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Just when Broadway seemed to have exhausted its pipeline of movie adaptations, along comes a glitter bomb of Eurovision proportions. Will Ferrell’s pandemic-era Netflix hit “Eurovision Song Contest: The Story of Fire Saga” is taking its sequined dreams to the Great White Way — and honestly, where else could this wonderfully bizarre spectacle truly belong?

The 2020 film landed like a much-needed hug during those isolated lockdown days. Remember watching Rachel McAdams and Ferrell belt their hearts out as the charmingly earnest Icelandic duo Lars and Sigrit? That particular brand of joy is getting ready for its second act, with Ferrell himself picking up the pen alongside Harper Steele and Anthony King to craft the stage adaptation.

“We’re more than excited to bring Eurovision to Broadway,” Ferrell announced, practically radiating the same infectious enthusiasm that made the film such a comfort watch. And really, who better to translate this celebration of musical excess and heartfelt determination than the man who lived and breathed it from the start?

Speaking of perfect matches — the creative team reads like a Broadway fantasy draft. Alex Timbers, fresh off his triumphant runs with “Moulin Rouge!” and “Beetlejuice,” is stepping in to direct. His knack for theatrical spectacle seems almost too perfect for Eurovision’s particular brand of fabulous excess. “The film lifted spirits during a very dark time,” Timbers noted, and don’t we all still need a bit of that magic?

Sure, the original movie didn’t exactly sweep critics off their feet (that 63% on Rotten Tomatoes tells its own story). But sometimes critics miss the point entirely — the film’s heart and unabashed celebration of musical dreams struck a chord with audiences that still resonates. Those earworms like “Ja Ja Ding Dong” and the Oscar-nominated “Husavik” are getting another shot at glory, with original songwriter Savan Kotecha returning to expand the score.

The Eurovision organization’s stamp of approval doesn’t hurt either. Martin Green, speaking for the contest that’s been uniting Europe through the power of power ballads since 1956, seems confident they’ve found the right team to capture that distinctive Eurovision magic.

For Netflix, this marks another calculated step into the theatrical realm, following shows like “Stranger Things: The First Shadow.” As streaming subscriptions plateau heading into 2025, the company’s clearly betting on Broadway’s enduring appeal to diversify its entertainment portfolio.

While we’re all dying to know who’ll don those spectacular costumes (and let’s be honest, they’ll have to be even more outrageous for Broadway), the production timeline remains under wraps. But perhaps that’s for the best — some things are worth waiting for, especially when they involve flame-throwing pianos and epic key changes.

In these fractured times, couldn’t we all use a dose of Eurovision’s particular brand of unity through gloriously over-the-top entertainment? After all, if there’s one thing Broadway knows how to do, it’s turning spectacle into pure theatrical magic.

The haunting falsetto that defined an era of pop music now carries a different kind of resonance. Morten Harket, the voice behind a-ha’s immortal “Take on Me,” recently shared news that’s struck a chord with fans worldwide — he’s been diagnosed with Parkinson’s disease.

The revelation from the Norwegian singer, who turns 66 this September, comes at a poignant moment. Just months after a-ha’s “Hunting High and Low” celebrated its 40th anniversary, Harket opened up about his condition with disarming honesty. “I’ve got no problem accepting the diagnosis,” he stated, echoing wisdom passed down from his 94-year-old father: “I use whatever works.”

That philosophy seems particularly fitting for an artist whose career has always defied easy categorization. While American audiences might remember a-ha primarily for their breakthrough hit, the band’s influence stretches far beyond that singular moment in 1985. They’ve sold out arenas across 38 countries, proving there’s always been more to their story than one perfect falsetto.

Modern medicine has stepped in to help write the next chapter. Last year, Harket underwent an innovative treatment at the Mayo Clinic — deep brain stimulation, which involves carefully placed electrodes connected to a device resembling a pacemaker. It’s a testament to how far treatment options have evolved for the estimated 10 million people worldwide living with Parkinson’s.

But perhaps the most touching aspect of Harket’s journey involves his relationship with his instrument — that remarkable voice. “I don’t really know. I don’t feel like singing, and for me that’s a sign,” he admitted recently, speaking about the complex dance between medication and performance. The dopamine supplements crucial for managing his symptoms present an unexpected challenge to his vocal abilities.

Looking back from 2025, a-ha’s legacy feels more significant than ever. Their evolution from ambitious Oslo musicians to global stars reads like a masterclass in artistic persistence. Even their latest album, “True North” (2022), showcases the creative spark that’s kept them relevant for four decades.

The timing of Harket’s announcement has sparked necessary conversations about aging in an industry that often seems perpetually young. His candid approach — discussing everything from technical medical details to deeply personal creative struggles — offers a blueprint for how artists might navigate similar challenges.

Remember that iconic “Take on Me” video, where pencil sketches transformed into reality? There’s something metaphorical about that now — how life keeps redrawing our expectations, forcing us to adapt and find new ways forward. Harket’s story isn’t just about a diagnosis; it’s about the continuing evolution of an artist who refuses to let medical challenges write the final verse.

Who would’ve guessed that TikTok – that endless scroll of dance challenges and makeup tutorials – would become our generation’s most unlikely time machine? Between the lip-syncs and life hacks, something fascinating has emerged: a digital wormhole straight back to the noughties, where Gossip Girl meets Gen Z, and forgotten B-sides find new life in the strangest of places.

The numbers are almost comical. That #noughties nostalgia tag? Up 36% from last year – though honestly, who’s surprised? We’re all desperately seeking comfort in the familiar these days, especially as we trudge through 2025’s particular brand of chaos. Sex and the City clips are spreading faster than Samantha Jones’s gossip (108,000 videos and counting), while Skins has racked up a mind-boggling 1.6 million posts globally. Not bad for a show that ended over a decade ago.

“We’re seeing a really big fondness for 90s and noughties across all key content categories,” notes Lily Hall, TikTok UK’s programs manager. Talk about stating the obvious – it’s like saying water’s wet or that Blair Waldorf had questionable friendship tactics. The Vampire Diaries alone commands 2 million videos, while Gossip Girl struts through 1.2 million posts with all the subtlety of a Chuck Bass scheme.

But here’s where it gets interesting. This isn’t just millennials wallowing in nostalgia (though there’s plenty of that). Instead, we’re watching something rather remarkable: Gen Z discovering these cultural touchstones with fresh eyes, while older generations play cultural docent. It’s created this weird, wonderful cross-generational conversation – like finding your kid sister reading your old diary and actually getting it.

The phenomenon has spilled beyond the screen into what TikTok’s dubbed “Britcore” content. Users are getting misty-eyed over everything from shuttered Toys R Us stores to those pink-and-white mice sweets that seem to exist now only in collective memory. The platform’s become a sort of digital Museum of Y2K, each video a carefully curated exhibit of millennial memories.

Perhaps nothing illustrates TikTok’s resurrection powers quite like Connie Francis’s “Pretty Little Baby.” This 64-year-old B-side track – yes, a B-side, for those who remember what those are – has spawned over 20 million video creations. Francis herself, at 87, has joined TikTok, proving that viral fame’s got no expiration date.

“This is a reminder that the TikTok community doesn’t care about genre or age,” explains Sheema Siddiq from TikTok’s artist partnerships team. And she’s right – whether it’s Imogen Heap’s “Headlock” from 2005 or Jessie J’s “Price Tag” from 2011, these songs are finding new context in an era where attention spans are shorter than a TikTok video.

There’s something oddly poetic about it all. The platform that epitomizes our shrinking attention spans has become a sanctuary for longer-form nostalgia. In this strange digital landscape, where yesterday’s viral sensation is today’s forgotten meme, these cultural touchstones aren’t just surviving – they’re thriving. Good content, it seems, never really dies. It just waits for the right algorithm to give it a second act.

Remember when buddy action comedies weren’t trying to reinvent the wheel? Prime Video’s “Heads of State” seems determined to recapture that magic—and honestly, it’s about time. The newly dropped trailer (narrated by what sounds unmistakably like Sharlto Copley having the time of his life) hits all the right notes of excessive action and mismatched partnerships that made films like “Bad Boys” and “Rush Hour” such enduring favorites.

This time around, we’re getting John Cena and Idris Elba—who last shared screen time beating each other senseless in “The Suicide Squad”—playing nice(ish) together. Well, sort of. The premise reads like something cooked up during a particularly inspired late-night writing session: Elba steps into the shoes of British PM Sam Clarke, while Cena takes on U.S. President Will Derringer. Oh, and because someone clearly knows what they’re doing with casting, Derringer is also an actor-turned-president (wink, wink).

The setup? Air Force One gets shot down over hostile territory. Yeah, it’s exactly the kind of bonkers premise that would’ve had producers throwing money at the screen back in ’96—and somehow feels perfectly at home in 2025’s increasingly bizarre political landscape.

Director Ilya Naishuller (fresh off the surprisingly solid “Nobody”) seems to get it. This isn’t trying to be “All the President’s Men” with explosions. The addition of Priyanka Chopra Jonas as MI6 agent Noel Bisset adds some welcome complexity to what could’ve been a straightforward buddy formula. Then there’s the supporting cast—good lord. We’re talking Carla Gugino, Jack Quaid, Stephen Root, Sarah Niles, Richard Coyle, and Paddy Considine. That’s not a cast list; that’s a character actor wishlist.

What’s particularly refreshing is how the film walks that tricky tightrope between self-aware comedy and genuine stakes. The synopsis—two world leaders forced to team up against a global conspiracy threatening the free world—could’ve been ripped straight from a 90s video store shelf. But sometimes the classics work for a reason.

The production values definitely suggest Prime Video didn’t cheap out. Between the pyrotechnics and stunt work, there’s clearly serious money on screen. But let’s be real—nobody’s showing up for the explosions (though they sure don’t hurt). It’s the promise of watching Cena and Elba’s “not-so-friendly and very public rivalry” evolve into reluctant cooperation that sells the whole concept.

The writing team of Josh Appelbaum, André Nemec, and Harrison Query seems to understand the fundamental truth about action comedies: chemistry trumps choreography every time. Though from the looks of it, we’re getting plenty of both.

Dropping on July 2nd, “Heads of State” might just be the perfect antidote to our current reality—where actual political tensions have everyone doom-scrolling through their news feeds. There’s something oddly therapeutic about watching fictional world leaders sort out their differences with snappy one-liners and synchronized butt-kicking.

In an era where every other action movie seems desperate to reinvent the genre or make some profound statement about society, there’s something almost revolutionary about a film that just wants to show us a good time. And honestly? We could probably use a bit more of that right now.

Broadway’s about to get a whole lot more sparkly, darlings. Will Ferrell — yes, that Will Ferrell — is bringing his delightfully bonkers Eurovision movie to the Great White Way. And honestly? It’s the mashup we never knew we needed until this very moment.

Let’s dish about this fabulous bit of news, shall we? The comedic genius behind Ron Burgundy is taking his 2020 Netflix hit “Eurovision Song Contest: The Story of Fire Saga” and giving it the full Broadway treatment. Talk about perfect timing — just as we’re all desperately craving more sequins and power ballads in our lives.

The creative team? Honey, it’s a knockout. Ferrell’s teaming up with Harper Steele and Anthony King for the book-writing duties (and if you haven’t caught Ferrell and Steele’s recent documentary “Will & Harper,” do yourself a favor). But the real cherry on top? They’ve nabbed Tony Award winner Alex Timbers to direct this glitter-bomb of a show. Timbers — bless his theatrical heart — is practically floating on air about the whole thing, gushing about how the original film was this gorgeous little ray of sunshine during those dreary lockdown days.

Remember the movie? Rachel McAdams and Ferrell playing those adorably earnest Icelandic singers, Lars and Sigrit? It wasn’t just another silly comedy — it was a full-on love letter to Eurovision’s particular brand of fabulous excess. That “Husavik” number even snagged an Oscar nom, proving sometimes the Academy actually gets it right.

For those poor souls who’ve somehow missed out on Eurovision (seriously, where have you been hiding?), we’re talking about the mother of all singing competitions. American Idol? Please. Eurovision pulls in a casual 166 million viewers worldwide and gave us both ABBA and Celine Dion. Not too shabby for a contest that sometimes features performers in hamster wheels.

The timing’s rather divine, actually. Eurovision’s hitting the big 7-0 in 2026, and this Broadway adaptation feels like the perfect way to celebrate a contest that’s survived everything from political drama to pandemic chaos. Though no official timeline’s been announced — because darling, you can’t rush perfection — this promises to be so much more than another cynical cash grab.

Sure, Netflix has been testing these theatrical waters lately (that “Stranger Things” play in London’s West End rings a bell), but this feels different. Maybe it’s because Eurovision itself is already pure theater — the drama, the costumes, the wind machines that could power a small country. Or maybe it’s because, deep down, we’re all just dying for an excuse to belt out “Ja Ja Ding Dong” in public.

Whatever the reason, one thing’s crystal clear: Broadway’s about to get a whole lot more Eurovision-y. And darling? That’s exactly the kind of fabulous we need right now.

Hollywood’s serving up a double feature of nostalgia and reinvention that’s got everyone talking. Let’s dish about what’s cooking in the entertainment world, shall we?

Toronto International Film Festival just dropped a bombshell announcement for its golden anniversary celebration in 2025. They’re kicking off their 50th edition with “John Candy: I Like Me” — and honestly, could there be a more perfect choice? The documentary, steered by Colin Hanks (yes, Tom’s kid) and backed by Canada’s favorite troublemaker Ryan Reynolds, promises to be anything but your typical talking-heads retrospective.

Talk about coming full circle. Candy, who cut his teeth at Toronto’s Second City before conquering Hollywood with classics like “Planes, Trains and Automobiles,” is finally coming home. TIFF’s Cameron Bailey hit the nail on the head when he mentioned how Candy’s humor shaped an entire generation of comedy fans. There’s something beautifully fitting about Toronto embracing one of its own, nearly three decades after we lost him too soon.

Meanwhile, USA Network’s cooking up something deliciously different with John Grisham’s “The Rainmaker.” Set to hit screens August 15, this small-screen adaptation’s got some serious heavyweight talent in its corner. Rising star Milo Callaghan’s stepping into the role that once belonged to Matt Damon, while Mad Men alum John Slattery brings his silver-fox gravitas to the courtroom as Leo Drummond.

Here’s where things get really interesting — Once Upon a Time’s Lana Parrilla is taking on the role of J. Lyman “Bruiser” Stone, previously played by Mickey Rourke. Now that’s what you call a gender-flip that could add some serious spice to the legal drama stew.

Showrunner Michael Seitzman’s got a point about the story’s enduring appeal. Sure, there’s the whole David-versus-Goliath thing, the dangerous romance angle, even the coming-of-age narrative. But at its heart? It’s all about the characters, darling. Always has been.

What’s fascinating about these two announcements dropping together is how they perfectly capture entertainment’s current mood. We’re simultaneously looking back with love while pushing forward with fresh interpretations. It’s like the industry’s having its cake and eating it too — and who doesn’t love that?

For TIFF, choosing a documentary as their opening night selection might raise some eyebrows, but it’s hardly their first rodeo. They’ve launched with three docs in the past 15 years — though those were all music-focused. This deep dive into Candy’s legacy? That’s something else entirely.

The festival’s running September 4-14, with more programming announcements on the horizon. But let’s be real — they’ve already hit an emotional jackpot with this opener. There’s something particularly touching about Colin Hanks helming this project, considering his father’s history with Candy in “Splash” and “Volunteers.” Talk about keeping it in the family.

In an era where streaming wars and AI debates dominate industry chatter, these announcements feel refreshingly human. Whether it’s celebrating a comedy legend or reimagining a courtroom classic, both projects remind us why we fell in love with entertainment in the first place. And isn’t that something worth raising a glass to?

Great Scott! The guitar that helped save Marty McFly from vanishing into thin air has pulled its own disappearing act. Forty years after Michael J. Fox rocked the fictional 1955 with “Johnny B. Goode,” the Cherry Red Gibson ES-345 that starred in that unforgettable scene has become the subject of an increasingly fascinating treasure hunt.

The search — playfully dubbed “Lost to the Future” — reads like something straight out of a Hollywood script. Fox himself couldn’t resist poking fun at the situation: “It’s somewhere lost in the space-time continuum… or maybe just collecting dust in some Teamster’s garage.” Classic McFly humor, right there.

Here’s where things get complicated. The guitar started its journey at Norm’s Rare Guitars in Tarzana, California — just a rental, mind you. Then came the Japanese vintage guitar boom of the ’80s, and poof! The trail goes cold faster than you can say “flux capacitor.” Mark Agnesi, Gibson’s director of brand experience, has spent more than 16 years chasing this elusive piece of movie history.

Grammy-winning artist Jason Isbell didn’t mince words about the guitar’s significance. “That’s the most iconic guitar from a movie,” he declared. “I don’t think anything else comes close.” Hard to argue with that assessment, especially considering how that performance has inspired countless musicians to pick up a six-string.

The whole situation isn’t without its share of delicious irony. That ES-345? Technically shouldn’t have existed in 1955. And “Johnny B. Goode”? Still three years away from being written when Marty played it. But somehow, these historical hiccups only make the movie more endearing. As Charles Berry Jr. noted, it’s all part of what makes it “a nice wholesome movie” where his father’s music plays such a crucial role.

Thank heavens for one distinctive detail — the guitar’s solid inlay on the 12th fret stands out like a temporal anomaly compared to the split inlays typically found on this model. “That anomaly is the smoking gun we’re looking for,” Agnesi explains. “That will not be on any other guitar.”

Doc Crotzer (aptly named for this quest, wouldn’t you say?) is capturing the search on film, and his connection runs deep. “Back to the Future made me want to make movies as a kid, and made me want to pick up a guitar,” he shares. Even Coldplay’s Chris Martin credits the movie as “the main reason why we’re in a band.” Talk about impact.

For Fox, that scene represents more than just movie magic. “I just wanted to be a rock n’ roll guitarist,” he revealed recently on Gibson TV’s The Collection. “Being 23 years old and that scene, I was having the f-king best time. But I didn’t realize the influence it had on people.”

Gibson’s not giving up hope — they’ve launched a public campaign complete with a dedicated hotline (1-888-345-1955). Whether this cherry red time machine is tucked away in some collector’s vault or gathering dust in an forgotten corner of the world, its cultural significance only seems to grow with time.

Unlike Doc Brown’s precise calculations, this mystery can’t be solved with a DeLorean hitting 88 mph. It’ll take good old-fashioned detective work and maybe a bit of that McFly luck to bring this piece of cinema history back where it belongs. Perhaps somewhere out there, someone’s about to check their attic and make the discovery of a lifetime.

Big Thief has never been a band to follow the expected path. After three years of relative quiet—well, aside from their charity work and scattered live appearances—they’ve emerged with “Incomprehensible,” a track that somehow manages to feel both deeply familiar and startlingly fresh.

The song arrives as our first taste of “Double Infinity,” their upcoming album dropping September 5 on 4AD. And what a curious moment for its arrival, landing just as indie folk seems caught between its roots and whatever comes next.

“Let me be naked alone, with nobody there,” Adrianne Lenker sings, her voice carrying that unmistakable blend of vulnerability and strength that’s become something of a Big Thief signature. The lyrics continue with disarming frankness: “With mis-matched socks and shoes and stuff stuffed in my underwear/Incomprehensible, let me be.” It’s the kind of raw honesty that stops listeners in their tracks—exactly what we’ve come to expect from Big Thief, though they’re never quite content to simply meet expectations.

The band’s evolution hasn’t come without its share of upheaval. Last summer’s departure of bassist Max Oleartchik might have thrown lesser groups into disarray. Yet Big Thief seems to have taken the change as an opportunity to reimagine their sound, now operating as a trio with an expanded circle of collaborators.

Those winter sessions at New York’s Power Station studio proved particularly fruitful. Over three weeks, the band opened their creative process to an impressive roster of guests—ambient pioneer Laraaji, the mesmerizing June McDoom, and others—all while longtime collaborator Dom Monks handled production duties. The result? A collection that promises to push sonic boundaries while keeping one foot firmly planted in the soil of their roots.

What’s particularly striking about the upcoming “Double Infinity” is its organic development. Rather than meticulously plotting each note, the band chose to capture live performances with minimal overdubs. It’s an approach that feels perfectly aligned with their previous work, including their Grammy-nominated “Dragon New Warm Mountain I Believe in You”—an album that NME praised for its loose, natural feel.

Between albums, the band hasn’t exactly been twiddling their thumbs. February saw them release the “Passion Relation” EP, with proceeds supporting LA Wildfire relief efforts. They’ve also been road-testing new material, including ten fresh tracks at last summer’s Project Pabst in Oregon. Meanwhile, Lenker’s solo venture “Bright Future” earned widespread acclaim throughout 2024 for its intimate portraits of life’s unexpected turns.

As September approaches, “Incomprehensible” stands as both invitation and statement of intent. The track weaves traditional indie rock elements with unexpected flourishes—including some rather inspired sitar work—creating something that feels both grounded and adventurous. Perhaps that’s the perfect metaphor for Big Thief’s current chapter: a band determined to explore new territories while remaining true to their essential nature.

In an age where authenticity often feels manufactured, Big Thief continues to chart their own course. “Double Infinity” might just live up to its ambitious title—though we’ll have to wait until September 5 to know for sure.

Prime Video’s latest venture into the mystery genre feels both timely and timeless. The streaming giant’s adaptation of “We Were Liars” — dropping all eight episodes this June — promises to scratch that particular itch for sun-soaked secrets and privileged dysfunction that’s become practically mandatory viewing since Succession’s finale last year.

Look, we’ve seen plenty of wealthy-family-with-dark-secrets shows lately. But there’s something different here. Something that cuts deeper than the usual trust-fund drama.

The story follows Cadence Sinclair Eastman (Emily Alyn Lind), whose seemingly idyllic summers on her family’s private New England island take an unexpected nosedive. “Something terrible happened last summer,” her voice haunts the trailer, “and I have no memory of what or who hurt me.” Pretty standard amnesia-mystery setup, right? Not quite.

What sets this adaptation apart is its masterful visual storytelling. Take that shot of Cadence’s unconscious body washing up on those pristine shores — it’s not subtle, but damn if it doesn’t perfectly capture the rot festering beneath the Sinclair family’s magazine-worthy facade. In an era where even the most polished Instagram filters can’t hide the cracks in American aristocracy, the timing couldn’t be better.

The casting deserves special attention. Emily Alyn Lind brings a raw vulnerability to Cadence that feels genuine rather than performative. She’s backed by some serious acting firepower: Rahul Kohli (fresh off his stellar turn in “The Fall of the House of Usher”), the ever-reliable David Morse, and Caitlin FitzGerald, whose work in “Masters of Sex” proved she can handle complex character work with finesse.

Behind the scenes, the show’s got some serious teen drama street cred. Julie Plec and Carina Adly MacKenzie are co-showrunning — and anyone who remembers what Plec did with “The Vampire Diaries” knows she can weave supernatural elements and emotional depth like nobody’s business. MacKenzie’s work on “Roswell, New Mexico” shows she’s got the chops for intricate storytelling.

There’s this moment in the trailer where FitzGerald’s character says, “She’s hoping that being here will jog her memory.” Simple line, sure, but it carries the weight of everything this show seems to be about: memory as both salvation and poison, truth as both cure and curse.

The whole thing feels perfectly calibrated for 2025’s appetite for eat-the-rich narratives, but with a literary twist that elevates it above mere trend-chasing. Think “Succession” meets “I Know What You Did Last Summer,” but make it New England Gothic. The Sinclairs — positioned as American royalty — serve as a perfect lens for examining privilege, loyalty, and the suffocating weight of family expectations in our increasingly divided society.

With the full season dropping at once, “We Were Liars” seems ready-made for those long summer nights when you can’t help but click “Next Episode.” The real question isn’t just about solving the mystery — it’s about whether some truths are better left buried in the sand.

The streaming wars just took an unexpected plot twist. YouTube — yes, that YouTube — has managed to dethrone the entertainment industry’s traditional heavyweights, claiming a whopping 12.4% of TV viewing time. Netflix, the former crown prince of streaming, trails behind at 7.5%. Who’d have thought?

Remember when Nielsen’s Brian Fuhrer declared YouTube couldn’t possibly dominate TV viewing? (Awkward.) Meanwhile, Netflix’s Reed Hastings looks downright prophetic after his 2018 prediction about YouTube’s inevitable rise. “When they get their shit together, they’re the future,” he said. Well… *gestures broadly at everything*

Here’s a mind-bender: Americans now spend more time watching YouTube on their actual TVs than on their phones. This isn’t just about viral clips and makeup tutorials anymore — we’re talking about a full-blown entertainment ecosystem that’s managed to outmaneuver even Disney’s mighty empire. Not too shabby for a platform that started with a video of some guy at the zoo.

The traditional entertainment world, meanwhile, seems stuck in buffering mode. HBO’s “The Last of Us” fans might need to practice their own survival skills while waiting for Season 3. Bella Ramsey dropped a somewhat cryptic bomb in Variety, mentioning they haven’t seen any scripts yet and might have reduced screen time. Make of that what you will.

Speaking of delays… that Netflix crime thriller “The RIP” with Boston’s favorite bromance (Affleck and Damon, naturally) just got pushed to January 2026. The industry’s clearly going through some things.

Oh, how the tables have turned. Netflix — which once disrupted traditional TV — now finds itself wooing YouTube stars like Ms. Rachel and Tony Hinchcliffe. Amazon’s throwing serious cash at MrBeast for their “Beast Games” project. There’s something deliciously ironic about streaming giants desperately courting the very creators they once dismissed.

Sure, some industry dinosaurs still insist that “50 to 60 percent of the audience has never been on YouTube.” Right. And some people still think the internet is just a fad. The reality? YouTube’s become entertainment’s Swiss Army knife — serving up everything from live sports to premium shows to creator content, all while traditional media companies scramble to keep up.

Mary Ellen Coe, YouTube’s chief business officer, nailed it when she pointed out that viewers don’t really care where their content comes from anymore. It’s all just entertainment. Period. The pandemic changed everything, sending even the most tech-resistant Boomers and Gen-Xers straight into YouTube’s welcoming arms.

One streaming exec recently muttered something particularly ominous: “The reality is, over time, we’ll all be the same thing.” Maybe they’re right. As traditional entertainment grapples with this new reality and highly anticipated projects keep hitting the snooze button, one thing’s becoming crystal clear — the future of entertainment isn’t just being written. It’s being uploaded, one video at a time.

And honestly? That might not be such a bad thing.