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The first notes drift through the speakers like ghosts — an orchestra tuning up, searching for harmony. It’s a bold choice to open Neko Case’s “Neon Grey Midnight Green,” her first solo album since 2018. Bold, yet perfectly fitting for an artist who’s never played by anyone else’s rules.

Recording at her Vermont farm-turned-studio (dubbed Carnassial Sound), Case has crafted something that feels both intimately personal and cinematically vast. At 55, she’s hitting a creative stride that many artists only dream about. Following her raw, unflinching memoir “The Harder I Fight the More I Love You,” these new songs carry the weight of hard-earned wisdom while maintaining an almost defiant sense of wonder.

“I wanted to remind people what it felt like to have a large group playing together,” Case explains about the album’s expansive sound. In an age where bedroom producers dominate the charts and AI-generated tracks flood streaming platforms, there’s something almost rebellious about gathering sixteen musicians in a room to make music the old-fashioned way.

Take “Wreck” — probably the closest thing to a conventional love song Case has ever written. The track builds from a whisper to a crescendo, strings swirling around an unexpected harp line that shouldn’t work but somehow does. “I’m a meteor shattering around you,” she sings, and yeah, that’s exactly what new love feels like.

But this isn’t some collection of moon-June-spoon simplicities. Case dives deep into grief, loss, and the complicated threads that bind us to the past. “Match-Lit,” the album’s haunting closer, pays tribute to Dallas Good of The Sadies. The track culminates in an almost otherworldly duet with Arcade Fire’s Richard Reed Parry, their voices weaving together like smoke signals spelling out “love, love is strange.”

Then there’s “An Ice Age” — possibly the album’s most devastating moment. Case confronts her relationship with her mother through lyrics that cut like winter wind: “From her I learned to be cruel/ I learned the look that goes right past the ones who love you as if there’s no one standing there.” It’s the kind of truth that makes you catch your breath.

Working with the PlainsSong Chamber Orchestra adds layers of complexity without sacrificing intimacy. These arrangements don’t just accompany Case’s storytelling — they’re active participants in the narrative. Sometimes they surge forward like waves; other times they hang back like held breath.

“Little Gears,” structured as an unexpected waltz, showcases Case’s gift for finding profound truth in careful observation. “Why isn’t that enough!?/ Why do people need to feel so special all the time/ So above it all?” The questions hang in the air, unanswered but deeply felt.

The timing of this release feels significant. Case recently opened up about her gender-fluid identity, crediting Gen Z for providing language for something she’s always known but couldn’t quite name. That sense of finally finding the right words seems to infuse these songs with newfound freedom.

“Neon Grey Midnight Green” stands as more than just another entry in Case’s impressive catalog — it’s a testament to the power of artistic evolution. In an era where algorithms increasingly shape our musical landscape, Case has created something that demands to be experienced rather than merely consumed. It’s a reminder that sometimes the most revolutionary act is simply being truthfully, unapologetically yourself.

YouTube Premium’s latest feature rollout feels like that moment when a parent finally remembers to bring souvenirs home for all the kids. After years of scattered updates across different devices, the streaming giant is finally treating its entire ecosystem to a proper feast of new capabilities.

Speed demons, rejoice. Premium subscribers can now blast through content at up to 4x speed across pretty much everything – Android, iOS, and web platforms. Sure, it might turn your favorite creator into a caffeinated chipmunk, but for those content-hungry viewers who treat YouTube like an all-you-can-eat buffet, it’s a game-changer. The engineers even threw in 0.05x speed increments, because apparently someone out there needs their videos playing at precisely 2.85x speed.

Remember when compressed audio made everything sound like it was recorded inside a tin can? Those days are (mostly) behind us. YouTube’s pushing high-quality 256kbps audio beyond just YouTube Music, extending it to premium music videos and Art Tracks across both platforms. While audiophiles might still clutch their vinyl records in horror, it’s a solid upgrade for the rest of us who’ve been making do with the digital equivalent of a drive-through speaker.

The “Jump Ahead” feature – YouTube’s answer to the eternal “where’s the good part?” question – is making its way to the living room. Smart TVs and gaming consoles are getting this clever content curator that identifies key moments in videos. No more awkward remote-fumbling while trying to find that one perfect scene during movie night.

Speaking of playing catch-up, iOS users are finally getting some love in the Shorts department. Picture-in-Picture support and Smart Downloads have crossed the Android-iOS divide, though it took long enough that some creators probably learned a new language while waiting. Better late than never, right?

All these goodies come wrapped in YouTube Premium’s $13.99 monthly bow – a price that might make your wallet wince, but hey, at least you’re getting the full package now, regardless of which device you’re holding. As we head into 2025, this kind of platform equality feels less like a luxury and more like meeting basic expectations.

The move signals a refreshing shift in YouTube’s approach. In a streaming landscape that often feels more fragmented than a dropped mirror, this push toward feature parity across platforms is surprisingly… sensible? It’s almost as if someone at YouTube HQ finally said, “You know what? Maybe making people jump through hoops just to watch videos differently on different devices isn’t the best user experience.”

Who would’ve thought – treating all your users equally might actually be good for business. Revolutionary concept, isn’t it?

Television stands at a peculiar crossroads these days. Streaming platforms keep tossing traditional broadcast rules out the window, while some genuine classics still don’t get their due respect. Meanwhile, legacy networks are busy blowing out birthday candles — and what a strange time it is to celebrate.

Take ITV’s 70th anniversary bash, for instance. The network’s footprint on television history runs deeper than most folks realize. One viewer, Clare Gibson, nailed it when she pointed out how those early shows managed to deliver knockout entertainment with just a handful of channels to work with. Quality writing, stellar performances, rock-solid production values — the whole package still holds up remarkably well.

But here’s where things get messy: sometimes the industry’s gold stars don’t exactly line up with cultural impact. Case in point? HBO’s “The Wire.” Talk about a head-scratcher — this absolute masterclass in storytelling somehow walked away empty-handed from every single Emmy ceremony during its run. Zero wins. Zilch. Nada.

Let that sink in for a minute.

We’re talking about a show that completely rewrote the playbook on crime drama. That gave us powerhouse performances from Idris Elba and Michael K. Williams. That dared to tackle systemic issues with the kind of nuance most shows wouldn’t touch with a ten-foot pole. And somehow, the Academy couldn’t find a single category to recognize its brilliance?

The contrast gets even sharper when you look at “The Sopranos” — its HBO stable mate hauled in 21 Emmy awards during roughly the same period. Both shows deserved their flowers, no question about it. But the complete snubbing of “The Wire” raises some uncomfortable questions about industry bias, especially considering its predominantly Black cast.

Fast forward to 2025, and television’s still trying to figure itself out. At Variety’s recent Entertainment and Technology summit, you couldn’t squeeze another soul into the room — packed with heavy hitters from Starz to Warner Bros., all scratching their heads over how to keep up with viewers’ increasingly unpredictable habits while still putting out decent content.

This whole old-meets-new media situation’s creating quite the interesting mess. Networks like ITV prove you can stick around for seven decades if you know what makes audiences tick. Though even they’re not immune to criticism — just ask longtime “Coronation Street” viewers like Shirley Ann Bowles, who’ll tell you straight up that the show’s lost its way. Then again, maybe that’s just part of growing pains.

Streaming platforms might actually be doing television a favor, though. All this experimentation with traditional formats could be exactly what the medium needs to find its next gear. Sure, groundbreaking shows might still get overlooked by awards committees (looking at you, Emmy voters circa 2002-2008), but maybe that’s not the worst thing in the world. After all, people are still dissecting “The Wire” seventeen years later, golden statue or not.

When you boil it down, television’s real power isn’t about trophy cases or Nielsen ratings. It’s about holding up a mirror to society and making us think — or at least giving us something worth talking about around the water cooler. Whether it’s through ITV’s seven-decade catalog, HBO’s genre-defining dramas, or whatever wild experiment the streaming services cook up next, great storytelling always finds its audience.

Sometimes it just takes the industry a while to catch up. And honestly? That’s probably exactly how it should be.

Well, darlings, Hollywood’s latest casting coup has sent ripples through both the entertainment and wrestling worlds – and it’s absolutely delicious. Drew McIntyre, that towering Scottish sensation from WWE, is trading his wrestling tights for a Highland warrior’s garb in what’s shaping up to be 2026’s most intriguing reboot.

The Highlander franchise – you remember, the one that had us all swooning over Christopher Lambert’s brooding immortal back in ’86 – is getting a fresh injection of authentic Scottish muscle. McIntyre’s been tapped to play Angus MacLeod, brother to Henry Cavill’s lead character. And honey, the testosterone levels in this production are already off the charts.

Speaking of Cavill, our favorite former Superman has managed to temporarily derail production after a training mishap. (These beautiful men and their dedication to authenticity – it’ll be the death of them.) The delay’s pushed filming to early 2026, though perhaps that’s not the worst thing for a project of this magnitude.

The casting reads like a who’s who of Hollywood’s finest – Russell Crowe bringing his gravitas, Karen Gillan adding her Scottish fire, and the luminous Marisa Abela joining the immortal fray. But here’s the truly fascinating bit: McIntyre will be sharing screen time with fellow WWE alumnus Dave Bautista. It’s like watching wrestling’s evolution into legitimate Hollywood stardom playing out before our very eyes.

Chad Stahelski – that magnificent architect of balletic violence who gave us the John Wick franchise – is helming this ambitious undertaking. His 87Eleven stunt team, fresh off their collaboration with McIntyre and Bautista on The Killer’s Game, is choreographing what promises to be some truly spectacular sword-wielding sequences. Let’s just hope everyone keeps their limbs intact this time around, shall we?

For McIntyre, this isn’t just another wrestler-turned-actor story. The Glasgow native is stepping into a franchise that’s practically woven into Scotland’s modern mythology. With two WWE Championships and a Royal Rumble victory under his belt, he’s proven he can command attention – but this role could catapult him into an entirely different stratosphere of stardom.

The new screenplay, crafted by Michael Finch, apparently walks that delicate line between honoring the original’s legacy and breathing fresh life into the concept. United Artists has secured full rights to the ’86 classic, sparking whispers about a potential new series. Because darling, in Hollywood, franchises are the true immortals.

It’s fascinating to watch the entertainment industry’s ongoing love affair with professional wrestlers. From The Rock’s empire-building to Bautista’s surprisingly nuanced dramatic turns, these former ring warriors are proving that the squared circle might just be the new Actors Studio. Who knew?

This pause in production might actually be serendipitous – giving everyone involved time to perfect their sword work and Scottish brogues. After all, with a property this beloved, rushing things would be absolutely criminal. Though one can’t help but wonder if Christopher Lambert is somewhere, raising a glass of aged scotch to this new generation of immortal warriors.

The Highlander reboot isn’t just another tired remake stumbling out of Hollywood’s idea drought. With this cast, creative team, and the authentic Scottish brawn of Drew McIntyre, it’s shaping up to be something that might actually justify its existence. And darling, in today’s remake-saturated landscape, that’s saying something indeed.

Well, well, well — Sacred Heart Hospital is dusting off its stethoscopes and prepping for a grand return to the small screen. And darlings, this isn’t just another tired reboot trying to cash in on our collective nostalgia. The beloved medical comedy “Scrubs” is staging its comeback on ABC, and the first table read has already sent ripples through Tinseltown that would make even Dr. Cox raise an approving eyebrow.

Picture this: Zach Braff, still sporting that eternally boyish charm (seriously, what’s his secret?), seated next to Donald Faison, whose magnetic presence hasn’t dimmed one bit since their last on-screen adventure. The gang reconvened for their inaugural table read, serving up enough chemistry to power Sacred Heart’s backup generators for a decade.

ABC clearly knows they’ve got lightning in a bottle — they didn’t hesitate to greenlight this straight-to-series order back in July. At its heart (pun absolutely intended), we’re getting the bromance that launched countless memes before memes were even a thing. JD and Turk are scrubbing in together again, though this time they’re navigating a medical landscape where TikTok diagnoses compete with actual medical school training.

The deliciously sardonic John C. McGinley is stepping back into Dr. Cox’s comfortable sneakers, albeit in a recurring capacity. He’ll be joined by Sarah Chalke’s Elliot (now upgraded to series regular — it’s about time) and Judy Reyes’ no-nonsense Carla. But here’s where the plot thickens faster than hospital cafeteria pudding: Ken Jenkins’ Dr. Kelso and Neil Flynn’s enigmatic Janitor were conspicuously absent from the first gathering. Their missing presence has sparked more theories than a Grey’s Anatomy season finale.

Behind the scenes, “Scrubs” alumni Tim Hobert and Aseem Batra are taking the reins from Bill Lawrence, who’s been too busy collecting Emmy hardware for “Ted Lasso” to run the show himself. It’s a changing of the guard that feels more natural than JD’s stream-of-consciousness daydreams.

“Medicine has changed, interns have changed, but their bromance has stood the test of time,” teases the official synopsis. In an era where even AI is trying to diagnose patients (heaven help us), there’s something wonderfully reassuring about returning to Sacred Heart’s familiar halls — even if they’ve gotten a 2025 makeover.

Production kicks off this October, though the premiere date remains as elusive as the Janitor’s true identity. But one thing’s crystal clear: this revival isn’t just riding the nostalgia wave. It’s examining how these beloved characters have evolved in a medical world that’s seen more plot twists than JD’s love life.

Let’s not forget that the original “Scrubs” — which bounced between NBC and ABC like a patient seeking a second opinion — wasn’t just another medical comedy. It was a cultural phenomenon that balanced slapstick humor with gut-punch moments of reality, snagging two Primetime Emmys and a Peabody Award along the way.

The prognosis for this revival? Based on early indicators, it’s looking healthier than a marathon runner’s EKG. Sacred Heart’s doors are reopening, and something tells me this check-up is long overdue.

Stagecoach 2026 just dropped a lineup that’s got Nashville scratching its head — and maybe that’s exactly what the festival organizers wanted. In a move that would’ve seemed unthinkable a decade ago, the country music mega-festival is serving up a deliciously chaotic mix headlined by Post Malone, Lainey Wilson, and Cody Johnson.

But here’s where things get interesting.

The festival’s throwing conventional wisdom out the window by adding Pitbull, Bush, and — wait for it — Journey to the mix. It’s the kind of genre-bending lineup that makes perfect sense in a world where Morgan Wallen samples hip-hop beats and Post Malone covers Brad Paisley.

Set for April 24-26 at Indio’s Empire Polo Club, this ain’t your typical three days of boot-scootin’ and beer-drinkin’. The festival’s evolution mirrors the broader shifts we’ve seen in country music since Taylor Swift went full pop and Lil Nas X rode his horse down Old Town Road.

Speaking of evolution — let’s talk about Lainey Wilson’s journey. Fresh off her ACM Awards triumph (and that killer performance at last month’s Grammy Awards), Wilson’s path from afternoon performer to headliner reads like a Nashville fairy tale. “Look how far we’ve come y’all!” she shared, probably still pinching herself about the upgrade from her 2022 SiriusXM Stage debut.

Post Malone’s return to Stagecoach feels particularly fitting after his 2024 appearance practically broke the internet. Remember that viral duet with Morgan Wallen? The hip-hop star turned country convert seems genuinely stoked about his headlining spot, though some traditionalists are undoubtedly clutching their pearls.

Then there’s Pitbull — Mr. 305 himself — bringing his Miami heat to country’s biggest stage. “Daleee!” meets “Yeehaw” in what might be 2026’s most unexpected cultural mashup. But honestly? After seeing his collaboration with Blake Shelton last summer, maybe we should’ve seen this coming.

The full lineup reads like someone threw a fantastic party and invited, well, everybody. Brooks & Dunn sharing festival grounds with Counting Crows? Ludacris trading verses with Lyle Lovett? Third Eye Blind potentially harmonizing with Wynonna Judd? Sure, why not.

Rising stars like Bailey Zimmerman, Riley Green, and Ella Langley represent country’s next wave, while Guy Fieri’s returning Smokehouse BBQ ensures nobody goes hungry. Diplo’s HonkyTonk — which absolutely killed it last year — is back for another round of late-night shenanigans.

It’s worth noting how far Stagecoach has come since its 2007 debut. While Coachella’s been struggling to move tickets (those $1000 passes aren’t exactly flying off the shelves), Stagecoach 2024 sold out faster than you can say “save a horse, ride a cowboy.”

For those brave souls ready to saddle up, passes start at $549, with VIP packages hitting a wallet-crushing $4,000. Sales kick off October 2nd, and if past years are any indication, they won’t last long. After all, where else can you catch Pitbull and Brooks & Dunn on the same weekend?

In a music landscape where genre labels feel increasingly outdated, Stagecoach 2026 isn’t just pushing boundaries — it’s pretending they never existed in the first place. And maybe that’s exactly what country music needs right now.

Pop music’s landscape shifts constantly, but every so often, an artist emerges who doesn’t just ride the wave — they create their own tsunami. That’s exactly what Chappell Roan has done in 2025, transforming from beloved indie performer to Grammy-winning phenomenon whose theatrical shows have critics reaching for comparisons to Madonna, Gaga, and even the queen of country-pop herself, Shania Twain.

Just last week, Queens’ historic Forest Hills Stadium — yeah, the same place where The Beatles once made teenage girls scream their lungs out — played host to Roan’s four-night victory lap. Each evening, 13,000 fans (decked out in everything from rhinestone-encrusted Stetsons to what looked like their grandmother’s bedazzled curtains) showed up ready to worship at the altar of pop’s newest royal.

The stage setup? Pure fairy-tale gothic meets Vegas spectacular. Picture a brooding castle that wouldn’t look out of place in a Tim Burton fever dream. And there’s Roan, commanding every inch of it like she was born to rule. Hard to believe this is the same artist who once told Interview magazine she thought selling out Bowery Ballroom was the peak of her career. (Spoiler alert: it wasn’t.)

Mother Nature herself seemed to get the memo during the residency’s final show. Right as Roan emerged — wearing this absolutely ridiculous (in the best way possible) butter-yellow PVC cloak trimmed with blood-red lace — the sky opened up. Just a few drops, mind you, but talk about perfect timing. Some performers might’ve cursed the weather; Roan made it look like part of the show.

Let’s be real — this isn’t just another pop star success story. While everyone else was busy trying to perfect their “bedroom pop” whisper, Roan went full maximalist theater kid, and thank goodness for that. Her music dives deep into sexuality, queer romance, and finding yourself, but packages it all in enough glitter and camp to make RuPaul proud.

Between belting out vocals that could wake the dead (in a good way), she’s got this killer sense of humor that makes the whole stadium feel like her living room. “I wrote this song and did the exact opposite,” she laughed before launching into “Coffee” — the kind of self-aware moment that turns casual listeners into die-hard fans. Whether she’s lounging on her onyx throne with Shigella (that weird-but-wonderful reptilian doll that’s become the tour’s unofficial mascot) or hitting notes that could shatter glass, every moment feels both carefully crafted and surprisingly intimate.

The upcoming book “Chappell Roan: The Rise of a Midwest Princess” suggests her influence stretches way beyond music. Author Ilana Kaplan’s not wrong — from TikTok makeup trends to fashion week runways, Roan’s fingerprints are everywhere. She’s created something that feels both completely fresh and oddly familiar, like Bowie and Prince somehow had a love child raised on Broadway musicals and 90s pop.

Next up? The Visions of Damsels & Other Dangerous Things Tour heads back to her Midwest stomping grounds in Kansas City, before swooping out to Pasadena — two places that pop up in her lyrics more often than not. Then it’s off to conquer new territories across South America, Australia, and New Zealand. Not bad for a girl from Missouri who once thought the Bowery was as big as it gets.

In an industry that loves nothing more than forcing square pegs into round holes, Roan’s done something remarkable — she’s made the industry conform to her vision instead of the other way around. Those theatrical shows, the over-the-top makeup, the sequins (so many sequins)? They’re not just aesthetic choices. They’re a manifesto from an artist who’s redefining what it means to be a pop star in 2025.

Netflix’s quirky interfaith romance “Nobody Wants This” is gearing up for its sophomore season, and — let’s be honest — it’s about time streaming platforms gave us something meatier than the usual “meet-cute and call it a day” formula. The show’s return this October 23rd promises to deliver exactly that, serving up a fresh batch of complications that prove getting together was actually the easy part.

Remember when romantic comedies used to wrap everything up with a kiss and fade to black? Well, this series laughs in the face of that tradition. Season one paired Kristen Bell’s sharp-tongued podcast host Joanne with Adam Brody’s impossibly charming rabbi Noah — a combination that shouldn’t work on paper but somehow does, much like putting hot sauce on ice cream (don’t knock it till you’ve tried it).

The newly released trailer for season two dives straight into the deep end. “We’re going to do the interfaith thing,” Joanne announces with characteristic determination, apparently forgetting that relationships don’t typically respond well to declarations of war. Noah’s response? The kind of silence that makes awkward family dinners seem downright cozy.

Here’s where things get particularly interesting. The show’s brought on Leighton Meester — yes, Brody’s actual wife — to play Joanne’s middle school nemesis, Abby. Talk about meta casting. Bell couldn’t contain her excitement about the addition, gushing about Meester’s unexpected comedic prowess. “She’s effervescent,” Bell noted, probably wondering how she’d missed Meester’s comedy chops all these years.

Seth Rogen’s joining the cast too, though details about his role are being kept under wraps tighter than a tech company’s NDAs. Given his recent Emmy season face-off with Brody, the casting feels deliciously calculated — exactly the kind of industry inside baseball that makes good TV great.

The show’s new creative team, helmed by showrunner Jenni Konner alongside Bruce Eric Kaplan, seems determined not to fix what ain’t broke. They’re keeping creator Erin Foster’s distinct voice while pushing the envelope just enough to keep things interesting. Sort of like adding avocado to a perfectly good sandwich — unnecessary, perhaps, but somehow exactly right.

What really sets “Nobody Wants This” apart isn’t just its willingness to wade into complicated waters — it’s how it manages to find humor in the deep end. The returning ensemble cast (including standouts Justine Lupe, Timothy Simons, and Jackie Tohn) proves that sometimes it takes a village to make an interfaith relationship work. Or at least a really good therapist and a sense of humor.

When Noah asks Joanne, “Are we doomed?” in the trailer, it hits different. Not because it’s particularly profound, but because the show’s earned the right to ask big questions without seeming pretentious. That’s the thing about good storytelling — sometimes the simplest questions carry the most weight.

As we head into 2025, with streaming services throwing romantic comedies at the wall like overcooked spaghetti, “Nobody Wants This” stands out by actually having something to say. Whether it’s about faith, family, or the messy business of merging lives, it’s refreshing to see a show that treats romance as the beginning of the story, not the end.

Hollywood’s social minefields keep getting trickier to navigate — just ask Glen Powell, whose recent podcast appearance shed light on an awkward run-in that perfectly captures the entertainment industry’s current state of affairs.

The “Top Gun: Maverick” heartthrob spilled the tea on Jake Shane’s Therapuss podcast, and boy, did he have a story to tell. Picture this: there’s Powell, riding high on his recent success, at one of those typical Hollywood shindigs where the champagne flows freely and everyone’s watching their backs. Then comes the moment that would make anyone squirm.

Some big-shot creator — unnamed, but apparently responsible for what Powell calls “some of my favorite movies” — approaches him for what should’ve been a simple meet-and-greet. The exchange starts innocently enough: pleasantries, a fan moment from Powell, the usual dance. But then comes the kicker — a photographer materializes, eager to capture what could’ve been career kryptonite.

“This guy, his face is toxic,” Powell noted with characteristic frankness. The internal debate must’ve been brutal: here’s someone whose work you’ve admired, standing right in front of you, but their recent actions have made them about as welcome as a skunk at a garden party. Talk about being caught between a rock and a hard place.

What makes Powell’s story particularly fascinating is how it dovetails with his upcoming Hulu series “Chad Powers” (dropping September 30th, mark those calendars). He’s playing Russ Holliday, a character seeking redemption after a public fall from grace — though Powell’s quick to draw a line between redeemable mistakes and actions that cross a point of no return. “Some of these other people that get canceled… they should lie where they’re shot,” he remarked, pulling no punches.

The timing couldn’t be more perfect for “Chad Powers” to tackle these themes. With cancel culture evolving faster than iPhone updates and public opinion shifting like desert sands, the show — featuring talents like Wynn Everett and Steve Zahn — promises to dig into the messy reality of reputation management in 2025’s social media landscape.

Powell’s take on the whole situation feels refreshingly nuanced. Rather than jumping on the cancel culture bandwagon or dismissing it entirely, he’s acknowledging the complex reality where talent, human fallibility, and public accountability intersect. It’s the kind of measured perspective that’s about as rare in Hollywood as an original screenplay these days.

The whole incident serves as a perfect snapshot of modern Hollywood’s social tightrope walk — where one photo op could spark a Twitter storm, and yesterday’s industry darling might be tomorrow’s persona non grata. For rising stars like Powell, navigating these waters requires the finesse of a diplomat and the instincts of a shark.

As the entertainment industry continues to grapple with its own demons, stories like Powell’s remind us that behind the glossy magazine covers and red carpet smiles, there’s a whole lot of real-world complexity at play. And sometimes, the smartest move might just be stepping away from that camera.

Hold onto your oversized helmets, because the impossible just happened in Tinseltown. Rick Moranis — yes, that Rick Moranis — is finally stepping back into the spotlight after nearly three decades of self-imposed exile. The beloved comedian, now 72, has agreed to dust off Dark Helmet’s ridiculous headgear for Amazon MGM’s long-awaited “Spaceballs” sequel.

Let that sink in for a moment.

The news hit Hollywood harder than a can of Perri-Air to the face. Moranis, who gracefully bowed out of showbiz in ’91 to raise his kids following his wife’s passing, hasn’t exactly been chomping at the bit for a comeback. His occasional murmurs about returning to acting have typically fizzled out faster than President Skroob’s credibility rating.

But this time? It’s actually happening.

The sequel’s already assembled quite the cosmic crew. Bill Pullman and Daphne Zuniga are strapping back in as Lone Starr and Princess Vespa — because honestly, who else could pull off those roles? George Wyner’s returning as Colonel Sandurz, presumably still trying to make sense of that whole “when will then be now” business.

Fresh faces are joining the space circus too. Josh Gad’s wearing multiple hats (though presumably none as large as Dark Helmet’s) as actor, co-writer, and producer. The effervescent Keke Palmer’s signed on, along with Bill Pullman’s son Lewis — talk about keeping it in the family. “Barry” scene-stealer Anthony Carrigan’s also aboard, though their roles are being kept under wraps tighter than Barf’s muzzle during allergy season.

Speaking of legends, Mel Brooks — who’s somehow managing to be hilariously sharp at 99 — is back both behind and in front of the camera. He’ll reprise his dual roles as the bumbling President Skroob and merchandising guru Yogurt. In typical Brooks fashion, he announced the sequel with a promo video quipping, “After 40 years, we asked, ‘What do the fans want?’ But instead, we’re making this movie.” Classic Mel.

Josh Greenbaum’s directing this cosmic comedy, and production’s already kicked off with a table read that cleverly nodded to J.J. Abrams’ “Force Awakens” reunion photo — meta-humor that would make the original proud. The script comes courtesy of Benji Samit and Dan Hernandez, the minds behind “TMNT: Mutant Mayhem,” though they’re keeping plot details locked up tighter than Pizza the Hutt’s recipe book.

With Imagine Entertainment heavyweights Brian Grazer and Ron Howard producing alongside Brooks and Gad, this isn’t shaping up to be just another nostalgia cash-grab. Sure, there’ll be merchandise — Yogurt wouldn’t have it any other way — but there’s genuine heart behind this reunion.

The 2027 release date might seem far off, but hey, good things come to those who wait… and wait… and wait some more. Besides, it gives fans plenty of time to perfect their Schwartz techniques.

For Moranis devotees, this comeback feels particularly sweet. His decision to step away from Hollywood for family remains one of the industry’s most respected exits. Now, his return suggests that sometimes the best sequels aren’t just about finding more money — they’re about coming home. Even if that home happens to be a ridiculously oversized spaceship with a vacuum cleaner attachment.

May the Schwartz be with us all. Again.