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Move over, Florida Man — Tennessee just served up the kind of story that makes you question reality. For eight surreal days in spring 2025, a zebra named Ed turned the American South into his personal playground, proving that sometimes truth really is stranger than fiction.

The saga kicked off when Ed — whose name sounds like he should be selling discount mattresses rather than staging a wildlife rebellion — decided his new digs in Christiana weren’t quite up to his standards. Within hours of arriving at his new home (located about 40 miles southeast of Nashville), our striped protagonist made his break for freedom.

What followed next could’ve been pulled straight from a Christopher Guest mockumentary. Ed, apparently fancying himself a traffic engineer, decided Interstate 24 would make an excellent catwalk. The sight of a zebra prancing between eastbound and westbound lanes created the sort of chaos that probably had local traffic reporters questioning their career choices.

“He became an international sensation through social media memes throughout the country,” noted the Rutherford County Sheriff’s Office, in what might be the understatement of 2025. Local social media channels exploded with doctored images of Ed living his best life — chowing down at Waffle House, panhandling with a “Will Work for Hay” sign, and (because why not?) developing sophisticated opinions about artisanal donuts.

The whole situation got even more complicated for owners Taylor and Laura Ford. They’d just purchased Ed along with a female companion from Texas breeders, setting up what could’ve been a lovely zebra romance. Instead, while Ed was out there living his main character energy, his potential sweetheart was stuck in a horse stable — a plot twist worthy of a Hallmark movie gone wrong.

Some poor woman (bless her heart) had to process the sight of a zebra casually strolling through her backyard. As she told WKRN-TV, the neighborhood kids went absolutely bonkers. Fair enough — when African wildlife decides to critique your landscaping, it tends to cause a stir.

The pursuit of Ed turned into something between a wildlife documentary and a tech startup pitch. Drones? Check. Helicopter surveillance? You bet. Alfalfa bait stations? Ed apparently found that suggestion insulting. The Texas company that sold him eventually sent in reinforcements, probably realizing this was becoming a bit of a PR situation.

The grand finale came on a Sunday, when Ed’s freedom run came to an end in a subdivision pasture. In a scene that probably looked like a fever dream to suburban Tennessee residents, our striped friend got scooped up in a net and airlifted to a waiting trailer. Someone dubbed him “zebra in a bag” — a fitting final meme for an escapade that had already generated enough social media content to crash a small server.

While impressive, Ed’s eight-day adventure falls short of the record set by those two Maryland zebras who managed to evade capture for four months back in 2021. At this rate, zebra escapes are becoming as American as apple pie. Maybe it’s time for a specialized task force — or at least a support group for exotic pet owners who didn’t realize their animals had studied Houdini.

As Ed settles back into domestic life, his legacy lives on in countless memes, tweets, and local news segments that transformed a simple escape into a cultural moment. In these often-heavy times, sometimes you just need a story about a zebra who looked at the fence and thought, “Nah” — and took an entire community along for the ride.

Hollywood’s luminous constellation dimmed this week with the loss of Pippa Scott, a versatile performer whose remarkable journey through entertainment’s golden age came to a close at 90. Scott — whose grace touched everything from John Ford westerns to groundbreaking television — passed away peacefully in her Santa Monica home on May 22, leaving behind a legacy that stretches far beyond the footlights.

Born into Tinseltown royalty (her father, Allan Scott, penned those delicious Fred Astaire-Ginger Rogers confections like “Top Hat”), Pippa didn’t just ride on family coattails. God, no. After cutting her teeth at London’s Royal Academy of Dramatic Arts — darling, where else? — she burst onto the scene in 1956 with the kind of debut that makes most actors weep into their morning smoothies: a plum role in John Ford’s “The Searchers,” opposite none other than the Duke himself.

Television soon came calling, and honey, did she answer. Scott became the go-to guest star of the small screen’s golden age, popping up in everything from “The Twilight Zone” (back when twist endings actually twisted) to “Perry Mason” (before streaming services started “reimagining” classic shows every other Tuesday).

Her personal life read like a Hollywood script — complete with a second-act plot twist. Marriage to television titan Lee Rich in ’64 ended in divorce by ’83, but here’s where it gets interesting: they reunited in ’96, proving that sometimes the sequel actually is better than the original. They remained together until Rich’s passing in 2012, giving hope to every industry couple currently navigating Splitsville.

But Scott’s most fascinating transformation wasn’t captured on camera. In the ’80s, while most of her contemporaries were chasing face-lifts and farewell tours, she pivoted hard into humanitarian work. The International Monitor Institute — her brainchild — gathered evidence for war crimes prosecution. Not exactly light fare for someone who’d started out in westerns, but then again, Hollywood’s always loved a good redemption arc.

Her production company, Linden Productions, tackled the kind of heavy-hitting documentaries that make network executives reach for their antacids. The culmination? Co-directing 2006’s “King Leopold’s Ghost,” a brutal exposé of colonial exploitation that had more genuine shock value than a dozen Marvel post-credit scenes.

Scott took her final bow in 2013’s “Automotive,” capping a five-decade performing career that would make any modern-day “multi-hyphenate” influencer’s head spin. She leaves behind daughters Jessica and Miranda, five grandchildren, and an industry that could use a few more souls willing to trade spotlight for substance.

In an era where “activism” often means nothing more than a carefully curated Instagram story, Pippa Scott’s evolution from ingénue to advocate feels like a masterclass in using one’s platform for actual change. Her passing doesn’t just close the book on another golden-age chapter — it reminds us that sometimes the most important roles are the ones played off-camera.

The curtain fell on beloved actress Marise Wipani’s remarkable life this Friday — on her 61st birthday, no less. Talk about dramatic timing.

The New Zealand star, whose charm and versatility lit up everything from beauty pageants to prime-time dramas, took her final bow surrounded by loved ones. True to form, her Facebook farewell channeled the theatrical flair she’d become known for, borrowing that deliciously dramatic line from “Driving Miss Daisy”: “I have shuffled off this mortal coil. Good byyye, good luuuck, good God!!!”

Before conquering our screens, Wipani cut her teeth in the gloriously over-the-top 1980s beauty pageant scene. (Remember when shoulder pads were practically architectural features?) Her runner-up finish in Miss New Zealand proved to be just the first act in a career that would span decades. She parlayed that success into becoming one of Lotto New Zealand’s first live draw hosts in ’87 — because nothing says “beauty and brains” quite like making number-drawing look glamorous.

But it was “Soldier Soldier” that truly showcased Wipani’s star power. The series — which at its peak drew a whopping 16.1 million viewers (numbers that would make today’s streaming executives weep) — featured her as Ellie during that game-changing third season. Her performance helped the show maintain its must-watch status throughout its 1991-1997 run, particularly when the action ventured beyond British shores to New Zealand and Germany.

The industry’s reaction to her passing speaks volumes. Co-star Jay Laga’aia’s heartfelt tribute captured what many were feeling: “Sister I am devastated to hear this news. You are so young and I will miss you.” He added, with palpable emotion, “We have worked together over the years and I was always so pleased to have you on set. Travel well my sister, love you always.”

Perhaps most refreshing was Wipani’s later-career pivot — a masterclass in grace and humility. While some stars chase the spotlight well past their prime, she simply… didn’t. The 2010s found her working at a café, living modestly, and appearing in smaller productions. No desperate grasp at fading fame, just authentic living.

Her impressive résumé reads like a who’s who of Antipodean entertainment: “Xena: Warrior Princess,” “Shortland Street,” plus films like “Came a Hot Friday” and “Channelling Baby.” While her cause of death remains private (a rarity in our TMZ-saturated era), her impact on entertainment spans hemispheres and generations.

How fitting that Wipani’s final exit aligned with her birthday — a poetic symmetry worthy of the stage. She leaves behind a legacy that proves true stardom isn’t measured in Instagram followers or tabloid headlines, but in the quiet dignity of a life well-lived. In an industry that often mistakes flash for substance, Wipani showed us that sometimes the most powerful spotlight is the one that simply illuminates the path forward.

The soul music community lost one of its brightest stars last week. Wayne Lewis, the visionary founding member of Atlantic Starr who helped sculpt the soundtrack of countless romance stories, died on June 5, 2025. He was 68.

News of his passing rippled through social media after Atlantic Starr’s touching Facebook announcement. “It’s with great sadness we have to post the passing of Wayne Lewis,” the band wrote, requesting privacy for the grieving family. The post triggered an outpouring of memories from fans whose lives were touched by Lewis’s musical genius.

Back in White Plains, New York — where it all began — Wayne and his brothers David and Jonathan couldn’t have imagined the legacy they’d create. Their musical journey started like many family bands: practicing in basements, dreaming big, and crafting a sound that would eventually captivate millions. Wayne’s dual role as lead vocalist and keyboardist proved essential in shaping Atlantic Starr’s distinctive sonic signature.

The late ’70s saw the group’s self-titled debut album hit the shelves, with “Stand Up” climbing to No. 16 on the R&B charts. Not bad for newcomers — but the best was yet to come.

It wasn’t until the mid-’80s that Atlantic Starr truly hit their stride. “Secret Lovers” became their breakthrough moment, a masterclass in crossover appeal that peaked at No. 3 on the Billboard Hot 100 while dominating the Adult Contemporary chart. The track showcased Wayne and David’s uncanny ability to write songs that felt both intimately personal and universally relatable.

Then came “Always” in 1987 — and everything changed. The ballad didn’t just top both pop and R&B charts; it became woven into the fabric of American romance. Even now, nearly four decades later, you’d be hard-pressed to attend a wedding reception without hearing those familiar opening notes.

Social media has been flooded with tributes since the news broke. “His band gave my generation so much listening pleasure,” one fan reminisced. Another called him “a great songwriter” and “an icon of soulful love songs” — descriptions that barely scratch the surface of his impact.

Through lineup changes and shifting musical trends, Wayne remained Atlantic Starr’s creative compass. Their 2017 album “Metamorphosis” proved they could evolve while keeping their soul intact — no small feat in today’s ever-changing music landscape.

As streaming numbers surge following his passing (a bittersweet reminder of his enduring influence), it’s clear that Wayne Lewis’s musical legacy will continue shaping R&B for generations to come. His gift wasn’t just writing hits; it was creating moments — those precious minutes when a song becomes more than music, transforming into a memory that lasts a lifetime.

Nashville’s evolving entertainment scene just got a whole lot more interesting. While the city’s twangy heartbeat remains strong, something unexpected is brewing in Tennessee’s capital — and it’s not just another batch of hot chicken.

The timing couldn’t be more perfect. Just as CMA Fest kicked into high gear, ABC dropped a bombshell that had music city buzzing: “9-1-1: Nashville” is heading to the small screen. Set to debut in September 2025, this latest addition to the emergency response franchise promises to serve up equal parts adrenaline and acoustic guitar — because hey, even first responders need a soundtrack.

Speaking of perfect harmony, the show’s promotional launch during CMA Fest feels less like coincidence and more like destiny. The festival, which has drawn close to a million boot-scootin’ enthusiasts over the past decade, provided the ideal backdrop for introducing the series’ impressive ensemble. Chris O’Donnell and Jessica Capshaw bring the star power, while LeAnn Rimes adds that authentic Nashville flavor that can’t be faked.

The 52nd CMA Fest itself? Pure magic. Saturday’s lineup reads like a masterclass in musical evolution. Take Tanner Adell, for instance. Fresh off her mind-bending collaboration with Beyoncé on “Blackbiird,” the 24-year-old firecracker is rewriting the country music rulebook with every performance. Her latest single “Going Blonde” had the Chevy Riverfront Stage crowd forgetting everything they thought they knew about genre boundaries.

Then there’s The War and Treaty. Michael and Tanya Trotter bring something special to the table — a soul-stirring blend that makes you question why anyone ever tried to put music in boxes. Their recent track “Feels Like Home” captures that ineffable Nashville spirit that’s been drawing dreamers and artists since before anyone can remember.

Don’t sleep on Laci Kaye Booth, either. The “American Idol” alum has come into her own, and her 2024 album “The Loneliest Girl in the World” proves it. Her latest release, cheekily titled “George F****** Strait,” showcases exactly the kind of bold creativity that’s becoming Music City’s calling card.

Here’s the thing about Nashville in 2025 — it’s not just preserving its musical heritage; it’s expanding its horizons while keeping that signature twang intact. The arrival of “9-1-1: Nashville” feels less like a departure and more like a natural progression. After all, in a city where every barista might be the next big thing, why shouldn’t emergency sirens harmonize with pedal steel?

The future? Well, it’s looking mighty interesting down on Broadway. As Nashville continues its careful dance between tradition and innovation, one thing’s becoming crystal clear — this ain’t your grandma’s Music City anymore. Though something suggests she’d probably dig it anyway.

Mindy Kaling’s conspicuous absence from our screens lately might seem puzzling — especially given her scene-stealing charm as Kelly Kapoor on “The Office.” But here’s the kicker: she’s deliberately staying behind the camera, and not for the reasons you’d expect.

The powerhouse producer (who turns 45 this year) recently spilled the beans at a Paley Media Council Series appearance, revealing that good old-fashioned superstition keeps her from stepping in front of the lens. “These shows seem to have gone well and I’m not in them, so maybe I’ll wait,” she admitted with characteristic self-deprecating humor. Even “Never Have I Ever” — a show practically mirroring her own Southern California Indian American upbringing — couldn’t tempt her into a cameo appearance.

Strange? Perhaps. But you can’t argue with results.

Her latest creation, “Running Point” (dropping on streaming platforms in early 2025), showcases just how far she’s come as a showrunner. Kate Hudson, the show’s lead, couldn’t contain her enthusiasm about working with Kaling. “She’s just not only so brilliant, but so trusting,” Hudson gushed, noting that Kaling was firing off notes mere hours after welcoming her third child. Talk about dedication.

Speaking of which — Kaling’s been quietly orchestrating her own production at home. The arrival of daughter Anne rounds out her family trio, joining Katherine Swati and Spencer Avu. In an era where every celebrity breakfast choice becomes Instagram fodder, her steadfast protection of her children’s privacy feels downright refreshing.

But don’t write off Kaling’s on-screen career just yet. During that same Paley appearance, she let slip that the acting bug hasn’t completely lost its bite. “I miss it,” she confessed, hinting at plans to create a vehicle for herself. The prospect of pulling double duty as actor-director particularly intrigues her — “unbelievably fun and so efficient,” in her words.

The entertainment landscape of 2025 barely resembles the one Kaling first navigated on “The Office.” Streaming wars have intensified, AI-generated content floods platforms, and audiences demand authenticity more than ever. Through it all, Kaling’s production company has emerged as a reliable source of fresh voices and diverse storytelling. Sometimes, it seems, stepping back from the spotlight amplifies impact more than standing in it.

For now, though, she’s letting that peculiar superstition guide her career choices. And honestly? With a track record like hers, who’s gonna question it? As industry veteran Ike Barinholtz once noted, “When Mindy Kaling vouches for you, people listen.” These days, they’re listening more intently than ever — whether she’s on camera or not.

Violence knows no borders — a truth that’s become painfully clear as we witness a string of events that read more like a dystopian screenplay than headlines from early 2025. From the sun-baked streets of Los Angeles to the bustling avenues of Bogota, a disturbing pattern of upheaval has emerged, challenging our collective sense of security.

The scenes in Los Angeles feel almost surreal. Two thousand National Guard troops — enough to fill a small town — now patrol streets where just days ago, federal ICE officers found themselves trapped in a two-hour standoff with protesters. The White House’s description of “criminal behavior and violence” barely captures the chaos that unfolded.

Tensions between federal and state authorities have reached a boiling point. White House Press Secretary Karoline Leavitt didn’t mince words when she declared California’s Democratic leadership had “completely abdicated their responsibility.” Governor Gavin Newsom fired back — and honestly, who can blame him? — creating yet another political powder keg in an already explosive situation.

But America’s struggles pale in comparison to the shocking violence that erupted in Colombia. Senator Miguel Uribe Turbay, just 39 and full of presidential ambitions, now fights for his life after being shot at a campaign rally in Bogota’s Fontibon neighborhood. His wife’s heart-wrenching social media update — “Miguel is fighting for his life” — serves as a brutal reminder that political violence remains an ever-present specter in Latin American politics.

President Gustavo Petro’s response seemed almost too simple, yet profound: “Respect life, that’s the red line.” He canceled his trip to France, naturally. Some lines, once crossed, demand immediate attention.

Then there’s Ben Askren — remember him? The former UFC star whose wit often overshadowed his impressive grappling skills? Well, life throws curveballs, and his battle with severe pneumonia following a staph infection proves that even the toughest fighters sometimes face their greatest challenges outside the octagon. His wife Amy’s struggle to maintain normalcy for their three kids while asking for prayers… that hits different.

These events might seem disconnected at first glance. But look closer — there’s a thread connecting them all, a sobering reminder of how quickly our carefully constructed worlds can unravel. Whether it’s federal agents facing down protesters, a presidential hopeful dodging bullets, or a retired fighter battling infection, the message is clear: stability is more fragile than we’d like to believe.

U.S. Secretary of State Marco Rubio called the Colombian shooting “a direct threat to democracy.” He’s right, of course, but perhaps the threat runs deeper than any single incident. Chilean President Gabriel Boric’s words ring especially true: “there is no room or justification for violence in a democracy.” Yet here we are, watching democracy tested on multiple fronts.

As winter turns to spring in 2025, these stories serve as stark reminders of our shared vulnerability. Whether you’re a politician, an athlete, or just someone trying to do their job, circumstances can change in the blink of an eye. Maybe that’s why the responses — calls for unity, requests for prayer — sound so similar across borders and situations. In times of crisis, we all speak the same language of hope.

Hold onto your wands, darlings — the corridors of HBO are practically vibrating with the most delectable Potter-verse news since butterbeer went mainstream. And this particular piece of magical gossip? Well, it’s serving up the kind of full-circle moment that would make even Dumbledore’s time-turner jealous.

Tom Felton (yes, that platinum-haired prince of Slytherin himself) is trading his film robes for Broadway spotlights in “Cursed Child.” But here’s where it gets properly juicy — as HBO preps its hotly anticipated Potter remake for 2027, whispers suggest Felton might just follow in daddy dearest’s footsteps. Imagine: our former Draco stepping into Lucius Malfoy’s snakeskin boots. Divine, isn’t it?

The network’s already knocked it out of the quidditch pitch with some absolutely inspired casting choices. John Lithgow bringing gravitas to Dumbledore at 79? Perfection. Janet McTeer as McGonagall? *chef’s kiss* And whoever had the brilliant notion to cast Nick Frost as Hagrid deserves a raise and a round of firewhisky.

Speaking of unexpected delights — picture this scenario: Felton, caught completely off-guard during what he assumed was a standard press chat, nearly dropped his wand when family members surprised him with the news. “Wow, I had no idea,” he managed to stammer. (Honestly, same, darling. Same.)

But let’s dish about this fresh-faced cast that’s got everyone talking. Dominic McLaughlin’s taking on the chosen one himself, while Arabella Stanton and Alastair Stout are stepping into the considerably large shoes of Hermione and Ron. And — hold onto your sorting hats — Paapa Essiedu’s daring to follow the unfollowable Alan Rickman as Severus Snape.

The real genius? HBO’s giving each book a full season’s treatment. No more cramming complex plotlines into two-hour windows like trying to stuff a hippogriff into a handbag. Finally, those deliciously intricate subplots will have room to breathe.

Mind you, there’s something rather fabulous about mixing vintage with contemporary (any fashionista worth their salt knows this). Perhaps we’ll see Warwick Davis charm us once more, or Bonnie Wright transform from everyone’s favorite Weasley daughter to the matriarch herself. And really, who else but John Cleese could possibly lose their head as Nearly Headless Nick?

The possibilities are positively enchanting, darlings. And with production set to begin in early 2025, the anticipation is more electric than a freshly charged wand. Now, if you’ll excuse me — there’s a glass of Ogden’s Old Firewhisky with this columnist’s name on it.

Hollywood’s remake machine churns onward into 2025, serving up fresh takes on beloved properties with decidedly mixed results. The latest offerings? A surprisingly complex reimagining of “Lilo & Stitch” and a somewhat wobbly expansion of the John Wick universe with “Ballerina.”

Let’s talk about that Hawaiian adventure first. Disney’s live-action “Lilo & Stitch” (hitting theaters next May) turns out to be quite the peculiar creature — rather like its alien protagonist. Most of the updates have fans more rattled than a tourist’s first encounter with spam musubi, but there’s an unexpected bright spot amid the controversy.

Billy Magnussen’s transformed take on Pleakley steals every scene faster than Stitch can snatch a surfboard. His expanded role elevates the formerly bumbling bureaucrat into something genuinely fascinating: a shrewd political operator who manages to declare Earth a wildlife preserve through some delightfully clever maneuvering. The physical comedy? Absolutely sublime.

The same can’t be said for poor Jumba. Zach Galifianakis — bless his heart — seems trapped in a watered-down version of the character that’s about as exciting as plain poi. Gone is the gleeful madness, replaced by… well, not much of anything. Such a shame.

Meanwhile, over in the neon-noir world of John Wick, “Ballerina” pirouettes onto screens with Ana de Armas as Eve, promising the kind of balletic violence that made the franchise famous. But something’s off in this particular dance.

The introduction of Eve’s sister Lena should’ve added emotional depth to this world of stylish assassins. Instead? The character lands with all the impact of a plastic knife at a gunfight. In an universe that’s given us such deliciously complex characters as The Director (remember Anjelica Huston’s magnificent turn?), this feels like a serious misstep.

“Fight like a girl,” Sharon Duncan-Brewster’s Nogi declares in what should be a powerful moment. But honestly? In 2025, when we’ve got female action heroes breaking bones and box office records left and right, this kind of dialogue lands about as gracefully as a rookie assassin in stilettos.

What these parallel reimaginings really highlight is Hollywood’s ongoing tango with nostalgia — sometimes elegant, sometimes stepping on its own feet. Sure, Pleakley’s glow-up shows it’s possible to polish a beloved character until they shine even brighter. But then there’s Lena, reminding us that even the most stylish franchise can trip over its own ambitions.

The lesson here? Maybe it’s that successful reinvention requires more than just a fresh coat of paint or a new pair of dancing shoes. It demands heart, vision, and — perhaps most importantly — a genuine reason for existing beyond the bottom line.

But hey, at least we’re not getting another Fast & Furious sequel.

Yet.

Mariah Carey’s latest single “Type Dangerous” dropped unexpectedly Thursday night, proving the legendary diva hasn’t lost her knack for making waves in the music industry. The track — her first new material since 2018’s “Caution” — serves up a delicious slice of nostalgia while keeping one stiletto firmly planted in 2025’s sonic landscape.

Drawing from her Long Island roots, Carey cleverly samples Eric B. and Rakim’s “Eric B. Is President,” bridging the gap between Huntington and Wyandanch in a way that feels both nostalgic and perfectly timed. The sample choice isn’t just smart — it’s downright inspired.

“Type Dangerous” opens with Carey’s butter-smooth vocals delivering a knowing wink to the original: “To show my appreciation for your support, thank you, DJs.” From there, the track evolves into something entirely its own. Between half-rapped verses and those signature whistle notes (yeah, she’s still got ’em), Carey proves she hasn’t lost a step.

The lyrics paint quite a picture. “I came in the door dripped in Balenci / Cropped leather coat and some nine-inch Fendis” — classic Mariah swagger, served with a side of designer name-drops. But it’s the subtle shade-throwing that really catches the ear.

There’s this particularly spicy verse where she croons, “Fresh outta Sing Sing, nah, I’m just playin’ / That was just a castle and an evil king” — and anyone who remembers the Tommy Mottola years knows exactly what she’s referencing. The Bedford estate never sounded so shady.

The accompanying lyric video landed early Friday morning. Think tight T-shirts, those infamous laced-up short-shorts, and enough wind-machine action to power a small city. Word has it Joseph Kahn (fresh off reimagining her “All I Want For Christmas Is You” video) is already cooking up something special for the full music video treatment.

“I’ve been locked up in the studio for quite some time working my behind off on new music,” Carey shared in a statement that somehow managed to sound both humble and fabulous — a specialty of hers. The timing couldn’t be better, what with her upcoming BET Ultimate Icon Award acceptance and that massive Wembley Stadium headlining spot at Capital’s Summertime Ball.

Speaking of timing — while fans are still buzzing about the 20th anniversary reissue of “The Emancipation of Mimi,” Carey’s been dropping hints about her sixteenth studio album. Those “MC 16” license plates popping up in her social media posts? Subtle as a rhinestone butterfly.

Let’s be real — in an era where pop stars come and go faster than TikTok trends, Mariah Carey’s staying power is nothing short of remarkable. “Type Dangerous” isn’t just a comeback single; it’s a reminder that the elusive chanteuse still knows exactly how to command attention while paying homage to her roots. And honestly? We wouldn’t want it any other way.