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The Eurovision Song Contest faces its most dramatic upheaval in decades as European broadcasters take an unprecedented stand against Israel’s participation amid the ongoing Gaza conflict. What started as a whisper of protest has erupted into a full-throated chorus of dissent, with Ireland’s RTÉ leading a potential exodus that could reshape the beloved competition’s future.

RTÉ’s bombshell announcement — they won’t participate in 2026 if Israel takes part — has sent shockwaves through the Eurovision community. The typically festive atmosphere surrounding Europe’s grandest musical spectacle has given way to somber reflection and mounting tension.

“We haven’t ever seen anything like this,” remarks Eurovision historian Dr. Dean Vuletic, his words carrying the weight of decades of contest knowledge. The situation’s gravity becomes apparent as broadcasters from the Netherlands, Spain, Slovenia, and Iceland contemplate similar moves — though some remain hesitant to show their cards just yet.

RTÉ’s statement pulls no punches. Their position centers on what they describe as the “unconscionable” situation in Gaza, with particular emphasis on the targeting of journalists and restrictions on press access. It’s worth noting that Eurovision has weathered political storms before — but nothing quite like this.

Phil Coulter, the legendary Derry songwriter (and let’s not forget, the pen behind the UK’s 1967 winner “Puppet on a String”), didn’t mince words when speaking to BBC Radio Ulster. “Musicians, songwriters and performers are human beings with consciences,” he declared, throwing his considerable influence behind RTÉ’s stance. His call for the UK to follow suit adds another layer of complexity to an already thorny situation.

The European Broadcasting Union now finds itself in quite the pickle. Their July General Assembly — typically a rather mundane affair — transformed into a heated forum for debate. The organization’s decision to waive withdrawal penalties until December speaks volumes about their recognition of the crisis at hand.

Come to think of it, it’s rather ironic that a contest born from the ashes of post-war Europe as a celebration of unity now faces division over another conflict. The situation poses an existential question for Eurovision: can Europe’s most-watched non-sporting event maintain its apolitical stance in an increasingly politicized world?

As December’s deadline looms, broadcasters across Europe are faced with a choice that goes beyond mere participation in a song contest. It’s become a matter of conscience, principles, and the role of cultural events in times of crisis. Whatever happens, Eurovision 2026 will likely look quite different from what anyone might have expected just a few months ago.

Love finds a way to shine, even after a tough loss. Just ask Taylor Swift and Travis Kelce, who turned what could have been a gloomy Sunday evening into a heartwarming celebration at Kansas City’s buzzed-about restaurant, 1587 Prime.

The newly-engaged pair — whose August announcement sent social media into an absolute tizzy — weren’t about to let the Chiefs’ narrow 20-17 defeat to the Eagles dampen their spirits. Instead, they joined quarterback Patrick Mahomes and his wife Brittany for an intimate birthday gathering that proved sometimes the best plays happen off the field.

Swift, who’s mastered the art of dinner party chic, showed up in a head-turning Simkhai ensemble. The taupe and brown plaid two-piece set? Perfection. Those Gucci platform pumps and that vintage-inspired Chanel beaded necklace? Chef’s kiss. Meanwhile, Kelce kept it classic-with-a-twist in Thom Browne suit shorts (because who says you can’t rock shorts in January?) and a crisp white shirt that probably cost more than most people’s monthly rent.

The evening took an especially sweet turn when country star Kane Brown and his wife Katelyn Jae Brown joined the festivities. Brown couldn’t resist sharing a snap of the group on the restaurant’s grand staircase — and his caption spilled some serious tea about the couple’s private world. “Happy birthday Pat & congrats TT❤️ thanks for hosting us Britt 🙏🏽” he wrote, finally confirming what Swifties had been theorizing about for months: yes, she calls him TT.

Speaking of theories… Swift’s arrival at Arrowhead earlier that day had everyone talking. Gone were the much-photographed stadium walks; instead, she opted for a more under-the-radar entrance behind a moving wall, flanked by her mom Andrea and brother Austin. Perhaps she’s taking a page from her own “Anti-Hero” playbook — it’s her, hi, but you might not see her this time.

The whole “cameras everywhere” situation isn’t lost on Swift. Back in her TIME Person of the Year interview (feels like yesterday, doesn’t it?), she got real about the constant surveillance: “I don’t know how they know what suite I’m in. There’s a camera, like, a half-mile away, and you have no idea when the camera is putting you in the broadcast.” Fair point, considering the NFL’s 2025 season has basically become a Taylor Swift watch party with some football mixed in.

But let’s circle back to that engagement announcement — because honestly? It was peak them. “Your English teacher and your gym teacher are getting married 🧨,” Swift posted, with “So High School” playing in the background. The track, which dropped with her surprise 2024 album, had fans connecting the dots to Kelce faster than you can say “touchdown.”

As the night wrapped up with Mahomes making his birthday wish (probably for another Super Bowl ring, let’s be real), something became crystal clear: This wasn’t just another celeb hangout. It was a glimpse into how Swift and Kelce have created their own playbook for fame — one where stadium anthems and end zone celebrations dance together in perfect harmony.

In a world where most celebrity relationships feel about as authentic as a three-dollar bill, Swift and Kelce keep proving that sometimes the best stories write themselves. No PR stunts needed — just two people who happened to find their perfect match somewhere between “Shake It Off” and “Fourth & Long.”

Hollywood’s biggest night in television proved that even the most meticulously planned ceremonies can’t escape life’s peculiar twists. The 2025 Emmy Awards delivered more than just golden statuettes — it served up a fascinating cocktail of historic firsts, bittersweet farewells, and one particularly swollen eye.

Stephen Colbert finally broke his Emmy drought. After nine years of watching the outstanding talk series award slip through his fingers, “The Late Show” claimed its victory — though the triumph carries a hint of irony. With the show wrapping up in May (thanks to those ever-mysterious “financial considerations” from Paramount), Colbert’s win feels like television’s equivalent of a goodbye kiss.

Never one to waste a moment in the spotlight, Colbert took to the stage with that trademark blend of wit and gravitas that’s made him a late-night fixture. “I have never loved my country more desperately,” he declared, managing to pack volumes of commentary into a single line. Between his recent jabs at Paramount’s $16 million Trump settlement and a touching tribute to his late executive assistant Amy Cole, the speech hit notes both political and deeply personal.

The night’s breakout star? “Adolescence” swept through the ceremony like a hurricane, snagging six awards and making history with Owen Cooper’s win. The fresh-faced actor now holds the distinction of being the youngest male recipient in any acting category — not bad for someone who was probably doing algebra homework this time last year.

Meanwhile, “The Studio” continued its remarkable victory lap, adding four more trophies to its already impressive haul of nine Creative Arts Emmys. At this point, they might need to build a separate wing just to house their collection.

The red carpet delivered its usual parade of sartorial statements. Sydney Sweeney commanded attention in red satin, while Jenna Ortega’s jewel-encrusted naked dress had fashion critics reaching for their thesauruses. But one familiar face was conspicuously absent from the festivities — Sofía Vergara found herself trading designer gowns for a hospital gown. The “Modern Family” star’s Instagram post from the ER (“Didn’t make it to the Emmys but made it to the ER”) offered a reminder that even Hollywood’s elite aren’t immune to life’s more mundane emergencies.

Beyond the glitz and glamour, the ceremony became a platform for broader statements. Hannah Einbinder joined the growing chorus of voices calling for an Israel-Hamas ceasefire, while Britt Lower’s acceptance speech channeled her “Severance” character Helly — because why settle for reality when you can blur the lines between fiction and… whatever that show is about?

As streaming wars rage on and corporate mergers reshape the landscape, this year’s Emmy Awards captured an industry in flux. Between Colbert’s imminent departure (which nobody really believes is “purely financial”) and the record-breaking achievements of new series, television’s biggest night reflected both the medium’s creative heights and its behind-the-scenes tensions.

Perhaps that’s what makes these ceremonies worth watching — they’re not just about celebrating achievement, but about witnessing an industry’s evolution in real-time. Though sometimes, as Sofía Vergara proved, life has other plans.

America’s political landscape shifted irreversibly last week with Charlie Kirk’s assassination — a stark reminder that violent rhetoric has finally crossed the line from angry tweets to deadly reality. The murder of the conservative activist hasn’t just dominated headlines; it’s ripped open wounds that many hoped would heal after the tumultuous election cycles of the past decade.

The response? Well, that’s where things get truly disturbing.

Across social media platforms and workplace break rooms, celebrations of Kirk’s death have emerged from the darker corners of American society. These aren’t just anonymous trolls hiding behind keyboards — they’re our coworkers, neighbors, and (until recently) trusted professionals. Jesse Watters put it bluntly on his prime-time Fox News slot: “These sadists are walking among us.” Hard to argue with that assessment, considering what’s unfolded.

Take Office Depot’s recent PR nightmare. A store employee refused to print posters for Kirk’s vigil — seemingly a small act of defiance that snowballed into national news. Then there’s the Secret Service agent — yeah, you read that right — placed on administrative leave for celebrating the very kind of violence they’re sworn to prevent. The Washington Post didn’t hesitate to show columnist Karen Attiah the door after her controversial take suggesting America’s violence problem stems from “white men who espouse hatred.”

Vice President J.D. Vance, speaking on what used to be Kirk’s show (god, that feels weird to write), didn’t mince words. “This is not a both sides problem,” he declared, pointing to a pattern of left-wing violence that’s become impossible to ignore. From the attempted hit on Trump to the Scalise shooting, the evidence keeps piling up.

But hang on — there’s a glimmer of hope in this mess.

Utah Governor Spencer Cox’s “Disagree Better” initiative seems almost prophetic now. Launched just months before Kirk’s death, it’s gained surprising traction across party lines. The program’s push for “healthier dialogue” might sound quaint given recent events, but maybe that’s exactly what we need in 2025.

Jesse Watters, though, isn’t buying the kumbaya approach. “We will not work with people who glorify assassinations,” he declared, advocating for complete social ostracism of violence-celebrators. It’s a stance that’s gained traction, especially after religious leaders like Pastor Frederick D. Haynes sparked outrage by dismissing comparisons between Kirk and MLK.

Here’s the thing — when political assassination generates anything but universal horror, something’s fundamentally broken in our social fabric. The response to Kirk’s death has become a sort of national Rorschach test, revealing more about ourselves than we might care to admit.

So where does America go from here? Cox’s “Disagree Better” approach offers one path forward. Others suggest a more dramatic solution: complete separation from those who celebrate political violence. Either way, the next few months will likely determine whether 2025 becomes the year America began to heal — or the year it finally broke apart for good.

Hollywood’s biggest small-screen celebration served up quite the spectacle at last night’s 77th Emmy Awards. Between the predictable wins and those delicious “did-that-just-happen” moments, the ceremony proved that even in 2025’s fractured entertainment landscape, television can still command our collective attention.

Let’s talk about the elephant in the burnt orange suit. Seth Rogen – whose wardrobe choice looked like a dare gone terribly right – dominated the evening in spectacular fashion. “The Studio” swept through the ceremony like a perfectly produced tsunami, collecting an almost embarrassing 13 Emmy wins. Rogen’s own four-trophy haul matched the record for individual wins in a single night, though his “legitimately embarrassed” acceptance speeches grew endearingly more awkward with each trip to the podium.

But the real story? That would be young Owen Cooper.

At just 15, the British newcomer became the youngest male winner in Emmy history for his raw, haunting work in Netflix’s “Adolescence.” Watching this kid – who probably had to Google half the nominees in his category – outshine veterans like Javier Bardem and Peter Sarsgaard felt like witnessing television history in real time. His acceptance speech? Pure gold: “Tonight proves if you listen, you focus and you step out of your comfort zone, you can achieve anything in life. I was nothing three years ago. I’m here now.” Not bad for someone who probably still has algebra homework due tomorrow.

Speaking of making history – Tramell Tillman’s victory as best supporting actor for “Severance” broke new ground as the first Black actor to claim the category. His tribute to his mother (who doubled as his first acting coach) reminded everyone why representation matters. “You remember what you want to remember. You make time for what you want to make for. Do the work. Show up.” Words to live by, delivered with the gravitas they deserved.

In a twist worthy of premium cable drama, Stephen Colbert turned his “Late Show” win into performance art. Fresh off CBS’s shocking cancellation announcement (still processing that one), Colbert weaponized his presenter slot into an impromptu job hunt. “While I have your attention, is anyone hiring?” he quipped, headshot in hand. “Because I’ve got 200 very well-qualified candidates with me here tonight.” The standing ovation? Well-earned.

Noah Wyle’s win for “The Pitt” reads like a Hollywood screenplay – former “ER” doc finally snags an Emmy for playing… another doc. Fifth time’s the charm, apparently. His gracious nod to real-life healthcare workers hit differently in post-pandemic 2025: “To anybody who’s going on shift tonight or coming off shift tonight, thank you for being in that job. This is for you.”

The evening wasn’t completely devoid of politics – though mercifully, the speeches stayed more focused on art than activism. Javier Bardem’s silent kaffiyeh statement and Hannah Einbinder’s passionate acceptance speech provided just enough spark without igniting a full-blown Twitter storm (or whatever we’re calling X these days).

Host Nate Bargatze’s inspired charity gambit deserves its own Emmy. Pledging $100k to the Boys & Girls Clubs of America – with a $1,000 penalty for every second winners ran over their allotted speech time? Genius. The resulting speed-talking marathon somehow managed to raise $350,000. Who says guilt can’t be productive?

The in memoriam segment hit differently this year. Phylicia Rashad’s introduction, honoring her TV son Malcolm Jamal Warner, set the tone for a particularly poignant farewell. Lainey Wilson and Vince Gill’s rendition of “Go Rest High on That Mountain” provided the perfect backdrop for remembering those we’ve lost – though the notable absences of Hulk Hogan and Polly Holliday raised more than a few eyebrows.

As the dust settles on another Emmy Awards, one truth remains crystal clear: whether through Seth Rogen’s industry-skewering satire or Owen Cooper’s gut-punch performances, great storytelling still cuts through the noise. In an era where streaming platforms multiply faster than subscription fees, that’s something worth celebrating. Now, about that orange suit…

Hollywood’s glitziest night of television just proved, yet again, why we can’t look away from our screens. The 2025 Emmy Awards served up a delicious cocktail of raw emotion and pure glamour that had even the most hardened industry veterans reaching for their tissues.

Let’s talk about Stephen Graham’s moment. The “Adolescence” star — Netflix’s latest crown jewel — didn’t just accept an Emmy; he shattered the typical awards show veneer into a million glittering pieces. “This kind of thing doesn’t normally happen to a kid like me,” he managed through tears, and suddenly the Peacock Theater fell so silent you could hear a sequin drop.

His tribute to wife Hannah Walters? Pure gold, darlings. “You are my rock, you are my world” — the kind of raw confession that makes even us jaded entertainment columnists remember why we fell in love with this crazy business in the first place.

Meanwhile, Colin Farrell (looking devastatingly handsome in Tom Ford, naturally) caused quite the stir by bringing his teenage son Henry as his plus-one. The internet practically combusted at the sight of young Henry towering over his famous father — and honestly, when did that happen? Weren’t we just watching Colin in “Phone Booth” like, yesterday?

But while Tinseltown basked in its moment of glory, across the pond, Eurovision’s facing the kind of drama that no power ballad can fix. The 2026 contest is teetering on the brink of crisis as multiple countries — including Ireland, Netherlands, Slovenia, Iceland, and Spain — are threatening to pull out if Israel stays in. Talk about a plot twist nobody saw coming.

Ireland’s RTÉ didn’t bother sugar-coating their stance. “Unconscionable” was the word they used, citing the devastating situation in Gaza. The European Broadcasting Union’s trying to navigate this mess with all the grace of a contestant attempting a mid-song costume change.

The irony of Israel’s 2025 runner-up entry “New Day Will Rise” feels almost too on-the-nose now. Eurovision’s director Martin Green’s diplomatic dance around the issue would probably score well with the judges, but the December deadline’s looming like a forgotten key change.

Who’d have thought that in 2025, we’d be watching sequins and geopolitics clash on the same stage? Then again, perhaps that’s always been showbiz’s secret sauce — serving up escapism with a side of reality check.

“Wicked: For Good” director Jon M. Chu recently shared some fascinating behind-the-scenes insights about those two new songs everyone’s been buzzing about. And here’s the thing — he wasn’t initially sold on the idea.

The revelation comes as we’re heading into the home stretch before the November release (mark your calendars for the 21st, fellow musical lovers). Chu’s candor about the creative process feels refreshingly honest in an era where Hollywood tends to play things close to the vest. “Even after we recorded them, even after we put them in the movie, we kicked the tires on them,” he admitted, showing a dedication to authenticity that’s becoming increasingly rare in big-budget productions.

Let’s put this in perspective. The first “Wicked” film absolutely crushed it at the box office — we’re talking $750 million globally. That kind of success usually leads to playing it safe with sequels, but Chu and his team clearly had other ideas.

The new musical numbers aren’t just there to pad the runtime or chase Oscar glory (though don’t be surprised if they end up in that conversation come awards season 2025). One of them, co-written by Cynthia Erivo herself, apparently left the entire cast and crew in tears during filming. Though Erivo, in characteristic humility, wondered if everyone was “just emotional that day.” Sure, Cynthia — whatever helps you sleep at night.

What’s particularly striking about these additions is how they tackle the concept of “home” — a theme that’s always been woven into the fabric of Oz stories, but perhaps never quite like this. The songs dig into questions that feel eerily relevant to our current moment: What happens when the place you’ve been fighting for doesn’t want you back? When does a dream become a dead end?

Chu made another gutsy call by reuniting our favorite witches — Erivo’s Elphaba and Ariana Grande’s Glinda — earlier than the stage version does. His reasoning? “It’s the girls, stupid!” (Sometimes the simplest answers are the best ones, aren’t they?)

The new song for Glinda, titled “Girl in the Bubble,” seems particularly intriguing. It’s about confronting privilege and, well, popping one’s own bubble — metaphorically speaking. Meanwhile, Elphaba’s number explores the lonely side of self-discovery. As Chu puts it, “She’s now surrendered to who she is… But she did not realize how lonely it would be to become who you are meant to be.” That’s the kind of universal truth that hits right in the feels.

Perhaps most telling is Chu’s summation of the sequel’s theme: “If Part 1 is about choices, Part 2 is about consequences.” In a world where consequences seem increasingly optional, there’s something oddly refreshing about that premise.

The November release can’t come soon enough. Until then, we’ll just have to speculate about these new songs — and maybe practice our own witch cackling, just to be ready.

YouTube Music’s latest experiment might have users humming a different tune — and not necessarily a happy one. The streaming platform has quietly begun testing a rather controversial move: putting song lyrics behind a premium paywall. After just three peeks at those sweet, sweet lyrics, free users are now getting nudged toward that “upgrade to Premium” button.

The story broke when a Reddit user (aren’t they always the first to spot these things?) shared their encounter with a pop-up that basically said, “Want to keep singing along? Time to pay up!” It’s the kind of move that makes you wonder if someone in YouTube’s strategy department has been taking notes from those subscription-hungry streaming services we’ve all come to know — and occasionally roll our eyes at.

Let’s be real for a moment. YouTube Music isn’t exactly the Beyoncé of streaming services, but it’s been steadily climbing the charts, so to speak. Their clever bundling with YouTube Premium has been a pretty sweet deal for folks who want their music with a side of ad-free cat videos. But this lyrics paywall? That’s hitting a different note entirely.

Here’s where things get interesting — and a bit déjà vu-ish. Spotify tried pulling this same move back in the day, and it went about as well as a kazoo solo at a classical concert. The backlash was fierce enough to make them backpedal faster than a cyclist who just spotted a bear.

“The audacity of YouTube when people can just Google lyrics for free,” one Redditor pointed out, and honestly? Fair point. In 2025, when you can ask your smart fridge to tell you the words to “Bohemian Rhapsody,” this kind of restriction feels a bit… outdated.

But hold up — not everyone’s singing the same tune of discontent. Some users are actually shrugging it off, suggesting that having lyrics right there in your music app is a legitimate premium feature. After all, convenience does count for something, right?

Behind the scenes, there’s probably more to this story. Those lyrics don’t magically appear in streaming apps — companies like LyricFind and MusixMatch need their slice of the pie. And in today’s economy, every streaming service is trying to figure out how to keep the lights on without driving away users.

For now, YouTube Music seems to be taking baby steps with this feature, testing the waters like a cautious swimmer at a pool party. Many users haven’t seen any changes yet, suggesting this might be more of a trial balloon than a full-scale revolution.

The bigger picture here is fascinating. Streaming services are doing this delicate dance between giving away the store and actually turning a profit. It’s like trying to nail that perfect karaoke performance — too aggressive and you’ll clear the room, too timid and nobody notices you’re there.

Will YouTube Music stick to their guns or pull a Spotify and reverse course? That’s the million-dollar question (or should we say, the price of a Premium subscription?). One thing’s crystal clear — in the streaming world’s ongoing talent show, every feature matters, and one wrong move could send your audience reaching for the next act.

The Digital Assault: How Autoplay Became the Internet’s Most Persistent Pest

Remember the good old days when videos stayed put until you pressed play? Those times feel as distant as dial-up internet now. In today’s digital landscape, autoplay has morphed into the web’s equivalent of that overeager party guest who just won’t take the hint to leave.

Tech giants love to frame autoplay as a “feature” that enhances user experience. Right. And pop-up ads were just trying to make browsing more interactive. The truth? It’s all about those sweet, sweet engagement metrics that keep advertisers throwing money at platforms faster than Silicon Valley can coin new buzzwords.

But here’s where things get interesting.

These digital overlords have begrudgingly started offering escape hatches from their perpetual motion machines. Though finding these settings often requires the determination of a digital archaeologist and the patience of a zen master. It’s almost as if these options were deliberately buried under layers of menu options designed by someone who thinks “user-friendly” means “good luck finding it, sucker.”

Take Facebook’s approach to video control. While they’ve made it clear they’re about as likely to remove autoplay as Mark Zuckerberg is to start wearing colorful shirts, they’ve tucked away an off switch in their settings – somewhere between “Advanced Quantum Physics” and “Things We Hope You Never Find.”

Browser makers, surprisingly, have emerged as unlikely heroes in this saga. Firefox leads the charge with robust autoplay blocking, while Chrome at least offers the digital equivalent of a mute button. Safari users can shut down autoplay entirely, which feels like stumbling upon a cheat code in this endless game of digital whack-a-mole.

Meanwhile, Instagram and TikTok – those algorithmic attention merchants – remain steadfastly committed to their autoplay philosophy. The best they offer is a “data-saving” option, which is about as helpful as a screen door on a submarine. Sure, the videos will load more slowly, but they’re still coming whether you want them or not.

Netflix presents its own peculiar puzzle. Despite being sophisticated enough to predict your next binge-watch with unsettling accuracy, they require a journey through their browser-based settings to disable autoplay. It’s 2025, and somehow this streaming pioneer still can’t figure out how to add this option to their mobile app. Makes you wonder if they’re being deliberately obtuse or just enjoying the show.

For those brave souls ready to reclaim their viewing autonomy, here’s the deal: every platform has its own Byzantine path to freedom. Chrome users must navigate through more menus than a Russian nesting doll. Firefox keeps it relatively straightforward, while Edge splits the difference with their “Limit” option – a classic Microsoft compromise if there ever was one.

Social media platforms? They’re playing their own game of hide-and-seek with these settings. X (formerly Twitter, formerly a coherent platform) buries autoplay controls deep within accessibility settings, while Facebook’s control panel feels like it was designed by someone who really enjoys escape rooms.

What’s particularly fascinating about this digital tug-of-war is how it reflects broader tensions in our online existence. The mere presence of these off switches – however well-concealed – represents a small victory for user choice in an ecosystem increasingly designed to maximize “engagement” at all costs.

The whole situation drips with irony. In our quest for entertainment and connection, we’ve created platforms that seem pathologically incapable of leaving us alone. It’s the defining paradox of our digital age – the constant need to opt out of being opted in.

For now, the power to control our viewing experience exists, even if finding it requires the skills of a digital detective. Perhaps that’s the most telling commentary on our current technological moment: sometimes the most valuable feature isn’t what technology can do, but what we can prevent it from doing.

And isn’t that just the way things go in our brave new digital world?

Hollywood’s glossy facade rarely cracks to reveal genuine moments of parental wisdom. Yet there’s something remarkably different about the recent sit-down between Julia Roberts and George Clooney in 72 Magazine’s debut issue. Perhaps it’s the way they slouch comfortably in their chairs, or how their laughter punctuates even the serious moments — but this isn’t your typical celebrity puff piece.

The conversation meanders naturally, touching on everything from their kids’ latest adventures to the peculiar challenge of explaining fame to an 8-year-old. “My friend’s mom said you’re famous,” Clooney’s son had announced one day. The actor’s response? Classic Clooney: “Well, tell her I’m very famous!”

Between sips of what’s probably ridiculously expensive coffee (though neither star mentions it), Roberts and Clooney navigate the tricky waters of raising kids in the spotlight. Their chat feels worlds away from those stiff, staged White House photos of yesteryear — you know, the ones where Elvis awkwardly posed with Nixon, both looking like they’d rather be anywhere else.

Roberts, whose twins Hazel and Phinnaeus just hit 20 (feel old yet?), drops what might be the most refreshing parenting advice heard from a celebrity in ages. “Do not be afraid,” she says, leaning forward. “They don’t wake up as monsters one day. They don’t turn 13 and hate you. They don’t turn 16 and hate you. You just have to hang in there and things shift and then the boat rights itself again.”

The timing of this conversation feels particularly relevant as we head into 2025, when social media’s grip on celebrity culture seems tighter than ever. Gone are the days when stars could simply avoid the paparazzi by ducking into their favorite restaurant’s back door. Now, every parent with a smartphone is potentially documenting their kids’ brush with fame.

Roberts — who’s generating Oscar buzz for her upcoming psychological drama “After the Hunt” — seems more invested in discussing her role as a mother than her latest screen performance. “It’s such a magnificent thing to be part of this family,” she reflects, and you can almost hear the pride drowning out two decades’ worth of Academy Award applause.

Their conversation drifts between light-hearted moments and deeper reflections, much like any chat between old friends who happen to have five kids between them. The authenticity hits harder when you remember these are two people who’ve weathered every Hollywood storm imaginable since the ’90s.

Sometimes, the most profound truths come wrapped in the simplest packages. As Roberts and Clooney demonstrate, maybe the secret to celebrity parenting isn’t so different from regular parenting after all — it just comes with a few more cameras and considerably more expensive coffee.