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Hollywood’s latest scheduling shuffle has raised more than a few perfectly groomed eyebrows. The Michael Jackson biopic “Michael” — that glittering jewel in Lionsgate’s crown — is taking yet another spin around the release calendar, landing with a theatrical flourish on April 24, 2026.

Third time’s the charm? Perhaps. But this latest pirouette speaks volumes about what’s really brewing behind those polished studio doors.

The Graham King production, directed by Antoine Fuqua and featuring Jackson’s nephew Jaafar in an inspired bit of casting, isn’t just another paint-by-numbers musical biopic. With a current runtime that would make Lawrence of Arabia blush — we’re talking three and a half hours of moonwalking magnificence — “Michael” is clearly aiming for epic status. The studio’s choice of a pre-summer release slot practically screams “awards contender,” bringing to mind King’s previous chart-topper “Bohemian Rhapsody,” which strutted away with both Oscar gold and a cool $910 million worldwide.

But darlings, let’s cut to the sequined chase. This delay from the original April 2025 premiere isn’t just about perfecting those iconic dance moves. Word from the cutting room suggests there’s some delicate choreography happening around certain controversial elements — particularly regarding Jordan Chandler and that $20 million settlement from ’94. The Jackson estate has made their position crystal clear: that particular chapter needs to vanish faster than a magician’s assistant.

The casting of Jaafar Jackson feels almost too perfect — like finding a vintage Thriller jacket at a thrift store. Add three-time Oscar nominee John Logan’s screenplay to the mix, and you’ve got yourself a creative cocktail that could either soar like “Man in the Mirror” or crash like, well, let’s not go there.

Speaking of timing, “Michael” has carved out quite the cozy spot for itself. Nestled between New Line’s mummy makeover and Liam Neeson’s latest (“4 Kids Walk Into a Bank” — sounds like the setup to a joke, doesn’t it?), with “The Devil Wears Prada 2” and Warner’s “Animal Friends” bringing up the rear in May. Talk about threading the needle.

The distribution strategy reads like a love letter to global audiences. Universal’s handling the international heavy lifting, while Kino Films takes charge in Japan — where MJ’s star power never needed a comeback tour.

Let’s be real: this isn’t just another trip down memory lane with a beloved musician. It’s Hollywood attempting its most ambitious moonwalk yet — trying to capture lightning in a bottle while tip-toeing through a minefield of controversies. Will audiences embrace this complex portrait of pop royalty? We’ll find out in 2026 — assuming this release date actually sticks.

Universal Music’s Latest Power Play Hits a Sour Note with EU Regulators

The music industry’s biggest player is facing some unexpected feedback from European regulators. Universal Music Group’s ambitious $775 million bid to acquire Downtown Music has struck a discordant chord with the European Commission, prompting a deeper dive into potential market implications.

Think of it as the corporate equivalent of a superstar trying to add another platinum record to their collection — except this time, the critics aren’t having it. The EU’s announcement Tuesday of an in-depth investigation speaks volumes about growing concerns over market concentration in the digital age.

Downtown Music isn’t just another indie label — it’s a sophisticated operation with extensive publishing reach and a finely-tuned royalty collection system. Universal’s interest makes perfect sense; who wouldn’t want those capabilities in their arsenal? But therein lies the rub. The EU’s primary concern centers on something that might seem rather mundane but carries massive implications: data access.

Here’s where things get interesting. The European Commission worries that Universal — already the industry’s heavyweight champion — could potentially peek behind the curtain at competitor data. It’s a bit like giving the house dealer a pair of X-ray glasses at the poker table. Not exactly sporting, right?

The timing couldn’t be more crucial as we head into 2025, with streaming platforms reshaping how we consume music and artists increasingly seeking fair compensation. This investigation, set to wrap up by November 26, could set precedents that echo through the industry for years to come.

Meanwhile, in an almost poetic contrast to this corporate chess match, there’s a fascinating development in the automotive world. BOTB, a prize draw company, is democratizing luxury in its own way — offering chances at a £100,000 automotive dream package for loose change. For 22 pence (less than the cost of most streaming tracks), contestants could drive away in both a muscular BMW M5 and a sleek Porsche Cayman.

The juxtaposition feels almost symbolic. While industry titans wage battles over market share and data control, innovative companies are finding ways to make premium experiences accessible to anyone with spare change and optimism.

As the music industry holds its breath for the Commission’s verdict, the stakes couldn’t be higher. This isn’t just about Universal and Downtown Music anymore — it’s about setting the tempo for how big players can move in an increasingly digital marketplace. Whether this particular symphony ends in harmony or discord remains to be seen, but one thing’s certain: the audience will be watching closely.

The entertainment industry’s landscape keeps shifting beneath our feet, and this week’s developments feel particularly seismic. From corporate power plays to nostalgic torch-passing moments, three major stories are reshaping how we’ll experience music and gaming in 2025 and beyond.

Let’s talk about the elephant in the room: Universal Music Group’s ambitious $775 million reach for Downtown Music Holdings. The European Commission isn’t exactly rolling out the welcome mat — they’ve launched a deep-dive investigation that’s got industry veterans holding their breath. When the world’s largest music company tries to swallow one of the biggest independent service providers, somebody’s bound to raise an eyebrow.

Valdis Dombrovskis, the commission’s straight-talking commissioner, didn’t sugarcoat it. “UMG would be buying up a major service provider for their competitors,” he explained, though perhaps not in those exact words. The investigation’s ticking clock runs until November 26, and the stakes couldn’t be higher for independent artists and labels.

IMPALA — representing roughly 6,000 indie music companies — didn’t exactly send flowers. Their message? Sometimes big just gets too big. They’re pushing for regulators to slam the brakes on this deal entirely, and honestly, who can blame them? The indie music scene’s already feeling squeezed in the streaming age.

Meanwhile, over in gaming land, Nintendo’s stirring up its own kind of revolution — albeit with more mushrooms and less corporate intrigue. The Mario franchise is getting a voice makeover, and it’s not just about Kevin Afghani stepping into Charles Martinet’s well-worn shoes. The addition of fresh talent like Courtney Lin as Princess Peach and Jenny Kidd voicing young Pauline suggests Nintendo’s thinking bigger about their character representation.

But perhaps the week’s most magical moment happened under the lights at MetLife Stadium. Picture this: Zach Bryan, the country music world’s newest rebel, sharing the stage with Bruce Springsteen — talk about a generational handshake. Their rendition of “Atlantic City,” with Kings of Leon’s Caleb Followill along for the ride, wasn’t just a performance; it was a snapshot of music’s past and future finding common ground.

These stories might seem disconnected at first glance. But look closer, and you’ll see they’re all chapters in the same book — one about how entertainment evolves while trying to keep its soul intact. The UMG-Downtown investigation especially hits home as streaming platforms continue reshaping how we consume music. Downtown’s role in handling sensitive data from third-party labels makes this more than just another corporate merger story.

Nintendo’s careful casting choices show there’s an art to evolution — you can’t just flip a switch and expect magic. Their approach feels less like a reboot and more like a thoughtful passing of the torch, preserving what fans love while making room for something new.

As we wade deeper into 2025, these changes remind us that entertainment’s always been about balance: between commerce and creativity, tradition and innovation, the familiar and the fresh. The trick isn’t just managing change — it’s making sure we don’t lose the spark that made us fall in love with these art forms in the first place.

Romance blooms eternal in Ibiza, where the Mediterranean’s azure waters recently played host to pop star Camila Cabello and fashion heir Henry Junior Chalhoub’s latest chapter in their whirlwind romance. The couple — who’ve been quietly stealing hearts since late 2024 — turned the Spanish paradise into their personal love story backdrop, much to the delight (and perhaps mild envy) of nearby beachgoers.

Cabello, fresh off her chart-topping collaboration with Bad Bunny, rocked a understated black bikini that spoke volumes about the current “quiet luxury” trend sweeping through 2025. Meanwhile, Chalhoub — whose family’s fashion distribution empire could probably dress every A-lister from Dubai to Doha — seemed perfectly content playing the role of besotted boyfriend rather than billion-dollar heir.

Their love story reads like a modern fairy tale with a dash of haute couture thrown in for good measure. Picture this: boy meets girl at an Elie Saab afterparty in Saudi Arabia (because where else do fashion royalty and pop princesses cross paths these days?). What followed has been a jet-setting romance that’s made even the most cynical social media scrollers pause and smile.

Between passionate kisses on a seaweed-decorated dock and playful splashes in the crystalline waters, the couple’s chemistry was undeniable. Though honestly, who wouldn’t look madly in love against Ibiza’s picture-perfect backdrop? The island’s been quite the celebrity magnet lately — Kate Hudson was spotted paddleboarding nearby just last week, and Dakota Johnson’s been making waves with her own Mediterranean adventures.

The relationship marks quite a departure from Cabello’s previous headline-grabbing romance with Shawn Mendes. That particular pop power couple kept fans guessing through their 2021 split and brief 2023 reunion. Speaking candidly on Call Her Daddy, Cabello shared some refreshingly honest thoughts about their final chapter: “It took us both less time to realize — hey, maybe we’re better as friends who occasionally share Grammy nominations.”

These days, Cabello and Chalhoub seem to be writing their own rules about mixing business with pleasure. Their coordinated appearances at fashion weeks and luxury events suggest this isn’t just another summer fling destined for the celebrity relationship graveyard. Though let’s be real — with his family’s estimated $1.7 billion fortune and her growing empire, their date nights probably make most people’s annual vacations look like casual coffee runs.

As summer 2025 unfolds, this power couple continues turning heads from Ibiza to Saint-Tropez. Between Cabello’s upcoming world tour and Chalhoub’s family business expansion into sustainable luxury markets, they’re proving that sometimes the best relationships happen when you’re not trying to make pop music magic — just actual magic.

Remember the wild west of early 2000s Hollywood? Vanderpump Rules star Scheana Shay certainly does, and her new memoir “My Good Side” serves up a deliciously unfiltered peek behind the velvet rope of celebrity dating culture that defined the era.

Gone are the days when chance encounters at exclusive clubs could lead to spontaneous star-studded adventures. Shay’s revelations read like a time capsule from that golden age — back when Hollywood nights meant anything could happen, and often did.

The reality star’s dating history spans an impressive roster of early-aughts heartthrobs. There’s the much-discussed John Mayer situation (which he, rather predictably, claims not to remember). Then there’s Jesse Metcalfe of Desperate Housewives fame — “still a dreamboat,” as Shay puts it, though their relationship apparently burned too hot, too fast for their twenty-something selves to handle.

But wait — there’s more. Much more.

The memoir drops some seriously juicy bombshells, including hookups with Shemar Moore (spotted across a crowded Super Bowl party), Shane West, and — in perhaps the most perfectly Y2K detail imaginable — NSYNC’s JC Chasez. She even hints at encounters with “two actors from The Notebook,” a tidbit that’s bound to keep social media sleuths busy for months.

“Social media has completely changed the life of celebrity,” Shay muses in one particularly nostalgic passage. She paints a vivid picture of those pre-Instagram days: “Any night you could be at a club and like, ‘Oh, I’m at Leonardo DiCaprio’s table.’ And then Cuba Gooding Jr. walks up. Now Justin Timberlake’s here — and I’m just the girl at the table. What is life?”

The list doesn’t stop at actors, either. Shay’s romantic adventures extended into the world of professional sports, with unnamed players from the NFL, NBA, and MLB making appearances in her dating highlight reel. It’s enough to make one wonder how she managed it all — a sentiment she addresses with refreshing candor: “I don’t know how I did it in my early 20s — people don’t believe me!”

Now 40 and married to Brock Davies (though that relationship has weathered its own storms, including his admitted infidelity during her pregnancy), Shay reflects on her celebrity-dating phase with a mix of nostalgia and wisdom. The experience eventually led her to seek something different — “someone who’s under the radar,” as she describes it, free from the complications of fame.

Perhaps what’s most fascinating about Shay’s revelations isn’t just the who’s who of early 2000s Hollywood, but how they illuminate a bygone era of celebrity culture. In today’s world of carefully curated social media presence and publicist-approved interactions, her tales of organic star encounters feel almost mythical — relics from a more spontaneous time when fame felt both more accessible and somehow more magical.

The memoir stands as both confession and cultural artifact, reminding us that sometimes the best stories are the ones that seem almost too wild to be true. Then again, that was Hollywood in the early 2000s — a time when reality often outpaced fiction, and a girl from the Valley could find herself living out the plot of an unscripted romantic comedy, one celebrity encounter at a time.

NBC’s latest programming gambit might just be the shot of adrenaline their comedy lineup desperately needs. The network’s newest addition, “Stumble,” isn’t just another sitcom—it’s a sequin-studded celebration of second chances wrapped in a cheerleading comedy that practically screams “must-see TV.”

Let’s talk casting, darlings. The phenomenal Jenn Lyon (you remember her scene-stealing work in “Claws”) takes center stage as Coach Courteney Potter. She’s on a mission to snag her 15th championship with a ragtag junior college squad while—naturally—changing lives along the way. Because heaven knows television needs another reminder that sometimes the best pep talks happen in polyester uniforms.

The casting gods have truly outdone themselves this time. Broadway’s pocket rocket Kristin Chenoweth (seriously, where does she store all that talent in that tiny frame?) has signed on for a recurring role. She’s joining forces with SNL alum Taran Killam, the ever-reliable Ryan Pinkston, and a fresh crop of faces who’ll probably be plastered across Teen Vogue by mid-2025.

NBC’s playing schedule tetris with “Stumble” and its equally intriguing freshman series “The Fall and Rise of Reggie Dinkins”—which, by the way, pairs Tracy Morgan and Daniel Radcliffe in what might be the most deliciously bizarre coupling since pineapple on pizza. Both shows are eyeing those coveted Monday and Friday night slots that opened up faster than a designer sample sale.

Speaking of openings—the network’s been wielding its cancellation axe with all the subtlety of a Real Housewife at a wine tasting. “Night Court” and “Lopez vs. Lopez” got the boot, making way for fresh blood in the 2025-26 lineup. At least “St. Denis Medical” and “Happy’s Place” made the cut, already warming up their respective timeslots like seasoned pros at dress rehearsal.

Behind the scenes, “Stumble” comes with some serious creative firepower. The Astrof siblings—Jeff (the mastermind behind “Shining Vale” and that criminally underappreciated gem “Trial & Error”) and Liz (who gave us “Pivoting” and the snark-fest “2 Broke Girls”)—are calling the shots. Their combined DNA practically guarantees something special… or at least something that’ll have us talking around the virtual water cooler.

The network’s clearly gunning for that sweet spot between heartwarming and hilarious—a space where underdogs reign supreme and every crisis can be solved with a well-timed spirit finger. In today’s peak TV landscape, where darkness and dystopia seem to rule supreme, maybe what we really need is a show that believes in the power of a perfect pyramid formation and the occasional jazz hands.

Now that’s something worth cheering about.

Hold onto your designer seats, darlings — Starz just dropped the kind of bombshell that makes even jaded entertainment veterans sit up straight. The network’s latest power move? Greenlighting “Power: Origins,” an 18-episode deep dive into the backstory of Ghost and Tommy that’s got everyone from Twitter critics to industry insiders buzzing like a champagne rush.

Let’s dish about what this really means. In an era where streaming services are tightening their belts faster than a post-holiday cleanse, Starz is going all-in with their most ambitious Power project yet. An 18-episode order? In 2025? That’s not just confidence — that’s swagger.

The announcement marks the fourth spinoff in this empire (because apparently, three wasn’t enough, sweeties). But this one? This one’s different. We’re talking origin story territory — the kind of narrative gold that had fans theorizing in group chats since Ghost and Tommy first sizzled onto screens back in ’14.

MeKai Curtis is already confirmed to reprise his role as Kanan Stark, bringing that delicious energy we’ve come to expect from “Raising Kanan.” But here’s the tea everyone’s really dying to sip: who’ll step into those iconic shoes as young Ghost and Tommy? The casting announcement’s being kept under wraps tighter than a Met Gala secret.

“Our fans have been asking for Ghost and Tommy’s origins story since we first met them in Power,” says Kathryn Busby, Starz’s president of original programming. Honey, that’s the understatement of the decade. The fandom’s been practically foaming at the mouth for this particular piece of the puzzle.

Behind the scenes, it’s a reunion of Power’s finest. Courtney A. Kemp’s back as EP through End of Episode (because obviously), while Curtis “50 Cent” Jackson continues his producing reign via G-Unit Film and Television. Add Mark Canton, Chris Selak, and Pete Chatmon to the mix, and you’ve got enough creative firepower to light up Manhattan.

The timing? *chef’s kiss* With “Force” wrapping its final season this fall and “Raising Kanan” having just bid its fabulous farewell, “Origins” slides into the spotlight like a perfectly timed entrance at the Oscars. And darling, in the current landscape of peak TV where shows are getting axed faster than last season’s trends, that’s no small feat.

This isn’t just another spinoff — it’s the foundation story, the genesis of an empire that would eventually dominate New York’s underworld. With 18 episodes to play with, there’s room for the kind of rich character development that made us fall head over Louboutins for these characters in the first place.

In a world where streaming services are churning out content faster than fashion houses during Paris Fashion Week, “Origins” promises something different — a “fun, rambunctious exploration” of legendary characters’ rise to power. And if there’s one thing we’ve learned from a decade of Power stories, it’s that when this creative team promises fireworks, they deliver a whole Fourth of July spectacular.

Sometimes magic happens when musical worlds collide. On a warm July evening at MetLife Stadium, that’s exactly what unfolded when Bruce Springsteen — Jersey’s favorite son — stepped onto the stage alongside country music’s maverick Zach Bryan.

The moment wasn’t just special; it was downright historic. Bryan had already broken records as the first country artist to play three straight nights at MetLife, but Springsteen’s appearance transformed the evening into something else entirely. There they stood: the 75-year-old rock poet and the 29-year-old genre-bending storyteller, bridging decades of American musical tradition.

The crowd erupted when the opening notes of “Atlantic City” filled the stadium. Kings of Leon’s Caleb Followill rounded out the unlikely trio, creating one of those rare concert moments that’ll be talked about for years to come. The familiar “Bruuuucee!” chants echoed through the Jersey night — some things never change, thank goodness.

Bryan, whose whiskey-rough vocals and narrative songwriting have earned him a reputation as something of a spiritual successor to Springsteen, couldn’t hide his reverence. “Proud to call him my hero, one of the greatest songwriters to ever live,” he told the crowd, his voice catching slightly with emotion.

Their collaboration didn’t stop there. During the encore, Springsteen’s distinctive guitar work added new layers to Bryan’s “Revival,” building on a creative partnership that’s been steadily growing. The two had shared stages in Brooklyn and Philly last year, and their recent work together on “Sandpaper” — a standout track from Bryan’s 2024 album “The Great American Bar Scene” — shows just how naturally their artistic sensibilities align.

What makes this partnership particularly fascinating is its timing. Springsteen, fresh off releasing his mammoth “Tracks II: The Lost Albums” (83 unreleased songs spanning everything from mystic rock to ranchera), keeps proving that creativity doesn’t come with an expiration date. Meanwhile, Bryan’s meteoric rise has shown that authentic storytelling still resonates in an age of algorithm-driven hits.

The sight of these two generations of songwriters trading verses on “Atlantic City” felt almost symbolic. Here was Springsteen, whose gritty tales of working-class life helped define American rock, sharing the spotlight with Bryan, who’s carved his own path by refusing to fit neatly into any genre box. Add Followill’s distinctive vocals to the mix, and you’ve got yourself a proper American music summit.

Looking ahead to 2025’s rapidly evolving music landscape, where AI-generated tracks and virtual concerts are becoming commonplace, this raw, human moment at MetLife feels even more precious. It wasn’t about passing torches — it was about sharing them, about proving that genuine artistry transcends generations and genres alike.

Some concerts are just concerts. Others become touchstones, reminding us why live music matters in the first place. This was definitely one of the latter.

Something peculiar is happening to summer music in 2025. For the first time in recent memory, there’s no singular anthem dominating the season — no “Barbie Girl” moment, no “Despacito” taking over every beach party from Miami to Malibu. Instead, we’re witnessing a fascinating fracturing of the musical landscape, where multiple genres and artists are carving out their own significant cultural territories.

Take Addison Rae’s surprisingly compelling “Headphones On.” Who’d have thought a former TikTok dance sensation would deliver such a sharp commentary on corporate burnout? Her deliberately flat vocals — what some critics have dubbed “lobotomy-chic” — eerily channel late-90s Madonna, while speaking directly to a generation that’s mastered the art of zoning out during endless Zoom meetings.

The Brits, meanwhile, are doing their own thing entirely. MK’s “Dior” has absolutely crushed it across the pond, proving that dance music still rules supreme in UK clubs. Marc Kinchen’s production is honestly genius here — there’s this moment where everything drops away except Chrystal’s vocals, and then… well, you’ve got to hear it to believe it.

But let’s talk about forty winks for a second. Their track “commie bf” shouldn’t work on paper — it’s basically a punk explosion wrapped in a pop sensibility with a dash of political commentary. Yet somehow it’s become the alternative scene’s unofficial summer anthem. Maybe it’s the way it manages to be simultaneously ridiculous and dead serious? (Side note: Their lead singer’s recent Twitter spat with Elon Musk probably didn’t hurt the publicity.)

Then there’s sombr — or Shane Boose, if you’re not up on your Gen Z musicians. The kid’s barely old enough to vote, but “We Never Dated” has been camping out at the top of Spotify’s global charts since May. It’s fascinating to see how his raw, guitar-driven sound is connecting with a generation that supposedly only cared about hyper-processed beats.

K-pop’s evolution continues to surprise, too. Katseye’s “Gnarly” feels like a deliberate throwback to 2010s pop while somehow pushing the envelope forward. The way they’re playing with English slang is clever — though their pronunciation of “yeet” in the bridge has sparked some pretty heated TikTok debates.

Haim’s latest offering, “Relationships,” captures something else entirely — that weird mix of anxiety and ennui that seems to define summer 2025. Between the AI job replacements and those bizarre new social media implants everyone’s talking about, their lyrics about “digital disconnect” hit differently now.

Perhaps the absence of a defining summer hit isn’t really an absence at all. Maybe it’s just the natural evolution of how we consume music in an increasingly fragmented cultural landscape. After all, when was the last time everyone actually agreed on anything?

The summer of ’25 might not have given us that one massive hit to blast at every barbecue, but it’s offered something potentially more valuable: a soundtrack as diverse and complicated as the times we’re living in. And honestly? That feels pretty perfect for right now.

Talk about a full-circle moment that hits different. Christina Aguilera — the vocal powerhouse who helped turn 2010’s “Burlesque” into something of a glitter-bombed cult classic — just gave the theatrical adaptation her enthusiastic seal of approval. And let’s be real: when Xtina speaks about anything involving power vocals and sequins, people listen.

The Grammy winner’s recent pit stop at London’s Savoy Theatre wasn’t just another celebrity photo op. Aguilera, now 44 and still serving those signature pipes, practically burst through Instagram with an enthusiasm that felt refreshingly unfiltered. “BLOWN AWAY!!” she declared, and honestly? The footage of her weaving through starstruck theater crowds said even more than the caps lock.

But here’s where things get interesting. This isn’t just your standard copy-and-paste job from screen to stage. The creative team’s taken some bold swings — and they’re connecting. Gone are the sun-drenched LA vibes; instead, we’re dropped into the gritty, electric chaos of New York City (which, let’s face it, feels more spiritually aligned with burlesque anyway). They’ve even woven in a mother-daughter storyline that adds some unexpected emotional weight to all that rhinestone-encrusted spectacle.

The show’s kept its greatest hits — because why mess with perfection? “Show Me How You Burlesque,” “Welcome to Burlesque,” and that Sia-touched gem “Bound to You” are all present and accounted for. But perhaps the most eyebrow-raising choice is having YouTube sensation Todrick Hall wearing approximately seventeen different hats: director, choreographer, and stepping into Stanley Tucci’s beloved role as Sean. It’s the kind of ambitious juggling act that could’ve gone sideways fast, but apparently, Hall’s making it work.

Speaking of casting — they’ve managed to thread that tricky needle between honoring the original and carving out something fresh. Jess Folley (remember her from The Voice Kids UK?) is taking on Ali, while Tony nominee Orfeh’s tackling the Cher role. And really, who else but a Tony nominee would dare step into those particular stilettos?

What’s particularly telling is Aguilera’s involvement behind the scenes. She’s not just showing up for the applause — she’s got skin in the game as executive producer, working alongside original director Steven Antin and a crew of industry veterans. In an era where every other day brings another cynical cash-grab reboot (looking at you, 2025’s streaming lineup), this feels… different. More intentional.

There’s something almost radical about how unapologetically earnest this whole production is. At a time when everything’s wrapped in seven layers of irony, here’s a show that’s like, “Yeah, we’re doing high kicks and belting our faces off — what about it?” And maybe that’s exactly what we need right now.