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The millennial pop princess is ready for her encore.

Hilary Duff’s announcement of her return to music — her first major musical venture since 2015 — feels like a perfectly-timed gift for her devoted fanbase. The beloved star, who captured hearts during the early 2000s, has inked a deal with Atlantic Records that promises to bridge the gap between nostalgia and now.

Late last week, Duff took to Instagram with a series of candid studio snapshots featuring herself and musician-husband Matthew Koma. “New music… or something,” she wrote with that signature warmth that’s kept fans connected through various career phases. The post quickly became a rallying point for millennials who’ve followed her journey from teen idol to respected actress and mother of four.

But here’s where things get interesting. Rather than simply dropping new tracks, Duff’s taking fans behind the curtain with an accompanying docuseries. The project — helmed by Sam Wrench (fresh off the monumental success of Taylor Swift’s “Eras Tour” film) — promises an unvarnished look at what it means to stage a musical comeback while juggling motherhood and a thriving acting career in 2025.

The timing couldn’t feel more significant. Just months back, Duff marked the 22nd anniversary of “Metamorphosis,” her debut album that defined a generation of pop music. “I do know this marker of time was a huge change in my being,” she reflected on Instagram, acknowledging the profound impact that record had on both her life and her fans’.

Speaking of fans — social media practically exploded at the news. Between enthusiastic tweets and Instagram comments, it’s clear the appetite for new Hilary Duff music hasn’t waned. “Wow this is absolutely a dream come true. I’ve missed Hilary Duff so much,” wrote one particularly moved supporter. Another chimed in: “Can’t wait to hear her new music. Used to have her on repeat back in the day.”

The project seems to be shaping up as a family affair. Koma — an accomplished musician and producer in his own right — appears deeply involved in the creative process. During a recent Mother’s Day tribute, he playfully urged his wife to “Please go save millennial pop music,” adding that “It needs you now more than ever.” (Let’s be honest — he might be onto something there.)

For those who’ve watched Duff evolve from Disney Channel star to acclaimed actress in hits like “How I Met Your Father,” this latest chapter feels like more than just a comeback — it’s a full-circle moment that honors both her roots and her growth. Between caring for her four children (Luca, Banks, Mae, and baby Townes) and maintaining an active acting career, Duff’s return to music speaks volumes about pursuing passion projects on your own terms.

While exact release dates for both the music and docuseries remain under wraps, there’s something undeniably exciting about watching an artist reconnect with their first love. In an industry that often seems fixated on youth and compromise, Duff’s re-emergence as a musician feels like a refreshing reminder that creative evolution knows no timeline — even if that means taking a nine-year detour along the way.

After all, sometimes the best comebacks are the ones worth waiting for.

The music industry’s landscape is shifting in fascinating ways as we head into 2025, with two remarkable stories emerging this week that showcase how legendary artists continue to shape our cultural conversation — even decades after their prime.

Let’s start with an unexpected twist in the world of music rights management. Reservoir Media, that scrappy boutique company that’s been turning heads lately, just pulled off something remarkable: they’ve acquired 90% of Miles Davis’s musical legacy. Not bad for a company whose CEO, Golnar Khosrowshahi, decorates her office with Finnish moss rather than the typical gold records.

The timing couldn’t be more perfect. With Davis’s centennial approaching in 2026, the jazz legend’s nephew, Vince Wilburn Jr., seems genuinely excited about the possibilities. “Uncle Miles was about evolution. He never looked back,” Wilburn shared, his words carrying the weight of someone who actually played drums alongside the jazz pioneer. “So you want the music to continue to evolve long after we’re gone.”

Speaking of evolution — Hugh Jackman’s taking on Neil Diamond. (Now there’s a sentence that might’ve seemed odd a few years ago.) The upcoming “Song Sung Blue,” set to hit theaters this Christmas, promises to be more than just another musical biopic. It’s shaping up as a genuine exploration of Diamond’s impact on American music, filtered through Jackman’s considerable dramatic chops.

But let’s circle back to Reservoir for a moment. There’s something refreshingly different about their approach to managing musical legacies. While industry giants like Sony throw around billions — $2.5 billion in investments last year alone — Reservoir’s been winning over artists through what you might call the personal touch approach.

“We’re not a passive holder of intellectual property,” Khosrowshahi notes, perhaps understating the case. Her team’s already cooking up plans for Davis’s centennial that sound ambitious even by today’s standards: a Broadway show, an immersive experience at London’s Lightroom venue, and — get this — a biopic with Mick Jagger among the producers.

The way Khosrowshahi runs things feels almost old-school in the best possible way. “I’m in text contact with most of my clients all the time,” she mentions casually, “whether it’s about a new baby or new music.” In an era where corporate giants dominate the industry, there’s something oddly refreshing about a CEO who still believes in personal connections.

These parallel stories — Davis’s legacy finding a new home and Diamond’s life heading to the big screen — remind us that great music never really goes out of style. It just needs the right caretakers to help it find new audiences. And sometimes, those caretakers turn out to be the ones you least expect.

As we look toward 2026, it’s becoming clear that preserving musical legacies isn’t just about keeping old recordings in a vault somewhere. It’s about finding new ways to let these timeless sounds echo through the years ahead. Whether that’s through innovative rights management or compelling biographical storytelling, the beat, as they say, goes on.

The streaming wars just got personal. In what’s shaping up to be 2025’s first major media showdown, TelevisaUnivision has thrown down the gauntlet against YouTube TV, accusing the tech giant of implementing what they’re calling a “Hispanic Tax” — and the implications stretch far beyond just another corporate squabble.

At the heart of this mess? YouTube TV’s controversial decision to boot Univision from its $83 basic package, shoving it into a Spanish-language add-on tier that’ll cost viewers an extra $15 monthly starting September 30. Do the math, and that’s an 18% price hike just to keep watching the same content.

TelevisaUnivision isn’t taking this lying down. They’ve launched a blistering public campaign that’s hitting Google where it hurts — right in the corporate ethics. “Google’s proposal… is discriminatory and an abuse of its market power,” a TelevisaUnivision spokesperson declared, before delivering perhaps the most calculated jab of all: a direct reference to Google’s famous “don’t be evil” motto.

But here’s where things get interesting. YouTube TV’s response? Pure corporate pragmatism wrapped in data-speak. They’re claiming TelevisaUnivision’s demands simply don’t match their performance metrics over the past four years. It’s the kind of response that might make sense in a boardroom presentation but seems tone-deaf given the cultural implications at play.

The timing couldn’t be more charged. Just weeks after YouTube TV managed to smooth things over with Fox — keeping Fox News and Sports in their lineup — they’re now facing a fundamentally different kind of challenge. This isn’t just about dollars and cents; it’s about representation and access in an increasingly fragmented media landscape.

TelevisaUnivision’s argument cuts straight to the bone: “Univision is not niche — it moves America.” They’ve got a point. In today’s multicultural America, drawing arbitrary lines between “mainstream” and “specialty” content feels remarkably out of touch. Both Hulu with Live TV and DirecTV seem to get this, keeping Univision firmly planted in their core offerings.

Perhaps what’s most fascinating about this standoff is how it perfectly encapsulates the growing pains of streaming television in 2025. While platforms scramble to optimize their content tiers based on viewing metrics and engagement data, they’re running headlong into questions about cultural value and representation that algorithms simply can’t quantify.

As September 30 looms closer, millions of viewers are left wondering whether they’ll need to dig deeper into their pockets or lose access to their preferred programming entirely. It’s a reminder that in today’s digital age, even something as seemingly straightforward as a channel lineup can become a flashpoint for broader conversations about inclusion, accessibility, and corporate responsibility.

The resolution of this dispute might just set the tone for how streaming platforms handle multicultural content going forward. After all, in an era where media consumption is increasingly personalized, the question remains: Who gets to decide what’s “niche” and what’s essential?

Just when Floridians thought they’d seen it all, a wild boar decided to rewrite the home invasion playbook in Lehigh Acres. The unexpected guest—weighing in at roughly 300 pounds—crashed through a glass door last week, giving new meaning to the phrase “breaking and entering.”

The September 4th incident, which unfolded just east of Fort Myers, quickly turned into what local law enforcement dubbed a “boarglary in progress.” Because apparently, even the police can’t resist a good pun in the face of absurdity.

Body camera footage captured the whole bizarre spectacle. “Hey, bring me that rope!” one deputy called out, his startled “geeeooosh” perfectly capturing what anyone would say upon finding a massive pig redecorating someone’s living room. The resulting 45-minute standoff proved that sometimes reality truly is stranger than fiction.

The Lee County deputies found themselves in an impromptu game of pig-and-mouse that would’ve made any reality TV producer salivate. Their attempts to wrangle the uninvited guest went about as well as you’d expect—which is to say, not well at all. Turns out, hog-tying isn’t quite as simple as old Western movies make it seem.

Here’s where things get interesting, though. While a pig breaking and entering might seem like peak Florida chaos, these porcine troublemakers have actually been stirring up trouble in the Sunshine State since 1589. That’s when Spanish explorer Hernando DeSoto first introduced them to the region. Talk about leaving a lasting legacy.

The situation reached its climax when the boar, clearly unimpressed with law enforcement’s hospitality, decided to charge the officers. This led to what might generously be called a “tactical relocation”—though “running like hell” might be more accurate. The officers managed to lure the animal outside, leading to a chase scene that would’ve put Fast & Furious to shame (albeit with more oinking and less Vin Diesel).

Despite their best efforts, the four-legged perpetrator eventually disappeared into nearby woods, leaving behind a damaged patio door and a story that’ll definitely be getting embellished at the next department barbecue. These days, wild hogs roam all 67 Florida counties—a reminder that sometimes unwanted house guests don’t just overstay their welcome, they multiply across an entire state.

Thankfully, no one was injured during this particular pig’s home renovation attempt. Though the same can’t be said for the poor glass door, which definitely won’t be keeping any more uninvited guests out—porcine or otherwise. Just another day in Florida, where you never quite know what might come crashing through your door next. Could be a hurricane, could be a wild boar, or maybe—if the odds are in your favor—just your neighbor’s escaped peacock looking for its next Instagram moment.

Well, darlings, Hollywood’s newest power player just made quite the splash, and it’s giving veteran studios something to talk about over their kombucha meetings. Row K Entertainment—whose clever name will have cinema purists nodding in approval—has swooped in to claim Gus Van Sant’s “Dead Man’s Wire” for a cool $4 million. Not bad for a company that’s barely finished setting up their office furniture.

The film itself? Pure catnip for awards season. Think Bill Skarsgård (finally stepping out of that creepy clown shadow), Dacre Montgomery (serving serious dramatic chops), and—be still my beating heart—Al Pacino himself. They’re telling the wild-but-true tale of Tony Kiritsis, who went from hustling Indianapolis businessman to America’s most fascinating anti-hero during that scorching summer of ’77.

Fresh off its victory lap through Venice and Toronto’s festival circuit (darling, the film’s been collecting praise faster than a Kardashian accumulates Instagram followers), “Dead Man’s Wire” seems poised to deliver exactly what post-pandemic audiences are craving—substantial storytelling with a dash of star power.

Row K isn’t playing small ball here. Backed by Media Capital Technologies—you know, the folks who’ve been quietly bankrolling everything from “Saw X” to that delicious “John Wick” spinoff “Ballerina”—they’re making it crystal clear that they mean business. Their theatrical distribution debut feels less like a tentative toe-dip and more like a cannonball into the deep end.

Christopher Woodrow and Raj Singh, MCT’s head honchos and Row K’s co-chairmen, are practically floating on cloud nine. “When we launched Row K less than a month ago,” they gushed (in what one imagines was a very sleek conference room), “we knew exactly the kind of films—and more importantly, filmmakers—we wanted to align ourselves with.”

The deal itself reads like a who’s who of industry power players. Cassian Elwes of Elevated Films joined forces with Paula Paizes and Sam Pressman to broker the deal, while WME Independent continues handling worldwide rights. It’s the kind of lineup that makes rival studios nervously adjust their ties.

Row K President Megan Colligan—clearly riding the high of this inaugural coup—couldn’t contain her enthusiasm about Van Sant’s latest masterpiece. And honestly? Who could blame her? With streaming services throwing elbows for content and traditional studios playing it safer than a banker in a recession, Row K’s bold move feels refreshingly old-school Hollywood.

In an industry that’s seen more shakeups lately than a bartender’s Friday night shift, Row K’s emergence—backed by MCT’s impressive portfolio of over 20 films with Lionsgate—suggests we might be witnessing the birth of Hollywood’s next major player. And if this first move is any indication of what’s to come, well… pass the popcorn, darlings. This show’s just getting started.

Darlings, Hollywood’s latest power struggle isn’t playing out on the red carpet — it’s erupting in the boardrooms of streaming giants, and honey, it’s getting messy. TelevisaUnivision and YouTube TV are serving up the kind of drama that would make even Ryan Murphy blush, complete with accusations of discrimination and a dash of corporate intrigue that’s absolutely delicious.

Picture this: YouTube TV wants to shuffle Univision off its $82.99 basic package and tuck it away in a premium Spanish-language bundle that would cost viewers an extra $15 monthly. Cue the gasps from the audience! TelevisaUnivision isn’t just clutching its pearls — it’s coming out swinging with allegations of a “Hispanic Tax” that’s got industry watchers reaching for their metaphorical popcorn.

The plot thickens beautifully when you consider that TelevisaUnivision’s CEO, Daniel Alegre, spent 16 years at Google (YouTube’s parent company, for those who’ve been living under a rock). Talk about awkward reunion potential!

“Google’s proposal… is discriminatory and an abuse of its market power,” TelevisaUnivision declared, serving the kind of tea that would make the Real Housewives proud. And darling, they’re not wrong — the network’s impressive viewership numbers in Los Angeles and Miami speak volumes about its mainstream appeal.

YouTube TV (now strutting around with over 8 million subscribers) is playing it cool — almost too cool. Their PR response feels about as genuine as a reality show confession, with a spokesperson delivering the kind of carefully crafted statement that screams “our lawyers are watching.”

But here’s where it gets juicy: TelevisaUnivision isn’t just fighting for dollars — they’re battling for their rightful place in the American media landscape. Their streaming service ViX (serving up spice to 10 million paid subscribers) has claimed the crown as the world’s largest Spanish-language streaming service. Not too shabby, sweeties.

The September 30th deadline looms like a season finale cliffhanger. Will YouTube TV risk alienating a massive viewer demographic? Will TelevisaUnivision’s fierce campaign force a compromise? Honey, in this town, anything’s possible — especially when representation and cultural identity are on the line.

Let’s not forget TelevisaUnivision’s previous drama with Dish (2018-2019) — a nine-month blackout that had more twists and turns than a telenovela. But this current standoff? It’s hitting different, touching raw nerves about representation that even the most seasoned industry veterans can’t ignore.

As we head into 2025’s streaming wars, this particular showdown feels like a watershed moment. It’s not just about channel placement anymore, darlings — it’s about recognizing and respecting the evolving face of American media. And that’s the kind of plot twist that keeps us all watching.

Country music’s long-overdue transformation is finally taking center stage at the 2025 CMA Awards. In what feels like a seismic shift, female artists aren’t just breaking through – they’re dominating the nominations in a way that would’ve seemed impossible just a few years ago.

The numbers tell quite a story. Lainey Wilson, Megan Moroney, and newcomer Ella Langley have each snagged six nominations apiece, marking the first time in CMA history that women have claimed the top nomination spots. Let that sink in for a moment.

Wilson’s continued reign comes as no surprise to anyone who’s been paying attention. Since claiming the Entertainer of the Year crown in 2023, she’s been selling out arenas faster than you can say “Bell Bottom Country.” Her latest single “4x4xU” has been practically living on the radio – though getting airplay remains a different story for many of her female peers.

Speaking of which… Here’s where things get complicated. Despite this nominations triumph, the Billboard Country Airplay chart still reads like a boys’ club. Wilson’s “Somewhere Over Laredo” sits lonely at No. 16 – the only female voice in the top 25. Two steps forward, one step back? Maybe. But the nominations suggest the tide might finally be turning.

Megan Moroney’s meteoric rise particularly stands out. Her debut album “Am I Okay?” has struck a chord that resonates well beyond traditional country audiences. The title track’s raw honesty about mental health struggles has earned her nominations across three categories – proving that authenticity still cuts through the noise.

Then there’s Ella Langley. Her duet with Riley Green, “You Look Like You Love Me,” came out of nowhere and knocked everyone sideways. For a debut artist to match Wilson’s nomination count? That’s not just impressive – it’s historic.

The men haven’t completely left the building, mind you. Zach Top’s five nominations suggest Nashville isn’t done minting male stars, and Morgan Wallen – despite skipping last year’s ceremony – remains a commercial force with three nods, including a shot at defending his Entertainer title.

CMA Chief Executive Officer Sarah Trahern’s comments about the nominations reflecting the community’s “creativity, passion and dedication” feel particularly weighted this year. After all, it’s one thing to talk about change – it’s another to see it reflected in the industry’s biggest night.

The November 19 ceremony at Nashville’s Bridgestone Arena promises to be… different. While the hosts and performers remain under wraps (c’mon, CMA, throw us a bone), the nomination list alone suggests we’re in for something special. Something that might actually reflect what country music could be, rather than what it’s been.

Sure, skeptics might call this a temporary blip rather than lasting change. But standing here in 2025, looking at these nominations? It feels like more than that. It feels like the door’s been kicked wide open – and this time, it might just stay that way.

The Culture Wars Come to West Point: Tom Hanks, Trump, and the Blurring Lines of Entertainment

Sometimes the most revealing cultural moments emerge from unexpected collisions. Take, for instance, this past week’s peculiar confluence of events, where America’s favorite everyman actor found himself caught in the crosshairs of political theater, while the music world bid farewell to a rock legend who reminded us of art’s enduring power to transcend division.

The decision by West Point to cancel Tom Hanks’ Sylvanus Thayer Award ceremony might have slipped quietly into the annals of institutional politics. Instead, it erupted into a full-blown cultural flashpoint when former President Trump — never one to resist a moment of political theater — took to Truth Social with characteristic bombast. “Important move!” he declared, somehow managing to transform Hanks — the actor who gave us Private Ryan and Forrest Gump — into another supposed symbol of “WOKE” culture gone awry.

Let that sink in for a moment. Tom Hanks — whose portrayals of American service members have become practically canonical — suddenly cast as some sort of threat to military values. The same Tom Hanks who, through decades of careful craft, has embodied the very essence of American decency on screen. The irony would be delicious if it weren’t so dispiriting.

Meanwhile, as this manufactured controversy swirled, the music world lost Rick Davies, Supertramp’s co-founder, at 81. His passing offers a stark reminder of how art, at its best, rises above the political fray. Davies’ legacy lives on not just in Supertramp’s hits, but in unexpected places — like that brilliant moment when “Goodbye Stranger” became “Goodbye Toby” on The Office, proving how great art weaves itself into our shared cultural fabric.

The West Point situation grows more puzzling when you dig deeper. Retired Army Col. Mark Bieger’s explanation — that canceling the ceremony would allow “the Academy to continue its focus on its core mission” — feels almost comically bureaucratic. As if honoring an actor who’s done more to celebrate American service members than perhaps any other performer would somehow derail cadets’ preparation.

Trump’s response veered into familiar territory, with predictable jabs at “Fake Award Shows” and their “DEAD RATINGS.” The timing proved particularly interesting, given his simultaneous announcement about awarding Rudy Giuliani the Presidential Medal of Freedom — a move that seemed to underscore the very politicization of awards he claimed to deplore.

Jimmy Kimmel, hosting this year’s Oscars, couldn’t resist throwing a pointed jab back at Trump’s criticism: “Well thank you, President Trump. Thank you for watching… isn’t it past your jail time?” The quip landed with the audience, but somehow felt like another symptom of our increasingly fractured cultural discourse.

What’s becoming clearer — especially as we move deeper into 2025 — is how thoroughly our entertainment landscape has become entangled with political theater. The lines between cultural celebration and political statement have grown so blurry that even honoring an actor’s contribution to military storytelling can spark a culture war skirmish.

Perhaps that’s the most telling aspect of this whole affair: how readily we’ve accepted the transformation of every cultural moment into a potential battleground. Even as we celebrate artistic achievements — or mourn creative losses — we seem unable to escape the gravitational pull of political division.

Yet somehow, through it all, art endures. Rick Davies’ music will continue to move listeners long after this week’s controversies fade. And Tom Hanks? Well, his body of work speaks for itself — a testament to the power of storytelling that transcends the temporary tempests of political posturing.

Hollywood’s divorce stories typically read like tabloid soap operas, but Christina Haack and Ant Anstead have managed to flip that script entirely. Their recent celebration of son Hudson’s sixth birthday wasn’t just another Instagram moment—it marked a genuine milestone in what’s become 2025’s most surprising co-parenting success story.

The weekend bash, which Anstead dubbed “chaos filled” with characteristic British understatement, brought together two people who’d once been poster children for messy celebrity splits. Hudson’s “golden birthday” (turning 6 on the 6th) transformed into something far more meaningful than just cake and presents.

Remember those heated custody battles back in 2020? They seem almost surreal now. The journey from courtroom drama to peaceful co-existence hasn’t been simple—or quick. But somehow, between Anstead’s car restorations and Haack’s property flips, they’ve managed to build something rather extraordinary.

During a surprisingly candid moment on last month’s episode of “The Flip Off,” Anstead addressed the elephant in the room. “Four and a half years to get here… pretty shameful, really,” he admitted, showing the kind of raw honesty that’s refreshingly rare in an era of carefully curated public personas. His words carried extra weight given the show’s recent ratings surge and HGTV’s announcement of its upcoming spring 2025 lineup.

The birthday celebration itself looked like something straight out of a parenting magazine—complete with piñata destruction and what must’ve been an epic sugar rush. But it’s the smaller details that tell the real story: the way both parents stood comfortably next to their beaming birthday boy, the casual jokes about inherited traits, the easy interaction between blended family members.

Haack’s social media tribute hit all the right notes: “Hudson lights up our home and every room he’s in 🌟… Sweet, kind, smart and has sooo much energy (especially at bedtime 😉 ).” It’s the kind of message that speaks volumes—particularly in an age where celebrity parents often weaponize their social media presence.

Their evolution hasn’t gone unnoticed in Hollywood circles. As more high-profile couples navigate post-divorce relationships in the public eye (looking at you, newly-split power couples of 2025), the Haack-Anstead dynamic offers a masterclass in putting kids first. They’ve managed this while juggling new relationships—Anstead with Renée Zellweger and Haack with Christopher Larocca—no small feat in the fishbowl of celebrity life.

Perhaps the most telling moment came during the birthday festivities, as Hudson negotiated for extra pancakes with what Anstead playfully attributed to his mother’s bargaining skills. It’s these little moments—unscripted, genuine, shared without agenda—that suggest their co-parenting success isn’t just for show.

As Hudson blew out his candles, surrounded by siblings from both sides of his blended family, one thing became crystal clear: sometimes the best gifts don’t come wrapped in paper and ribbon. They come in the form of parents who’ve learned to put aside their differences and create something beautiful from what once was broken.

In an entertainment landscape often defined by its drama, this refreshing narrative stands out—not because it’s perfect, but because it’s real. And in 2025’s celebrity-obsessed culture, that’s worth celebrating almost as much as a sixth birthday.

In a deliciously ironic twist that would’ve been unthinkable during MTV’s heyday, this year’s Video Music Awards found themselves sharing airspace with “60 Minutes” reruns on CBS. Talk about a cultural whiplash.

The network that once proudly declared “I want my MTV” now wants… broadcast television? Well, sort of. David Ellison’s decision to air the VMAs on CBS feels less like desperation and more like shrewd adaptation to 2025’s fractured media landscape. Between streaming wars and TikTok’s dominance, traditional TV networks are scrambling to redefine themselves — and sometimes that means strange bedfellows.

Picture this: CBS sports commentators awkwardly pivoting from NFL highlights to teasing Doja Cat’s performance. It’s the kind of cultural collision that shouldn’t work but somehow does, like putting sriracha on ice cream. The whole spectacle perfectly captures the anything-goes spirit of post-pandemic entertainment.

Speaking of spectacle — this year’s VMAs didn’t disappoint in the fashion department. Two red carpets worth of headline-grabbing looks proved that even in 2025, celebrities still know how to serve drama. Mariah Carey, collecting her Vanguard Award, reminded everyone why she’s earned her diva status. Her leather mini dress and Louboutin boots combo screamed “I’m not done yet” louder than any acceptance speech could.

But beneath the sequins and stilettos lurks a fascinating strategy play. Ellison’s vision to resurrect MTV as a “music tastemaker” might seem quixotic — like trying to make MySpace cool again. Yet when industry titans like Irving Azoff and Universal’s Lucian Grainge start calling with ideas, you’ve got to wonder if there’s something to it.

The median age of MTV’s current viewer (56, according to Nielsen) tells a story of a network that accidentally grew up with its audience while losing its grip on youth culture. But maybe that’s not the catastrophe it seems. After all, those 56-year-olds remember when MTV actually played music videos — and they’ve got disposable income.

For Paramount Skydance, this chess move represents more than just shuffling assets around. While competitors treat their cable networks like radioactive waste, Paramount’s playing a longer game. They’re betting that brands like MTV still carry cultural weight worth leveraging — even if that means watching Moon Person trophies get handed out between CBS primetime shows.

Here’s the kicker: in an era where content platforms multiply faster than streaming subscriptions, maybe the old guard isn’t quite ready for retirement. The network that warned us about video killing the radio star is now cozying up to traditional broadcasting, proving that in show business, yesterday’s disruptor often becomes tomorrow’s establishment — just with better special effects and more revealing outfits.

Strange times indeed when MTV’s flagship event shares a network with “NCIS” marathons. But in an industry where adaptation equals survival, perhaps it’s not so strange after all. Besides, if reality TV stars can become presidents, surely music television can find a home on broadcast TV.