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Hollywood’s golden boy is going indie, and honestly? It’s about time. Brad Pitt — whose career choices have aged better than his famously ageless face — just inked a deal with A24 for “The Riders,” a mystical drama that’s been floating around development hell longer than some of his co-stars have been alive.

The project emerged from a bidding war that probably cost A24 a small fortune. But when you’ve got Pitt teaming up with Edward Berger (fresh off his “Conclave” triumph), maybe that’s just the price of poker these days.

Here’s the thing about “The Riders” — it’s not your typical missing-person story. Based on Tim Winton’s 1994 novel, the film follows Fred Scully, who does what many of us dream about but never dare: buys a farmhouse in Ireland. (Let’s be real, who hasn’t fantasized about escaping to the Emerald Isle after a particularly rough Monday?) But Scully’s dream quickly morphs into a nightmare when his wife vanishes without a trace, leaving their seven-year-old daughter Billie as the only witness to… well, whatever happened.

David Kajganich, whose work on “Bones and All” proved he knows how to serve up emotional devastation with a side of style, has adapted the screenplay. The project’s been marinating at Ridley Scott’s Scott Free banner for over a decade — sometimes the best stories need time to properly ferment.

For A24, this represents another calculated step in their ongoing mission to make “prestige” and “commercial” stop feeling like opposing forces in cinema. Production kicks off in early 2026, with filming planned across Europe — though whether they’ll stick to the novel’s locations or chart their own course remains to be seen.

Meanwhile, Pitt’s keeping busy. He’s set to reprise his role as Cliff Booth in a Netflix sequel to “Once Upon a Time in Hollywood” — a project that somehow managed to get both David Fincher and Quentin Tarantino on board. Because apparently, lightning does occasionally strike twice in La La Land.

Before “The Riders” even starts rolling, we’ll see Pitt burning rubber in Joseph Kosinski’s “F1” (coming summer 2025). At this point in his career, Pitt seems determined to prove that age is just a number, and frankly? He’s making a pretty convincing case.

The combination of A24’s indie cred, Berger’s artistic vision, and Pitt’s star power suggests “The Riders” might be exactly what cinema needs right now — a reminder that sometimes the most compelling stories are the ones that make us uncomfortable in our seats. At the very least, it’ll give us something to debate over dinner besides whatever’s trending on social media.

Darlings, cinema’s most glittering festivals have just dropped their jury lineups for 2025, and honestly? The talent pool is enough to make even the most jaded critic weak at the knees.

Let’s dish about Cannes first, shall we? The French Riviera’s crown jewel has truly outdone itself this time around. They’ve managed to snag Halle Berry — yes, that Halle Berry — alongside “Succession” heavyweight Jeremy Strong. (And doesn’t that just sound like the most delicious cocktail of Hollywood prowess?)

The incomparable Juliette Binoche takes the president’s chair, heading up what might be one of the most globally diverse juries we’ve seen in years. From Indian maverick Payal Kapadia to Mexican cinema’s enfant terrible Carlos Reygadas, it’s giving exactly what it should — though heaven help them when it comes time to pick that Palme d’Or winner. Those deliberation rooms at the Palais can get rather… heated.

Meanwhile, Venice — never one to be outdone — has played quite the clever hand. Alexander Payne (fresh off his triumph with “The Holdovers”) will be wielding the gavel as Jury President for the 82nd edition. His appointment feels particularly apt as we near the festival’s centenary.

“It’s an enormous honor and joy,” Payne remarked about his Venice appointment, before adding something refreshingly candid about the whole business of competitive festivals. “Although I share a filmmaker’s ambivalence about comparing films against one another, I revere the Venice Film Festival’s nearly 100-year history of loudly celebrating film as an art form.”

Festival director Alberto Barbera couldn’t have found a better fit if he’d tried. Payne belongs to that increasingly rare species of filmmaker-slash-cinephile whose passion for the medium runs deeper than this morning’s box office numbers.

2025’s looking particularly spicy for both festivals. Cannes is making waves by opening with Amélie Bonnin’s “Leave One Day” — the first debut film to kick off the festival since… well, ever. The competition lineup reads like a cinephile’s fever dream: new works from Joachim Trier, Kelly Reichardt, and Ari Aster (who’s apparently gone even stranger with this one, if you can believe it).

These jury announcements speak to something larger than mere festival politics — they’re a reminder that cinema, despite all those tedious “death of movies” think pieces, continues to evolve and surprise. From Berry’s barrier-breaking Oscar moment to Payne’s wickedly sharp storytelling, these artists represent the kaleidoscopic nature of modern filmmaking.

Whether you’re planning to brave the Croisette crowds or dodge water taxis in Venice, summer 2025 promises to be an absolute feast for film lovers. Just remember to pack sunscreen for Cannes — that Mediterranean sun shows no mercy, darlings. Not even to jury members.

The Rock & Roll Hall of Fame just dropped its 2024 class lineup, and what a delightfully eclectic mix it turned out to be. From the twist-master himself, Chubby Checker, to garage rock heroes The White Stripes, this year’s inductees paint a vivid portrait of American music’s wild evolution.

Talk about perfect timing — Checker’s induction feels especially sweet as the dance pioneer approaches his mid-80s. Back in 2014, he famously quipped to the AP about not wanting to wait until 85 for the honor, threatening to “tell them to drop dead” if they waited too long. Well, looks like someone was listening.

The White Stripes’ inclusion marks a fascinating shift in the Hall’s recognition of indie rock’s impact. Jack and Meg White’s journey from Detroit garage gigs to stadium-filling superstars perfectly captures the early 2000s zeitgeist. (And let’s be honest — who hasn’t air-drummed to “Seven Nation Army” at least once?)

Some selections just feel right, don’t they? Take Joe Cocker’s long-overdue induction. When music legends like Billy Joel and ZZ Top’s Billy Gibbons throw their weight behind a nomination, it’s worth noting. Cocker’s raw, soul-shaking take on “With a Little Help From My Friends” remains the gold standard for making a Beatles song truly your own.

Soundgarden’s entry completes a remarkable trifecta of Seattle grunge titans in the Hall, joining Nirvana and Pearl Jam. The recognition carries extra weight following Chris Cornell’s tragic departure — his unmistakable voice helped define not just a genre, but an era.

Female trailblazers get their due this time around, too. Salt-N-Pepa broke down doors as the first female rap group to hit gold and platinum status, earning them the Musical Influence Award. Meanwhile, Cyndi Lauper’s remarkable evolution from pop phenomenon to Tony Award winner showcases the kind of artistic growth the Hall loves to celebrate.

Here’s a bit of music-nerd trivia: Carol Kaye’s Musical Excellence Award acknowledges one of the most recorded bassists in history. Those iconic bass lines you’ve hummed along to? There’s a good chance Kaye was behind them.

Behind the scenes, the Ahmet Ertegun Award goes to industry maven Lenny Waronker. His golden touch at Warner Bros. Records helped shape the sounds of everyone from Prince to R.E.M. — not too shabby for a day job.

Sure, some notable names missed the cut this year. Mariah Carey, Phish, and Oasis will have to wait their turn, proving that even in a year of diverse selections, tough choices had to be made.

The fall ceremony in Los Angeles should be quite the show. As the music industry gears up for what promises to be a transformative 2025, this celebration of cross-generational talent feels particularly meaningful. After all, great music has always been about breaking boundaries — whether they’re cultural, generational, or genre-based.

A cherished cultural celebration turned to horror last Saturday when an SUV tore through Vancouver’s Lapu Lapu Day Festival, leaving eleven dead and shattering the tight-knit Filipino communities of two cities. The devastating scene unfolded in South Vancouver’s normally peaceful streets — where just moments before, families had gathered to share food, music, and tradition.

Around 8 p.m., as festival-goers crowded around food trucks and performance areas, a black Audi SUV suddenly accelerated through security barriers. What followed defies description: bodies hurled through the air, screams piercing the evening, joy transformed into chaos in mere seconds.

“He slammed on the gas, barreled through the crowd,” whispered vendor Kris Pangilinan, struggling to articulate the horror. “Like bowling pins flying… God, the bodies went higher than the food trucks themselves.”

The suspect — 30-year-old Vancouver resident Kai-Ji Adam Lo — was quickly apprehended. While authorities have ruled out terrorism, Lo’s history of mental health issues has sparked heated debate about British Columbia’s approach to mandatory psychiatric care. Vancouver Mayor Ken Sim hasn’t minced words about the need for reform.

The tragedy cuts especially deep for Seattle’s Filipino community. Members of the Kalahi Philippine Dance Company had performed at the festival earlier that day. “The amount of kids and elderly people there was extremely high,” noted Devin Cabanilla, whose family had left shortly before the incident. His voice trailed off, perhaps imagining how differently things might have ended.

Between the food trucks, survival stories emerged. Kenneth John Leo and Kenn Ramos had been recording celebratory videos just moments before chaos erupted. “We didn’t know that tragedy would strike us in a few moments,” Leo reflected, describing their instinctive dash to safety as the vehicle approached.

The festival itself — honoring Datu Lapu Lapu, who stood against Spanish colonization in 1521 — represents something profound about cultural identity and resilience. That’s what makes this attack particularly cruel: it struck at a moment of pride, of celebration, of community coming together across borders.

Vancouver interim Police Chief Steve Rai captured the community’s anguish perfectly: “It is the darkest day in Vancouver’s history.” Simple words, yet they carry the weight of eleven lives lost, countless others forever changed.

At the scene, mourners like Jasmin Matias leave flowers and ask impossible questions. “Why didn’t they take his driver’s license?” she wondered through tears — a query that speaks to deeper concerns about preventing such senseless violence.

Yet even in darkness, resilience shines through. Seattle dance instructor Juliet Cheatle spoke firmly about the importance of continuing cultural celebrations. The festival began with dancing, music, and celebration of Filipino strength — qualities that will surely guide these communities through the difficult days ahead.

Perhaps that’s the cruel irony: a celebration of resistance against historical oppression became itself a moment requiring extraordinary resilience. As both cities’ Filipino communities unite in grief, they demonstrate the very strength their ancestors embodied — facing tragedy with dignity, unity, and an unwavering commitment to preserving their cultural heritage.

The Rock & Roll Hall of Fame just dropped its 2025 class lineup, and boy, what a wonderfully weird musical gumbo it’s serving up. Think about it — where else would you find Chubby Checker rubbing shoulders with OutKast, or Cyndi Lauper sharing the spotlight with Soundgarden? It’s the kind of eclectic mix that would make a streaming algorithm’s head explode.

American Idol — still hanging in there after all these years — hosted the big reveal, which feels oddly fitting for this particular batch of inductees. Seven performers made the cut, each one a testament to rock’s stubborn refusal to stay in its lane: Bad Company, Chubby Checker, Joe Cocker, Cyndi Lauper, OutKast, Soundgarden, and The White Stripes.

Rock Hall chairman John Sykes called it like he saw it (though perhaps understating things just a tad): “Each of these inductees created their own sound and attitude that had a profound impact on culture.” Well, yeah — that’s putting it mildly. These artists didn’t just leave footprints; they carved canyons.

Some first-timers struck gold right out of the gate. Bad Company, Chubby Checker, and OutKast snagged their spots on their very first nominations. Sometimes the universe just gets it right, you know?

The class of ’25 reads like somebody shuffled a deck of musical genius and dealt out a royal flush. There’s 83-year-old Chubby Checker, who got America’s hips doing things that would’ve scandalized their grandparents. The White Stripes — Jack and Meg’s stripped-down revolution that proved you didn’t need more than two people and a whole lot of attitude to shake up the 2000s. And OutKast? Andre 3000 and Big Boi turned Atlanta into hip-hop’s creative epicenter, making “hey ya” the most infectious phrase since “yeah yeah yeah.”

There’s a bittersweet note to this year’s celebrations, though. We’ll be remembering Chris Cornell’s earth-shattering vocals with Soundgarden, Joe Cocker’s raw emotional power, and Bad Company’s Boz Burrell’s thundering basslines — all gone too soon, but now permanently etched in rock’s memory.

The Hall’s also tipping its hat to some serious game-changers beyond the main stage. Salt-N-Pepa and Warren Zevon are getting the Musical Influence Award — about time, really. And speaking of overdue recognition, the Musical Excellence Award is acknowledging some true behind-the-scenes titans: Thom Bell’s Philly Soul magic, Carol Kaye’s bass virtuosity (seriously, name a ’60s hit — she probably played on it), and Nicky Hopkins’ keyboard brilliance.

Sure, some heavy hitters like Mariah Carey, Oasis, and Billy Idol will have to wait their turn. But hey, even in 2025, you can’t rush rock and roll immortality.

Mark your calendars for November 8, when the Peacock Theater in LA hosts what promises to be one hell of a show. In a nod to our streaming-obsessed times, you can catch it on Disney+ (who would’ve thought?), ABC, or Hulu — take your pick.

This isn’t just another year’s worth of inductees; it’s a snapshot of how rock and roll keeps shape-shifting, refusing to be pinned down. From Lauper’s technicolor pop dreams to Soundgarden’s grunge thunder, from OutKast’s genre-bending brilliance to Checker’s dance floor revolution — it’s all rock and roll, baby. And it’s all worth celebrating.

Liverpool’s 20th league title arrived in a blaze of glory yesterday — transforming Anfield into something beyond a mere football stadium. The old ground became a thundering colosseum of celebration, where dreams took flight and history was written in red.

Sixty thousand voices answered the call. Van Dijk had asked for “a sea of red,” but what materialized was more like a tidal wave. The Kop End, that legendary terrace that’s witnessed countless moments of magic since 1925, possibly never roared louder.

And then came that whistle.

What followed wasn’t just celebration — it was pure chaos (the good kind). Dom Szoboszlai, Liverpool’s Hungarian maestro, somehow found himself atop the goalposts, conducting the crowd like a rock star who’d stumbled onto the wrong stage but decided to own it anyway. New gaffer Arne Slot, barely six months into his tenure after that dramatic summer 2024 appointment, got swept up in it all. There he was, joining in with Klopp’s signature chant, proving that some traditions transcend managers.

“There’s no way we were going to lose,” Slot said afterward, still buzzing from the magnitude of it all. Dead right, too — his team had that look about them from the first whistle. Y’know the one. That steely-eyed determination that separates the great from the merely good.

The celebrations? They didn’t just spill out into the streets — they flooded them. McCooley’s was absolutely heaving, probably still is. Red flares turned the Liverpool sky into something out of a football romantic’s fever dream. (Health and Safety won’t be too chuffed about that, but some moments demand a bit of pyro, don’t they?)

Perhaps the most spine-tingling bit came when the squad gathered for “You’ll Never Walk Alone.” Been done countless times before, sure, but this felt different. Special. Each player got their moment with the Kop — a ritual that means more at this club than most outsiders could ever understand.

This one hits different for the faithful. That 2020 title, brilliant as it was, got robbed of its proper celebration. Covid and all that. But now? Now they could properly let loose. And boy, did they.

Mark your calendars for May 25th, 2025. Crystal Palace at home. That’s when the trophy comes out — when Liverpool officially get their hands on the big one. After today’s scenes? That’s gonna be something else entirely.

As night fell across Merseyside, you could still hear snippets of songs floating through the streets. Twenty titles. Not just a number, that. It’s another chapter in football’s greatest ongoing love story — the one between Liverpool Football Club and its people. Written in passion, sealed with pride, and celebrated with the kind of joy that makes you remember why they call this the beautiful game in the first place.

Some things in football just mean more. This was one of them.

London’s historic Brewery venue sparkled with an unusual kind of stardust last night — not from A-list celebrities, but from television’s brilliant behind-the-scenes magicians who finally got their moment in the spotlight at the BAFTA TV Craft Awards.

Let’s be honest: these are the folks who make our favorite shows actually work. While we’re all swooning over Gary Oldman’s gruff charm in “Slow Horses” or gasping at the feudal Japanese landscapes in “Shōgun,” there’s an army of unsung heroes making that magic happen. And darling, did they ever shine.

The ever-delightful Stacey Dooley (who’s somehow even more charming in person than on screen) hosted an evening that saw Netflix’s “Baby Reindeer” emerge as the night’s golden child. Apple TV+’s “Slow Horses” and Disney+’s “Rivals” weren’t far behind — proof that streaming services have well and truly crashed the party in the best possible way.

Speaking of parties, The Brewery — that gorgeous 18th-century architectural gem — proved the perfect setting. There’s something rather poetic about celebrating television’s finest craftspeople in a venue that’s mastered its own transformation from historic brewery to modern events space, don’t you think?

The evening’s most touching moment came when soap opera legend Anita Dobson presented the Television Craft Special Award to “EastEnders.” As the show marks 40 years of keeping Britain glued to their screens (feeling old yet?), head of genre Kate Oates and executive producer Ben Wadey accepted the honor. Their heartfelt speech about nurturing new talent had more than a few misty eyes in the house.

But darlings, let’s talk about the technical categories — because this is where television is truly giving cinema a run for its money. “Shōgun” snatched the Photography & Lighting: Fiction trophy, while “The Lord of the Rings: The Rings of Power” proved that television can now conjure visual effects worthy of Middle-earth itself. The sound team behind “Slow Horses” created an auditory landscape that’s practically a character in itself, while “Rivals” served period-perfect hair and makeup that would make time travelers do a double-take.

Benedict Wong, Angela Rippon, and India Ria Amarteifio added some familiar faces to the proceedings, though they were careful not to steal focus from the evening’s true stars — those brilliant craftspeople who usually work their magic in the shadows.

Consider this glamorous evening a tantalizing appetizer for the main course: the BAFTA Television Awards, set to unfold at the Southbank Centre’s Royal Festival Hall on May 11. Alan Cumming will be wielding the hosting duties (and presumably some wickedly sharp wit). “Baby Reindeer” leads the pack with eight nominations, while “Rivals,” “Slow Horses,” and “Mr Bates vs the Post Office” are hot on its heels with six each.

As the champagne bubbles faded and the last awards were handed out, one truth crystallized: we’re living in television’s golden age not just because of the stars who grace our screens, but because of these masterful artists who transform good television into something extraordinary. Whether they’re crafting the perfect sound mix or creating period-perfect curls, these are the wizards who make the magic real.

And darling, that’s worth celebrating any day of the week.

Television’s prestige landscape hit a fascinating crossroads this week, serving up two season finales that couldn’t be more different in their execution and impact. While HBO’s “The Last of Us” stumbles through its post-Joel identity crisis, AMC’s “Dark Winds” soars to new heights — proving that authentic storytelling still packs the biggest emotional punch.

Let’s cut to the chase: “Dark Winds” absolutely crushed it.

The show’s third season finale delivers a masterclass in cultural storytelling, anchored by Zahn McClarnon’s gut-wrenching performance as Lieutenant Joe Leaphorn. There’s this moment — god, what a scene — where McClarnon sits alone with a tape recorder, and the raw emotion just bleeds through the screen. When Emma Leaphorn’s recorded voice cuts through the silence with “I hope one day I can forgive him. But until that day, I walk alone,” you can practically feel the weight of decades of shared history crumbling.

Meanwhile, over at HBO, “The Last of Us” seems to be having something of an identity crisis. The show’s attempt to pivot toward an Ellie-centric narrative in episode 3 feels… well, let’s just say the magic isn’t quite there. Bella Ramsey’s talented, no question, but asking her to shoulder the entire emotional weight of the series right now feels like putting the cart before the horse.

What really sets “Dark Winds” apart is its revolutionary approach to production. Writer/director Erica Tremblay spilled some fascinating tea about their writers’ room process — they’re not just paying lip service to cultural authenticity, they’re living it. From Navajo prop departments to Indigenous camera operators, they’re rewriting the playbook on how to tell culturally specific stories in mainstream television.

McClarnon (wearing both his actor and executive producer hats) nailed it when he talked about the show’s broader impact: “That we get to re-educate people about a culture and the values of that culture is important.” In today’s fractured media landscape, where streaming wars and AI-generated content threaten to homogenize storytelling, this kind of dedication to authenticity feels downright revolutionary.

The contrast becomes particularly stark in episode 6, where McClarnon and Tremblay collaborated on scenes dealing with generational trauma. Their shared experiences as Native people infuse every frame with an authenticity that you simply can’t fake — and lord knows Hollywood’s tried.

Here’s the thing about “The Last of Us” — it’s got all the technical bells and whistles money can buy, but it’s starting to feel like a ship without a compass. Where “Dark Winds” builds toward something real and meaningful while honoring its cultural roots, HBO’s zombie drama seems caught between what worked before and where it needs to go next.

The way each show handles grief and transformation tells you everything you need to know. “Dark Winds” gives its characters room to breathe, to mess up, to figure things out. As Tremblay puts it, Leaphorn’s finally “looking at himself in the mirror and recognizing things that he’s never seen before.” That’s the kind of character development that keeps viewers coming back for more.

In an era where streaming platforms are tightening their belts and AI threatens to reshape the industry (don’t even get me started on those 2025 predictions), “Dark Winds” reminds us what television can be when it prioritizes truth over trends. Sometimes the most universal stories are the ones that stay closest to their cultural roots.

Now that’s what you call must-see TV.

Love in the Mexican sunshine hits different, doesn’t it? Just ask Sam Asghari, who’s been turning heads at Puerto Vallarta’s swankiest new hotspot — and not just because of his perfectly tailored suit. The former Mr. Britney Spears made quite the splash at The Tryst hotel’s opening, arm-in-arm with his new flame Brooke Irvine. Talk about a statement entrance.

“It’s all about love. That’s what it is,” Asghari declared, serving up what might be the most loaded four-word sentence of 2025 so far. But here’s where it gets interesting — he couldn’t resist adding that little zinger about how his new romance is “not about the industry, not about Hollywood.”

Well, well, well.

Remember when Asghari was just that dreamy guy from Britney’s “Slumber Party” video back in 2016? Their whole love story read like a Hollywood script: chance meeting on set, Instagram flirtations, paparazzi chase scenes, and finally, that fairy-tale wedding in 2022. (Though maybe fairy tales aren’t supposed to end in divorce papers after 14 months…)

These days, Asghari’s singing a different tune. His four-month relationship with LA real estate agent Brooke Irvine has been refreshingly drama-free — at least until this carefully orchestrated red carpet debut. “It wasn’t, ‘Now is the time,’ or whatever, but we’re here to support a great cause,” he explained, though the timing feels about as coincidental as a perfectly filtered Instagram post.

The whole situation gets even more complicated when you consider Asghari’s recent heart-to-heart on The Viall Files. There, he opened up about feeling “afraid” during Spears’ conservatorship — heavy stuff from someone who knows a thing or two about control. “I’m coming from a country where I dealt with this already,” he shared, drawing parallels between his Iranian background and the constraints he witnessed in Spears’ life.

Perhaps most revealing was his candid admission about feeling powerless: “You really don’t have much to say especially if you’re just a boyfriend or someone that’s just there.” Those words hit different now, don’t they?

Fast forward to present day, and Asghari’s all about being “present” and “in the moment” with Irvine. It’s giving serious rebrand energy — like when your friend insists their new relationship is “totally different this time.” (Spoiler alert: sometimes it actually is.)

But here’s the thing about Hollywood — even when you’re trying to escape its grip, you’re still making your declarations of independence on a red carpet. There’s something almost poetic about that, isn’t there? As Asghari steps into this new chapter, his words about authentic love sound sincere enough. Though in Tinseltown, where every public appearance is part performance art, part personal statement, who can really tell where the script ends and real life begins?

Anne Robinson’s still got it. The razor-tongued queen of British television has unleashed another round of characteristically biting commentary — and this time, she’s taking aim at everything from workplace dynamics to modern broadcasting culture.

Speaking to The Telegraph as 2025 kicks off (and proving that turning 80 hasn’t dulled her edge one bit), Robinson addressed the swirling rumors about her brief stint on Countdown. The whole affair reads like something straight out of a BBC workplace comedy — except it’s all deliciously real.

Remember that supposed feud with Rachel Riley? Well, Robinson’s response was pure television gold. “It’s just a story,” she declared, before dropping what might be the most perfectly crafted non-denial denial in recent memory: “Rachel was a bit talkative when I was interviewing the contestants but once we shut her up it was fine.” Classic Robinson — saying the quiet part loud, as always.

The situation gets even juicier when you consider Riley’s earlier comments about working with Robinson. “You’re not going to get a sympathetic shoulder to cry on from Anne, but she might make you cry.” Honestly? That’s about as British as it gets — managing to confirm workplace tension while remaining polite enough to serve tea over.

But here’s where things get properly interesting. Robinson’s got bigger fish to fry than mere workplace drama. She’s taken aim at what she rather colorfully describes as “woke terrorists who are sucking the life blood out of the country.” (Nobody’s ever accused Anne of being too subtle, have they?)

The veteran presenter seems particularly miffed about current television programming. In what might be the most gloriously specific complaint of 2025 so far, she noted: “I’m disappointed that by 9 O’Clock, someone called Stacey is usually telling me how to tidy my wardrobe.” Poor Stacey Solomon — caught in the crossfire of Robinson’s war on modern telly.

Perhaps the most revealing bit? Robinson’s admission that she’d insisted on having Susie Dent and Rachel Riley’s microphones turned off during filming. It’s the sort of behind-the-scenes detail that speaks volumes about the clash between old-school broadcasting and contemporary approaches to television production.

Mind you, Robinson’s not completely burning bridges. She managed to slip in some genuine praise for her former colleagues — “They’re both brilliant at what they do… Channel 4 are incredibly lucky to have them” — before adding her characteristic qualifier about wanting “everyone turning up on time and quiet, quiet, quiet.” Because heaven forbid anyone mistake Anne Robinson for a softie.

The whole situation rather perfectly captures the ongoing evolution (or depending on your viewpoint, decline) of British television. While some might dismiss Robinson as increasingly out of touch, she’s raising some genuinely interesting questions about the direction of contemporary entertainment. Even if she is doing it with all the subtlety of a hammer to a china shop.

At the end of the day, Robinson remains gloriously, unapologetically herself — a reminder of an era when television personalities didn’t worry about causing the occasional stir. Whether that makes her a refreshing voice of clarity or simply yesterday’s news probably depends entirely on where you stand on the cultural changes she’s so determined to critique.

Though one thing’s for certain — she’s still absolutely brilliant at creating headlines. Some things never change, eh?