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

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

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

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

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

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

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

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

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

The Great American Divide: When The Boss Met The Donald

Remember when music was just… music? Those days feel increasingly distant as 2025 unfolds, with the latest cultural clash between Bruce Springsteen and Donald Trump forcing Americans to wrestle with an uncomfortable question: Must we really choose between our playlist and our politics?

The spark that lit this particular powder keg came during Springsteen’s European tour opener. The Boss — never one to mince words — declared Trump “unfit” for office. Trump’s response? Classic Trump: he dismissed Springsteen as a “dried out ‘prune’ of a rocker.” Social media exploded (naturally), but something unexpected happened next.

Republicans didn’t exactly rush to pick sides.

Take Chris Pack, for instance. His office wall tells an interesting story — Springsteen’s “Darkness on the Edge of Town” lyrics hang right next to photos of Republican heavyweights. “These amazing life lessons aren’t Democratic or Republican lessons,” Pack explains. “They’re just lessons.” It’s a sentiment that’s surprisingly common in Washington these days, where plenty of Republican staffers still blast “Born to Run” through their AirPods — they’re just a bit quieter about it now.

Chris Christie — who’s weathered his fair share of Trump’s verbal storms — stands out as Springsteen’s most vocal Republican defender. “The politics, if I take some hits — and I do take some hits — that’s fine,” Christie maintains. Coming from a former presidential candidate, that’s saying something.

But here’s where things get really interesting.

Country star Eric Church, who witnessed Springsteen’s controversial remarks in Manchester, offered perhaps the most clear-eyed take yet. “I respect the hell out of somebody having the balls to do something like that,” he told Rolling Stone. Church went further, suggesting the moment actually enhanced the show: “You could tell he wanted to get something off his chest… and the show was fantastic.”

Back in Springsteen’s hometown of Freehold, New Jersey, the story hits differently. Mike Marinella, speaking for the National Republican Congressional Committee (and proud Freehold native), puts it simply: “Freehold loves Bruce for the art, not the politics.” Though tellingly, New Jersey’s Republican congressional delegation has maintained radio silence on the whole affair — proving Governor Phil Murphy’s point that “if you want to win an election in this state, you don’t criticize The Boss.”

There’s a certain irony here that can’t be ignored. Many of the working-class heroes Springsteen immortalized in songs like “The River” and “My Hometown” have shifted their political allegiances toward Trump’s vision of the Republican Party. It’s a transformation that speaks volumes about the evolving American experience — and the growing disconnect between artistic inspiration and political reality.

As winter 2025 settles in, perhaps the most revealing aspect of this cultural moment isn’t the conflict itself, but what it says about American exhaustion with constant political litmus tests. Eric Church captures this perfectly: “Most Americans go back and forth. I change my mind all the damn time.” In an age of entrenched positions, such honesty feels almost revolutionary.

Sometimes a song is just a song. And sometimes — just maybe — it’s okay to let the music play without checking your voter registration first.

Wu-Tang Clan’s return to gaming isn’t just unexpected—it’s downright revolutionary. After a 25-year absence from the medium, hip-hop’s most mythological collective is about to flip the script on how music and gaming intersect. Their new project, Wu-Tang: Rise of the Deceiver, dropped like a bomb at Summer Game Fest 2025, and honestly? It’s about damn time.

Remember Wu-Tang: Shaolin Style from ’99? Yeah, that was back when we thought Y2K might end civilization and The Matrix had us all questioning reality. Fast forward to now, and the Clan isn’t just slapping their name on some half-baked tie-in. They’re cooking up something that feels more like a fever dream pulled straight from RZA’s personal kung-fu film vault.

Rise of the Deceiver throws three players into surreal dreamscapes that’d make Salvador Dalí do a double-take. Players channel mystical powers inherited from the Wu themselves—think supernatural thriller meets hip-hop mythology, with a healthy dose of straight-up weirdness thrown in for good measure.

Here’s where things get interesting. Ghostface Killah recently spilled some tea about the game’s connection to his upcoming film, Angel of Dust. “This ain’t just some game,” he explained during the reveal. “We’re building a whole universe here.” The game serves as both companion piece and expansion to RZA’s upcoming directorial venture, weaving a tapestry of supernatural storytelling that’s uniquely Wu.

But let’s talk about that soundtrack system—because holy hell, Brass Lion Entertainment hasn’t just raised the bar; they’ve basically launched it into orbit. Gone are the days of static background tracks. Instead, we’re getting this wild dynamic system that morphs with your gameplay. Picture “C.R.E.A.M.” transforming into some epic orchestral piece while you’re laying down combos. That’s not just innovative; that’s next-level stuff.

The development team—53 strong and scattered across North America—has been quietly grinding since 2019. Their mantra? “Do it for the culture.” It shows in everything from the combat system to these things called “Jewels” that let players customize their fighting style and drip. Because let’s be real—if you’re repping Wu-Tang, you better come correct with the aesthetics.

Writer Evan Narcisse gets it. “The Wu Tang Clan are larger than life,” he says, and that’s exactly how the game treats them. This isn’t just some celebrity cash grab—it’s treating Wu-Tang’s mythology with the same reverence usually reserved for ancient legends or folklore. And in 2025’s gaming landscape, that kind of authentic cultural representation hits different.

Brass Lion’s approach feels like a breath of fresh air in an industry that sometimes struggles with cultural authenticity. Their motto—”Dope entertainment. All Culture. No Vulture.”—isn’t just clever marketing. It’s practically tattooed into the game’s DNA.

No firm release date yet, but PC and console players can already wishlist this beast on Steam and Epic. Meanwhile, might be worth dusting off that old PlayStation and copy of Shaolin Style—you know, for research purposes.

Some moments in sports transcend the game itself. Last night in Indianapolis, Tyrese Haliburton authored one of those moments.

Down to the wire, clock showing a mere 0.3 seconds, Haliburton launched what looked like an impossible prayer from deep. The shot — hanging in the air for what felt like an eternity — found nothing but net, giving the Pacers their first lead of the night and an improbable 111-110 victory over Oklahoma City in Game 1 of the NBA Finals.

Let that sink in for a second. These Pacers, who’d been trailing by nine with three minutes left (the kind of deficit that usually sends fans scrambling for their car keys), pulled off yet another miracle finish. At this point, maybe we shouldn’t even call them miracles anymore — they’re becoming something of a habit in Indianapolis.

Thunder coach Mark Daigneault’s postgame comments captured the bewilderment perfectly. “Credit them,” he managed, looking like a man who’d just seen a ghost. “They’ve had so many games like that… they just play with a great spirit and keep coming, they keep playing.” Yeah, they sure do.

The timing couldn’t be sweeter for Indianapolis basketball fans. While Haliburton’s creating magic on the NBA hardwood, the city’s newest basketball sensation — WNBA rookie Caitlin Clark — is getting ready to make her own mark. Their budding friendship has become something of a subplot in this wild season, with Haliburton gushing about Clark’s game and character whenever the topic comes up.

“Getting to actually spend time around her, be around her, get to know her personally — she’s just an amazing person and amazing player,” Haliburton shared recently, his enthusiasm genuine and unscripted.

The game itself? Pure chaos in the best possible way. Shai Gilgeous-Alexander went absolutely bonkers for OKC, dropping 38 points on 30 shots — the kind of performance that usually leads SportsCenter. But these aren’t your typical Pacers, are they?

(And yeah, Bill Simmons somehow managed to connect this to Nikola Jokic’s earlier playoff showing against the Thunder. Classic Bill, making connections where none exist — though Zach Lowe was quick to pump the brakes on that particular hot take.)

What’s happening in Indianapolis right now feels bigger than basketball. It’s about a city rediscovering its hoops identity through two young stars who represent everything that’s exciting about the sport’s future. Haliburton’s game-winner wasn’t just a shot — it was a statement about where basketball in the Circle City is headed.

Sunday’s Game 2 looms large, with the Thunder looking to even things up at home. But for now? Indianapolis can bask in this moment. Sometimes sports stories write themselves, and this one’s starting to feel like a bestseller in the making.

Hollywood’s about to serve up a double dose of must-watch entertainment this weekend, darlings — and trust me, you won’t know where to look first.

In an absolutely delicious twist of timing, George Clooney’s bringing Broadway to the masses while Marvel’s dropping breadcrumbs about their newest cinematic feast. Talk about an embarrassment of riches for entertainment lovers, right?

Let’s dish about Clooney first. The silver fox (who’s apparently ready to embrace his natural gray — more on that later) is making television history this Saturday with the first-ever live broadcast of a Broadway play on CNN. His production of “Good Night, and Good Luck” at the Winter Garden Theatre isn’t just breaking box office records for the Shubert Organization — it’s about to shatter the fourth wall in spectacular fashion.

Twenty-one cameras, cleverly hidden among the theater’s speakers and monitors, will capture every nuanced performance, every subtle gesture. But don’t expect some garish television spectacle. “We’re not re-blocking the play,” Clooney insists, with that trademark charm that’s had us wrapped around his finger since his ER days. The goal? Pure theatrical authenticity, beamed straight into living rooms worldwide.

The timing couldn’t be more perfect — or more pointed. As journalism faces its own modern-day McCarthy moments (hello, 2025 election coverage), Clooney’s tribute to Edward R. Murrow feels less like history and more like a crystal ball. “We’ve been afraid before,” he muses, “and we survive these things.” Honey, truer words were never spoken.

Meanwhile, over in the Marvel universe (because apparently one major entertainment earthquake isn’t enough for one weekend), “Fantastic Four: First Steps” is serving up family drama of a different sort. The latest peek at Marvel’s first family — featuring the absolutely divine casting of Pedro Pascal and Vanessa Kirby — has social media practically hyperventilating. And that glimpse of baby Franklin Richards? Well, let’s just say the MCU’s future might need some super-powered diapers.

Anderson Cooper and Pamela Brown are kicking off CNN’s theatrical extravaganza at 6:30 PM ET, with Cooper hosting what promises to be a fascinating post-show deep dive. Though some networks balked at this bold experiment (blame those tedious tariff talks and legal drama), CNN’s taking the plunge — and darling, we’re here for it.

As we watch Hollywood pirouette between honoring its past and charging toward its future, one can’t help but marvel at the industry’s perpetual reinvention. Whether you’re settling in for Clooney’s groundbreaking broadcast or counting down to Marvel’s latest universe-expanding adventure, one thing’s crystal clear: entertainment’s never been more electrifying.

And George? About that gray hair — we can’t wait to see what’s under all that artificial darkness. After all, authenticity never goes out of style.

The curtain has fallen on another star of cinema’s golden age. Enzo Staiola, whose haunting performance in “Bicycle Thieves” captured the raw essence of post-war Italy, passed away June 4th following complications from a fall. He was 85.

Some stories seem too perfectly scripted to be true. Picture this scene: Rome, 1948. A schoolboy trudges home, book bag slung over his shoulder, completely unaware that destiny trails him in a luxury automobile. At the wheel? None other than Vittorio De Sica, the maestro of Italian neorealism, about to discover his next great star.

“This big car kept following me,” Staiola recalled last July, in what would become one of his final interviews. The young boy’s response to fame’s calling proved deliciously contrary to Hollywood convention – he actually snubbed the legendary director, having internalized his mother’s warnings about stranger danger. (One can only imagine De Sica’s face at being told “I don’t feel like talking” by his future leading man.)

“Bicycle Thieves” – or “Ladri di biciclette” for the cinematic purists – didn’t just earn its Honorary Oscar; it revolutionized filmmaking. The deceptively simple tale of a father and son searching for a stolen bicycle through the streets of post-war Rome became a masterclass in storytelling stripped bare of Hollywood artifice. Nearly eight decades later, its influence still echoes through contemporary cinema – just watch any A24 release from the past year.

But here’s where the fairy tale takes an unexpected turn. Despite sharing scenes with luminaries like Humphrey Bogart and Ava Gardner in “The Barefoot Contessa,” Staiola’s most memorable role remained his first. With refreshing candor that would send today’s PR machines into cardiac arrest, he later admitted the golden cage of child stardom felt more like a prison. “In the end, it was a real pain in the ass,” he confessed. “I couldn’t even play with friends – one scratch on my face meant no more movies.”

Talk about a plot twist – our young protagonist traded klieg lights for classroom fluorescents, becoming first a math teacher and later a clerk at a land registry office. In today’s era of endless comebacks and reality show reinventions, such a graceful exit seems almost revolutionary.

As Hollywood grapples with its own identity crisis in 2025 – between AI-generated performances and streaming wars – Staiola’s authentic portrayal of Bruno feels more precious than ever. One fan’s Facebook tribute captured it perfectly: “There was a bit of Bruno in all of us, and with his unwelcome passing, a little piece of our heart also died.”

The final credits may have rolled on Enzo Staiola’s remarkable life, but his contribution to cinema’s golden age remains eternally preserved in crystalline black and white – a testament to the magic that can happen when fate, talent, and a director’s keen eye converge on a Roman street corner.

Talk about unexpected casting choices. Nick Jonas — yes, that Nick Jonas — is stepping into some mighty big platform boots as Paul Stanley in the upcoming KISS biopic “Shout It Out Loud.” The news dropped like a bomb in entertainment circles, leaving fans of both pop and rock scratching their heads, yet somehow nodding in approval.

Let’s be real here. The idea of a former Disney Channel heartthrob portraying one of rock’s most theatrical frontmen might sound like a stretch. But hold that thought.

The STX-backed production, with McG at the helm, aims to capture the gritty essence of KISS’s rise from New York’s concrete jungle to global stardom. And honestly? Jonas might just be the perfect fit. There’s something oddly fitting about a performer who, like Stanley, knows a thing or two about evolving in the spotlight while keeping artistic integrity intact.

The timing couldn’t be more interesting. With production set to kick off either late 2025 or early 2026, the entertainment landscape will likely look quite different — though probably with fewer pyrotechnics than a KISS concert. The involvement of Stanley and Gene Simmons as producers suggests this won’t be just another sanitized rock story. Thank goodness for that.

Here’s where things get really interesting: Jonas plans to handle his own vocals. Bold move, considering Stanley’s voice has been filling arenas since before Jonas was born. But between his Broadway background and that falsetto in “Jealous,” he might actually pull it off. Maybe.

The film promises to dive deep into KISS’s formation and early years — back when four guys from New York decided that rock music needed more makeup and explosions. (Spoiler alert: they weren’t wrong.) This was the era that birthed the blueprint for rock theatrics, though good luck finding any modern acts willing to spit blood on stage.

Meanwhile, the search continues for someone to match Jonas’s star power as Gene Simmons. Finding an actor who can capture that legendary tongue-wagging, fire-breathing persona? Well, that’s gonna be… interesting.

With Darren Lemke’s script and the creative muscle of Universal Music Publishing Group and Pophouse behind it, “Shout It Out Loud” seems poised to break the tired biopic mold. The project’s got all the ingredients for something special — assuming they nail that tricky balance between rock ‘n’ roll grit and comic-book spectacle that made KISS legendary.

Sure beats another cookie-cutter music biopic, doesn’t it? Then again, this is KISS we’re talking about. Subtle was never really their thing — these are guys who literally put their blood into comic books. Sometimes the most unexpected choices turn out to be the best ones. Just ask anyone who thought makeup and rock ‘n’ roll wouldn’t mix.

Trust Talking Heads to flip the script on their 50th anniversary. While most legendary bands might’ve cashed in on that sweet reunion tour money (and yes, Live Nation reportedly dangled an $80 million carrot), David Byrne and company chose a characteristically offbeat path: dropping their first-ever music video for “Psycho Killer,” featuring none other than Saoirse Ronan.

The timing couldn’t be more perfect. As we roll into 2025, the video arrives just shy of five decades since that fateful night at CBGB when the band opened for the Ramones. Back then, on June 5, 1975, nobody could’ve predicted these art school misfits would reshape alternative music’s DNA — but here we are, still dissecting their influence half a century later.

Director Mike Mills has crafted something deliciously unexpected with this visual interpretation. Rather than lean into the song’s horror-movie title, the video presents Ronan in a series of mundane settings that slowly transform into something far more psychologically complex. The four-time Oscar nominee shifts through emotional states like changing channels, each transition adding new depth to a song that’s been rattling around in our collective consciousness for decades.

“This video makes the song better,” the band declared with their trademark economy of words. They seemed particularly pleased with what the video isn’t — no cheap thrills, no literal interpretations, no horror movie clichés. Just pure psychological tension simmering beneath the surface. Classic Talking Heads, really.

For Ronan, landing this gig felt like winning the cultural lottery. “To simply be mentioned in the same breath as Talking Heads is hands down one of the coolest things that has ever happened to me,” she gushed, radiating the kind of genuine fan enthusiasm that can’t be faked. Her connection to the band’s music stretches back to her childhood — a detail that makes her performance feel all the more meaningful.

The project arrives in the wake of last year’s brief reunion for the 40th anniversary of “Stop Making Sense,” their groundbreaking concert film. While that taste of togetherness left fans hungry for more, the band seems content letting their legacy speak through carefully curated projects like this video rather than stadium tours.

Mills, whose own creative path was shaped by the band’s boundary-pushing approach, captured the project’s significance perfectly: “This album literally changed what was possible in life for me.” His collaboration with Ronan brought unexpected layers of “surprise, power, vulnerability and mischief” to the visual interpretation.

The anniversary celebration extends beyond just the video. A super deluxe edition of “More Songs About Buildings and Food” is in the works, following the expanded reissue of “Talking Heads: 77.” Recently unearthed gems, like their acoustic session with Arthur Russell, keep reminding us just how deep their musical well runs.

It’s remarkable, really. A band that hasn’t performed together since 1984 and officially called it quits in ’91 somehow feels more relevant than ever. Through carefully chosen projects like this video, they’re proving that sometimes the most powerful artistic statements come not from reliving past glories, but from finding fresh ways to reframe them through a contemporary lens.

Basketball’s newest power friendship is blooming in Indianapolis, and it’s exactly the kind of story that makes sports more than just a game. The unlikely duo of WNBA sensation Caitlin Clark and NBA rising star Tyrese Haliburton have formed a connection that’s quickly becoming the talk of the Circle City — and honestly, it couldn’t have happened at a better time.

Their friendship isn’t your typical PR-manufactured relationship that sometimes plagues professional sports. It’s refreshingly real, built on a foundation of mutual respect, shared love for the game, and — perhaps most importantly — genuine fun.

“He’s, first of all, one of my good friends,” Clark mentioned recently, her usual competitive intensity softening into a genuine smile. “But it’s also nice being able to just talk basketball and understand each other, while keeping things fun.” That balance between professional respect and personal connection seems to define their relationship perfectly.

The timing couldn’t be more serendipitous. While Haliburton’s been turning heads with his otherworldly court vision and clutch shooting for the Pacers, Clark arrived in Indianapolis as arguably the most anticipated WNBA rookie since Candace Parker. Their parallel rise in the same city has created a unique opportunity for something special to develop.

And develop it has. Take, for instance, the Eastern Conference Finals moment when Clark couldn’t help but playfully taunt Jalen Brunson after a Haliburton three-pointer — the kind of genuine reaction you can’t script. Or consider how Haliburton and his girlfriend, Jade Jones, made it a point to be present for Clark’s WNBA debut. Small gestures, maybe, but they speak volumes about the authenticity of their connection.

“Caitlin is amazing,” Haliburton shared recently, his characteristic enthusiasm evident. “Getting to actually spend time around her, be around her, get to know her personally — she’s just an amazing person and amazing player.” Coming from someone who’s typically measured with his praise, that’s saying something.

Their friendship extends beyond the hardwood, too. Last November, they were spotted together at a Wisconsin-Butler game, just two basketball junkies enjoying college hoops. Then there was that heartwarming moment in April when Clark connected with Haliburton’s father and girlfriend after a Pacers game — the kind of natural, family-like interaction that you can’t manufacture.

In an age where social media often feels like a carefully curated highlight reel, there’s something refreshingly genuine about their dynamic. Whether it’s celebrating Clark’s inevitable Rookie of the Year campaign or cheering on Haliburton’s playoff heroics, their mutual support feels authentic in a way that’s increasingly rare in professional sports.

But here’s what makes this friendship truly significant: it’s potentially transformative for both leagues. As the NBA and WNBA continue to grow closer — particularly in this landmark 2025 season — genuine connections like theirs serve as a blueprint for how basketball’s future might look: more integrated, more supportive, and fundamentally more human.

Their bond represents something bigger than their considerable individual achievements. It’s a real-world example of how male and female athletes can support and elevate each other, creating a more inclusive basketball community in the process. And in Indianapolis, that community is growing stronger by the day, one genuine interaction at a time.

Silicon Valley’s latest crypto soap opera has a familiar face: Uber CEO Dara Khosrowshahi is back with yet another cryptocurrency tease. But hold on — this time might actually be different.

Speaking at Bloomberg’s Tech conference in San Francisco, Khosrowshahi didn’t just rehash the usual crypto platitudes. Instead, he zeroed in on stablecoins as a practical solution for Uber’s global payment headaches. “Stablecoins are one of the more interesting instantiations of crypto that have a practical benefit beyond being a store of value,” he noted, probably hoping this particular crypto overture won’t age like milk.

Let’s face it — we’ve been down this road before. Remember September 2021? Bitcoin was riding high, crypto bros were insufferable, and Khosrowshahi told CNBC they’d “look into” accepting Bitcoin. (While keeping their actual cash “safe,” naturally.) Then came February 2022’s encore performance, with promises of “absolutely” accepting crypto “at some point” — mere weeks before the market decided to recreate the Hindenburg disaster.

The timing of these announcements has been almost comically perfect — if you’re into dark comedy. Each declaration seemed carefully calculated to catch the last gasp of crypto enthusiasm, only to be vindicated by subsequent market meltdowns that made Uber’s foot-dragging look downright prophetic.

But here’s where things get interesting. This latest pivot to stablecoins — particularly USDC and USDT — feels less like crypto FOMO and more like actual strategy. “You can have your opinions on Bitcoin,” Khosrowshahi explained, “but stablecoins seems quite promising, especially for global companies moving money around internationally.” Well, no kidding — moving money across borders in 2024 still feels like using a fax machine in the age of smartphones.

Uber’s not exactly a crypto rookie, mind you. They were early members of Meta’s ill-fated Diem Association (remember Libra? No? Lucky you.) back in 2019. That particular adventure in digital currency ended about as well as a chocolate teapot, but it showed Uber’s genuine interest in revolutionizing payments — even if their execution has been mostly theoretical.

The company’s current “study phase” of stablecoin evaluation comes during a period of relative crypto stability. For a global operation constantly shuffling money between countries, stablecoins’ efficiency promise is tantalizing — assuming they can deliver without Bitcoin’s notorious mood swings.

Yet there’s something familiar about this latest dance. Like a tech-world groundhog day, each of Uber’s crypto declarations has been followed by careful inaction. Maybe by 2025, we’ll be writing about Uber’s fourth “serious consideration” of crypto adoption. Or perhaps — just perhaps — this time they’ll actually follow through.

For now, Uber drivers shouldn’t hold their breath waiting for USDC payments. But in a world where traditional cross-border transactions remain stubbornly stuck in the past, maybe — just maybe — the third time’s the charm for Uber’s crypto aspirations. Though don’t be shocked if we’re all back here next year, dissecting yet another carefully worded “consideration” of crypto adoption.