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After nearly half a century of London dominance, the BRIT Awards are finally heading north. Manchester — that scrappy, musical powerhouse of a city — is set to host Britain’s biggest music ceremony in 2026 and 2027. About time, really.

The announcement’s already causing quite a stir in industry circles. Some London-based execs are probably choking on their flat whites, but let’s be honest — this shake-up feels long overdue. Manchester’s new Co-op Live arena (the biggest indoor venue in the UK, by the way) seems like the perfect spot to breathe fresh life into an institution that’s been getting a bit, well, predictable.

“This is a massive coup for Greater Manchester,” beams Andy Burnham, the city’s metro mayor. He’s not wrong — though calling Manchester “the UK capital of music and culture” might ruffle a few feathers down south. Then again, when you’ve given the world everything from Joy Division’s moody post-punk to Oasis’s swagger-filled anthems, you’ve earned the right to brag a bit.

Speaking of Oasis… The timing couldn’t be better. Just as Manchester gears up for what’s surely going to be 2025’s most talked-about reunion (those five nights at Heaton Park), the city’s nabbed itself the hosting rights to Britain’s premier music awards. Coincidence? Maybe not.

The industry bigwigs are putting on their best diplomatic faces. Jason Iley MBE, Sony Music UK & Ireland’s head honcho, talks about “invigorating the show” and building on the BRITs legacy. But reading between the lines, there’s a sense that everyone knows this move is about more than just changing postcodes.

Co-op Live isn’t just another soulless arena, mind you. Fresh from hosting the MTV EMAs and barely getting its feet wet in the venue game, it’s already proving itself a proper contender. Tim Leiweke from Oak View Group (the venue’s owners) couldn’t hide his excitement about landing “the most important music event in the UK.”

Here’s the thing about London’s grip on the music industry — it’s been tight. Too tight, some might say. One industry insider hit the nail on the head: “London has a bit of a stranglehold on the music industry with the majority of record labels being based there.” This move north? It’s a proper shake-up of the status quo.

Mark your calendars for Saturday, February 28, 2026. That’s when ITV1, ITVX, STV, and STV Player will broadcast this historic shift live across the nation. Who knows? Maybe this’ll open the floodgates for other cities to get their shot at hosting in the future. Birmingham? Glasgow? Liverpool? The possibilities are endless.

Dr. Jo Twist OBE summed it up rather nicely: the BRITs have always been about telling British music’s story in all its messy, brilliant diversity. Moving to Manchester? That’s just adding another fascinating chapter to the tale.

In a city that gave us “24 Hour Party People” and some of the most memorable tunes in British history, the BRITs might just find their groove again. After all, if there’s one thing Manchester knows how to do, it’s throw a proper party. London’s loss might just be everyone else’s gain.

Sometimes the most magical moments in music happen when nobody’s expecting them. Just ask anyone who witnessed the surreal spectacle at Governors Ball this weekend, when pop phenomenon Olivia Rodrigo shared the stage with new wave pioneer David Byrne for a performance that left jaws dropped and phones raised high across Flushing Meadows.

The unlikely duo — separated by half a century but united by an electric stage presence — turned the festival’s weather delays into pure gold with their take on the Talking Heads’ “Burning Down the House.” Picture this: Rodrigo, decked out in sparkly red, trading verses with Byrne in his characteristically quirky red overalls. The result? Pure lightning in a bottle.

Sure, plenty of Gen-Z festival-goers might’ve needed a quick Google refresh on their Talking Heads history. “Much respect to her because 90% of her demographic is 100% confused by this,” one social media commenter noted, nailing the generational divide. But that’s exactly what made the moment so special — watching musical worlds collide in real time.

The collaboration shouldn’t shock anyone who’s been paying attention to Rodrigo’s career moves. The “bad idea right?” singer has been steadily building her rock credentials, sharing stages with everyone from Alanis Morissette to Sheryl Crow. Add David Byrne to that impressive roster, and you’ve got yourself a proper rock ‘n’ roll education.

Speaking of timing — the performance landed just days after Talking Heads dropped their first-ever music video for “Psycho Killer,” featuring none other than Saoirse Ronan. Funny how these things line up, right? The band’s celebrating 50 years since their CBGB debut, and here’s Byrne, still burning down houses with the next generation.

For Byrne, whose original “Burning Down the House” peaked at No. 9 back in ’83, it’s a chance to remind everyone why Talking Heads remain required listening. For Rodrigo? Well, between prepping for her Glastonbury 2025 headline slot and gearing up for Lollapalooza, she’s proving she’s got more than a few tricks up her sparkly sleeve.

One Instagram user summed up the whole affair perfectly: “What I imagine dancing in my underwear with my dad would be like.” Awkward? Maybe. Memorable? Absolutely. But isn’t that exactly what great festival moments are made of?

In an age where everything feels calculated and focus-grouped to death, there’s something refreshingly genuine about watching two artists from different worlds find common ground — even if some fans needed a minute to catch up. Now that’s what you call burning down the house.

Hollywood lost one of its most intriguing bridge-builders last week — Pippa Scott, whose remarkable 90-year journey from industry royalty to humanitarian champion ended peacefully in her Santa Monica home. Scott’s May 2nd passing from congenital heart failure closes a chapter that spanned entertainment’s most transformative decades.

Born November 10, 1934, Scott’s Hollywood DNA ran deep. Her father, Allan Scott, gave us those impossibly elegant Fred Astaire-Ginger Rogers collaborations “Top Hat” and “Swing Time” — pure magic captured in black and white. Then there’s her uncle Adrian Scott, whose membership in the Hollywood Ten during the McCarthy witch hunts reminds us that show business wasn’t always about the glamour.

Here’s where it gets interesting — Scott didn’t exactly follow the typical starlet playbook. Rather than rushing straight to the bright lights, she first pursued landscape architecture at Cal Poly. (Imagine trading potential movie sets for actual garden plots.) But the stage eventually won out, leading her to London’s Royal Academy of Dramatic Art, where that initial creative detour probably added layers to her later performances.

1956 turned out to be quite the year. Scott burst onto the scene with a double-whammy that most actors can only dream about: snagging a Theatre World Award for her Broadway debut in “Child of Fortune” while simultaneously appearing alongside John Wayne and Natalie Wood in John Ford’s masterpiece “The Searchers.” Not too shabby for a rookie year.

Her career rolled on with the kind of variety that would make modern actors envious. There she was in “Auntie Mame,” winning hearts as Pegeen, the secretary who catches Patrick Dennis’s eye. Later came edgier fare like Richard Lester’s “Petulia” and Norman Lear’s satirical “Cold Turkey” — Scott clearly wasn’t afraid to evolve with the times.

Television viewers in the ’60s and ’70s couldn’t miss her. That “Twilight Zone” episode (“The Trouble With Templeton”) still holds up beautifully today, while her appearances on everything from “Perry Mason” to “The Mary Tyler Moore Show” showcased her adaptability. She had that rare gift of feeling both familiar and fresh each time she appeared on screen.

The off-camera story proved equally compelling. Her marriage to Lee Rich in 1964 (the future founder of Lorimar Productions) added another fascinating layer to her industry connections. Though they divorced in 1983, something drew them back together in 1996 — they remained partners until Rich’s passing in 2012. Sometimes the best stories don’t follow a straight line.

But perhaps Scott’s most profound work came later, when she founded The International Monitor Institute in 1993. Trading spotlights for purpose, she dedicated herself to gathering evidence for war crimes prosecution across global conflict zones. From the Balkans to Rwanda, Sierra Leone to Cambodia — Scott proved that second acts in American lives can actually change the world.

Her final on-screen appearance (in 2011’s “Footprints”) marked the end of her performing career, but hardly the end of her impact. Scott leaves behind daughters Jessica and Miranda, five grandchildren, and a legacy that reminds us how art and activism can intertwine beautifully when guided by genuine passion.

In today’s era of carefully curated celebrity, Pippa Scott’s authenticity feels almost revolutionary. She understood that influence comes with responsibility — and she wielded both with remarkable grace.

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.