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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hollywood’s Dream Maker: Remembering Jason Constantine

The lights dimmed a little darker on Sunset Boulevard this week. Jason Constantine, the brilliant Co-President of Lionsgate Motion Picture Group who shaped modern cinema with an uncanny eye for breakthrough entertainment, has left us far too soon at 55 after battling cancer.

In an industry that often plays it safe, Constantine dared to dream bigger. His 25-year legacy at Lionsgate reads like a love letter to risk-taking — from transforming a scrappy eight-minute horror short into the billion-dollar “Saw” franchise to betting the house on Rian Johnson’s wickedly clever “Knives Out” when others balked at original IP in the franchise era.

“Jason embodied the very best of our studio and our industry,” a Lionsgate spokesperson shared in a statement that, for once, didn’t feel like PR spin. Those who knew him would say that’s putting it mildly. The Princeton grad (who later added a Loyola Marymount degree to his credentials) had an almost supernatural ability to spot raw talent hiding in plain sight.

Take “Crash,” for instance. While other studios hemmed and hawed over Paul Haggis’s complex narrative tapestry, Constantine recognized its Oscar potential immediately. The film went on to claim Academy gold, as did Lee Daniels’ gut-wrenching “Precious” — another Constantine champion that proved art and commerce could coexist beautifully.

But don’t mistake him for just another suit with good taste. Constantine’s real genius lay in understanding that Hollywood’s next blockbuster could emerge from the most unexpected places. He built franchises that defined the 2020s — “John Wick” and “The Expendables” among them — while never losing his passion for fresh voices and original storytelling.

Around the Lionsgate offices, Constantine was known as much for his encyclopedic film knowledge as his ability to quote library statistics with savant-like precision. Yet perhaps his most endearing quality showed itself each holiday season, when he’d transform his yard into an elaborate model train village that drew wonder-struck neighbors from blocks away.

The industry veteran leaves behind his wife Kristin and three sons — Lucas, Xander, and Nicholas. As the entertainment landscape shifts beneath our feet in 2025, with AI-generated content and streaming wars reshaping the game, Constantine’s core belief that “a great idea can come from anywhere” feels more vital than ever.

Those wishing to honor his memory can support brain cancer research at Stanford Medicine or UCLA’s neuro-oncology team. It’s a fitting tribute to a man who dedicated his life to bringing stories of hope and courage to screens everywhere — and who knew, better than most, that the best stories often come from giving someone a chance to shine.

Hollywood’s serving up a double dose of nostalgia this season, and darlings, it’s absolutely delicious. The entertainment world nearly broke the internet last week with two major announcements that had fans reaching for their wands — and their wallets.

Remember that perfectly insufferable blonde who made life hell for the Boy Who Lived? Well, Tom Felton’s trading his film credentials for stage lights, and Broadway’s about to get a whole lot more interesting. The original Draco Malfoy himself is stepping into the spotlight at New York’s Lyric Theatre for “Harry Potter and the Cursed Child” — marking a rather historic moment as the first film alum to grace the production’s stage.

Felton’s 19-week run kicks off November 11th, and honestly? The transformation’s enough to make Snape crack a smile. Those signature platinum locks (now Lucius-length, mind you) made their debut in the announcement clip, along with that infamous “Scared, Potter?” line that still sends shivers down millennials’ spines. Word around Diagon Alley suggests he’s even got his perfectly manicured fingers in HBO’s upcoming adaptation — seems you really can’t keep a good Slytherin down.

But wait, there’s more drama brewing in the streaming world than in a cauldron full of Polyjuice Potion. Netflix just dropped a bombshell about “Stranger Things” that’s got fans more worked up than a Demogorgon at a dinner party. The final season’s getting split into three parts — November 26th, Christmas Day, and New Year’s Eve. Talk about ending 2025 with a bang.

The fandom’s practically having an Eleven-style meltdown over this one. “Am I the only one pissed about the Holiday release dates?” one Reddit user fumed, channeling some serious Upside Down energy. Though not everyone’s reaching for their pitchforks — some viewers are embracing this extended farewell like a warm plate of Eggo waffles. As @xkvm_ rather sensibly pointed out, “It’s nice they’re making it last… there’ll be time to theorize.”

Numbers don’t lie, sweeties — and these are staggering. The announcement racked up 250 million impressions across Netflix’s platforms faster than you can say “Friends don’t lie.” That’s the kind of engagement that makes network executives weak at the knees.

What’s particularly fascinating about these developments is how they’re challenging our binge-watching habits. In an era where instant gratification reigns supreme, both franchises are asking audiences to slow down and savor the moment. Rather refreshing, isn’t it? Like trading your rushed morning coffee for a proper afternoon tea service.

The future’s looking particularly bright for both properties. While Felton prepares to dazzle theater crowds (and presumably terrorize stage Potters), “Stranger Things” is already plotting its next moves. Between the animated series “Tales From ’85” and that prequel stage play, it seems some stories simply refuse to end — rather like Voldemort’s attempts at immortality, though hopefully with better results.

And darlings? That’s exactly how we like it.

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.