely redefines them. In a festival landscape that sometimes feels oversaturated, she managed to create something genuine, fresh, and utterly unforgettable.

The intersection of grief and technology took an unexpected turn this week, casting a spotlight on how we process loss in an increasingly digital age. Rod Stewart’s latest concert stop in Atlanta veered into surprisingly metaphysical territory, leaving audiences to grapple with an AI-generated tribute that pushed the boundaries of memorial artistry — and perhaps good taste.

The British rocker, ever the showman, projected surreal digital tableaux featuring Ozzy Osbourne (who, it’s worth noting, is very much alive) taking selfies with departed music legends against dreamlike backdrops. Prince was there. So was Amy Winehouse. The whole thing played out to Stewart’s rendition of “Forever Young” — a choice that felt either inspired or slightly tone-deaf, depending on where you stand on digital resurrection.

Meanwhile, as the entertainment world processed this technological meditation on mortality, real loss struck. Loni Anderson, whose sophisticated wit helped reshape television comedy in the 1970s and ’80s, passed away Sunday in Los Angeles. She was 79.

The timing creates an almost uncomfortably stark contrast. While Stewart experiments with artificial immortality, Anderson’s family shared a beautifully human statement about their “dear wife, mother and grandmother.” Their words remind us that behind every cultural icon lies a deeply personal story of love and loss.

Anderson’s portrayal of Jennifer Marlowe on “WKRP in Cincinnati” did more than earn Emmy nominations — it challenged prevailing stereotypes about women in comedy. Her character’s razor-sharp intelligence and administrative mastery frequently outshone her obvious beauty, offering a template for complex female characters that still resonates.

Stewart’s high-tech tribute took an even more peculiar turn when he reportedly mused about substance abuse claiming several of the depicted artists, before adding somewhat awkwardly, “I’m still here, though!” The comment landed like a lead balloon in an already surreal atmosphere.

Perhaps the most telling moment came through Morgan Fairchild’s tribute to Anderson: “The sweetest, most gracious lady! I’m just devastated to hear this.” Sometimes, authentic emotion cuts through the digital noise with surprising clarity.

As entertainment continues its headlong rush into AI-enhanced futures, these parallel stories raise uncomfortable questions about preservation versus resurrection. Will tomorrow’s audiences know their cultural icons through genuine artistic legacy, or through digitally manufactured approximations of what we imagine them to be? Anderson’s own words about memoir writing — “you have to do it warts and all” — feel particularly relevant as technology offers increasingly sanitized versions of reality.

In the end, perhaps the week’s events serve as a reminder that while technology can create fascinating spectacles, it’s the raw humanity of loss and remembrance that truly resonates. No amount of digital wizardry can quite capture the genuine article — or should it even try?

Celebrity SAS: Who Dares Wins has just reminded us why it’s television’s most ruthless reality show — and this time, it didn’t even need a full episode to prove the point. Before most viewers had finished their first cup of tea, both Hannah Spearritt of S Club 7 fame and dance personality Louie Spence had already waved the white flag. Talk about efficient TV.

The show, which puts celebrities through what’s supposedly a “watered-down” version of Special Forces training (though anyone who’s watched it might question just how watered-down it really is), has always had a knack for separating the dreamers from the doers. But this year’s speed record for consecutive departures? That’s something special.

Poor Hannah Spearritt looked about as comfortable as a penguin in the Sahara. She bowed out before the second challenge, muttering something about reaching her limit — which, let’s be honest, is a bit like claiming exhaustion before the starter course at a dinner party. The cherry on top? Her pre-recorded declaration that she “wouldn’t go on the first day” because she “wouldn’t forgive herself.” Well… awkward.

Then there’s Louie Spence. Bless him. After fumbling through a hostage rescue scenario (and really, who hasn’t had one of those days?), he delivered what might be 2024’s most refreshingly honest reality TV moment: “I want to do an immediate withdrawal, I just don’t have the conviction, and I’m not dedicated enough.” When reminded he’d barely started, his “that’s what I mean” response was pure gold — the kind of self-awareness that’s rarer than a peaceful day on Twitter.

Mind you, they’re in good company. The show’s alumni of early exits reads like a Who’s Who of “What Were They Thinking?” John Barrowman lasted about as long as a snowman in summer — two hours, to be precise. Katie Price managed one night back in 2019, though in fairness, that’s longer than some of her marriages.

Georgia Harrison, who actually completed the 2024 series (shocking, right?), described it as “awful, excruciatingly hard, degrading, demoralizing” — and that’s from someone who made it through. She claims to have “almost drowned” during one challenge, which suddenly makes Spearritt and Spence look less like quitters and more like… well, sensible human beings.

The physical toll is enough to make a professional athlete reach for the panic button. Rachel Johnson competed with a broken rib (because apparently, that seemed reasonable), Matt Hancock developed trench foot (yes, in 2023 — some things never change), and various contestants have collected injuries like they’re Pokemon cards. Strictly Come Dancing, by comparison, looks about as challenging as a gentle stroll through the park — though interestingly, Pete Wicks reckons Strictly was tougher. Then again, trauma does funny things to memory.

What’s truly fascinating about Celebrity SAS isn’t just its ability to humble celebrities faster than a viral Twitter takedown — it’s how brilliantly it exposes the gulf between Instagram-ready confidence and actual resilience. It’s dead easy to judge from your sofa, quite another to face a 26-foot plunge into water that feels like liquid nitrogen while some very intense former Special Forces operators question your life choices.

As Spearritt and Spence head home to the comfort of their regular lives, the show continues its march of misery with remaining contestants including Rebecca Loos — who’s facing questions about that alleged Beckham affair (because apparently, military-style training wasn’t stressful enough).

The real question isn’t whether Celebrity SAS is television’s toughest show — that’s about as debatable as whether water is wet. It’s whether we actually need a show this brutal. But as long as we keep tuning in to watch celebrities discover their breaking points (usually somewhere between “immediately” and “day one”), Chief Instructor Billy Billingham and his merry band of tormentors will keep serving up the pain.

After all, nothing says “quality entertainment” quite like watching famous people realize they’re not quite as tough as their social media profiles suggest.