Blog

The rock community was stunned this week by the devastating loss of Sam Rivers, the foundational bassist of Limp Bizkit, who passed away at 48. His thundering bass lines didn’t just anchor the band’s signature sound—they helped define an entire era of music that transformed the late ’90s landscape.

“Sam Rivers wasn’t just our bass player—he was pure magic,” his bandmates shared in a raw, emotional statement that captured the depth of their loss. “The pulse beneath every song, the calm in the chaos, the soul in the sound.”

Sometimes the biggest moments in music history start in the most ordinary places. Back in ’94, a chance encounter at a Jacksonville Chick-fil-A between Rivers and Fred Durst sparked what would become one of nu-metal’s most influential acts. Alongside drummer John Otto, they crafted a sound that perfectly captured the angst and energy of a generation searching for its voice.

That sound exploded onto the scene with their 1997 debut “Three Dollar Bill, Y’all,” featuring that unforgettable, groove-heavy reimagining of George Michael’s “Faith.” But it was just the beginning. Rivers’ distinctive bass work helped propel “Significant Other” and “Chocolate Starfish and the Hot Dog Flavored Water” to the top of the charts, earning the band three Grammy nominations and multiple platinum certifications along the way.

Yet behind the pounding rhythms and stadium crowds, Rivers fought private battles that tested his resilience. A 2011 diagnosis of liver disease led to a transplant in 2017—but true to form, he was back on stage by 2018, proving music wasn’t just his career. It was his lifeblood.

DJ Lethal’s heartfelt Instagram tribute cut straight to the bone: “We love you Sam Rivers. Please respect the family’s privacy at this moment. Give Sam his flowers and play Sam Rivers basslines all day! We are in shock.”

Even as recently as last month, Rivers’ influence could be felt in the band’s latest chart success with “Making Love to Morgan Wallen,” showing how the magic he helped create still resonates with today’s audiences. His passing marks more than just the loss of a talented musician—it’s the end of a chapter in rock history that changed the game forever.

As his bandmates so eloquently put it, “His spirit will live forever in every groove, every stage, every memory.” Those grooves—the ones that made kids pick up bass guitars and helped define the sound of a generation—will keep pulsing through speakers and memories, a testament to the quiet force who helped shape modern rock.

Australian swimming witnessed a poetic changing of the guard this week, as rising star Mollie O’Callaghan blazed into the record books mere days after legend Ariarne Titmus announced her retirement.

The 21-year-old Queensland phenom didn’t just break the women’s 200m shortcourse world record – she absolutely shattered it. O’Callaghan’s jaw-dropping time of 1:49.77 at the World Aquatics Swimming World Cup in Westmont marked the first time any woman has cracked the 1:50 barrier in the event. The previous record? A seemingly untouchable 1:50.31, set by Hong Kong’s Sioban Haughey back in 2021.

Talk about perfect timing. Just as Australian swimming fans were processing Titmus hanging up her goggles, O’Callaghan stepped up to remind everyone that the pipeline of Aussie talent runs deep – really deep.

“I had a great support team behind me and I had to trust my gut at the end of the day,” O’Callaghan remarked after her historic swim. Classic understated Aussie response to what was, frankly, a mind-blowing achievement. Her closest competitor – fellow Australian Lani Pallister – touched the wall more than two seconds behind.

Speaking of Pallister, she didn’t exactly have a quiet meet herself. The rising star claimed her own piece of history by setting a new World Cup record in the 400m freestyle, clocking an impressive 3:52.42. When asked about Titmus’s departure, Pallister’s words carried genuine warmth: “She’s done so much as an athlete, so much for swimming, international swimming and setting the standard for middle distance swimming internationally. I have a lot to thank her for, for making me a better athlete.”

O’Callaghan’s versatility was on full display throughout the meet. Beyond her world-record performance, she snagged bronze medals in both the 50m freestyle and backstroke events. And she’s not done yet – the 100m freestyle still beckons on Sunday night.

The timing feels almost scripted – one Australian swimming queen steps away just as another emerges to claim the crown. Yet there’s nothing artificial about O’Callaghan’s rise. With eight Olympic medals already gleaming in her trophy case, she’s proven herself time and again in the crucible of international competition.

As the swimming world looks ahead to the 2025 World Championships in Singapore, O’Callaghan’s record-breaking swim serves notice: Australian swimming isn’t just alive and well – it’s thriving. The queen is dead, long live the queen? Perhaps. But something suggests this new sovereign might just be getting started.

College football’s ruthless nature was on full display this weekend, serving up a stark reminder that in today’s game, the distance between triumph and termination can be measured in mere yards — or worse yet, angry tweets.

Take the pressure cooker that was Ben Hill Griffin Stadium. Florida’s Gators managed to escape with a nail-biting 23-21 win over Mississippi State, but not before the infamous Swamp turned hostile. The victory soundtrack? A chorus of 90,000-plus voices, many of them demanding head coach Billy Napier’s job. Talk about a tough crowd.

Yet there stood Napier afterward, cool as a cucumber in a hot sauce factory. “I think it was awesome in there today,” he offered, somehow keeping a straight face. “The fans were incredible.” Whether that’s diplomatic genius or selective hearing is anyone’s guess.

Up in Ann Arbor, a different story was unfolding. Michigan — minus several key players and their head coach — didn’t just win; they put on a clinic. The Wolverines’ 24-7 dismantling of Washington under acting head coach Sherrone Moore proved that sometimes the interim tag comes with unexpected benefits. Who needs consistency when you’ve got adaptability?

But if you want real drama (and who doesn’t these days?), Miami delivered enough plot twists to fill a Netflix series. The Hurricanes’ Carson Beck went from Heisman whispers to Twitter memes faster than you can say “pick-six.” Four interceptions — nearly five, if not for a timely roughing-the-passer call — turned a promising afternoon into a 24-21 nightmare against Louisville.

The Hurricanes’ ground game didn’t help matters. Sixty-three yards on 24 carries? That’s the kind of stat line that makes offensive coordinators wake up in cold sweats. Beck found himself trying to play hero ball, and well… we all know how that usually ends.

These three programs tell a larger story about modern college football — one where patience has become as rare as a punt returner who calls for fair catches. Florida’s Napier might have won the battle, but whispers suggest he’s still losing the war. One more loss could spell curtains for his tenure, proving that in 2025’s college football landscape, even winning isn’t always enough.

The sport has evolved, or perhaps devolved, into something its founding fathers wouldn’t recognize. Long-term building plans? Those went out with dial-up internet. Today’s game operates at fiber-optic speed, where careers rise and fall between commercial breaks, and social media turns every armchair quarterback into an amateur athletic director.

“Just really proud of the group,” Napier reflected post-game, speaking about his players’ resilience. In today’s college football, that resilience better extend to the coaching staff — because tomorrow’s hero might be updating their LinkedIn profile by Sunday morning.

Welcome to modern college football, where the only thing more volatile than a fake field goal attempt is job security. And that’s exactly how the fans seem to like it.

Talk about coming full circle. Tennessee native Ty Simpson just wrote himself into Alabama football lore by leading the Crimson Tide to a sweet revenge victory over his home state Volunteers, 37-20. And boy, did he make sure to twist that knife just a little deeper with his post-game zinger: “Smoke ’em if you got ’em.”

The kid from Martin, Tennessee — barely a stone’s throw from Knoxville — put on a show that’d make Bear Bryant himself crack a smile. Simpson’s stat line tells only half the story: 19 completions, 253 yards, couple of touchdowns. But numbers don’t capture the poetry of watching a hometown boy break Tennessee hearts while wearing crimson.

“It’s very, very sweet,” Simpson drawled to ABC after the game, probably knowing full well how those words would land back in Weakley County. “Means a lot to my family.”

The Third Saturday in October rivalry’s latest chapter turned on its head faster than you can say “Roll Tide.” Right before halftime, Zabien Brown decided to play hero ball, snagging an interception and taking it 99 yards to the house. That play sent the Tide strutting into the locker room up 23-7, leaving Vol Nation wondering what hit ’em.

Simpson couldn’t help but gush about the defensive masterclass. “That was an awesome game against a really good team,” he said, showing that Tennessee politeness hasn’t quite left him. “The guys did a good job. We rallied around our defense.”

For the sixth straight time now, Alabama’s found themselves in the win column — and these weren’t your daddy’s cupcake games either. Four ranked opponents in a row have tried and failed to knock off the Tide. Most impressive? Holding Tennessee’s supposedly unstoppable offense (averaging 529 yards per game) to a modest 410 yards.

But here’s where Simpson really showed his mettle: two touchdown drives covering 90-plus yards each. The kind of drives that separate the pretenders from the contenders. “The 99-yard drive, man, credit to the guys,” he said afterward, spreading the love around like a true field general.

The No. 6 Crimson Tide (6-1, 4-0 SEC) keeps rolling, while No. 11 Tennessee heads home to lick their wounds. For Simpson, though, this wasn’t just another SEC Saturday — it was personal validation served with a side of Southern charm.

“Any win in the SEC is hard. We’re resilient. We’re tough,” he reflected, before adding what might be the understatement of the season: “Really proud of the guys, but I’m going to enjoy this one. It meant a lot to me.”

Sometimes the sweetest victories come wrapped in irony. For Ty Simpson, that meant trading Tennessee orange for Alabama crimson and proving that sometimes you’ve gotta leave home to find your destiny — even if it means breaking a few hearts along the way.

Hollywood’s latest guessing game has everyone buzzing, darlings — and this time it’s all about who’s stepping into the paws of our favorite cowardly feline. Director Jon M. Chu just dropped the kind of tea that makes award season gossip look positively tame: an A-list mystery star is joining “Wicked: For Good” as the voice of the Cowardly Lion. The anticipation? Simply delicious.

Picture this: Chu, sliding into celebrity DMs like it’s 2025 (because honestly, who makes phone calls anymore?). “Just a few lines,” he casually mentioned to Deadline, “but maybe you’ve got a minute?” The response from our mystery talent? Pure Hollywood gold — “Why the fuck not, let’s go!” Now that’s the kind of unbridled enthusiasm we live for in this business.

The sequel’s bringing back our emerald queen Cynthia Erivo as Elphaba, alongside pop royalty Ariana Grande’s Glinda — but honey, this ain’t your mother’s “Wicked.” Chu’s been dropping hints that this second chapter hits different… eight times more relevant, he claims. (Eight times? Really, Jon? Do tell.)

Between takes, something magical’s been brewing. The production team’s gone and tinkered with “For Good,” adding fresh dialogue that promises to destroy whatever’s left of our waterproof mascara. And speaking of waterworks — Erivo’s gone and penned an original number that apparently had the entire crew sobbing. Mental note: Stock up on tissues before the November 21 premiere.

The filming schedule? Pure chaos, darling — but the glamorous kind. One minute they’re shooting dorm room scenes at Shiz, the next they’re whisking away to Kiamo Ko castle. It’s giving very that “everywhere all at once” energy that we absolutely live for.

Now, about our mystery Lion… The rumor mill’s working overtime, sweeties. Lin-Manuel Miranda’s name keeps popping up, though whispers of Jack Black and J.K. Simmons are making the rounds. Chu’s promising the reveal will be “wild” — and in this town, that could mean absolutely anything.

Jonathan Bailey, Michelle Yeoh, and the eternally fascinating Jeff Goldblum are all back for more magical mischief. And if those CinemaCon reactions mean anything (they usually do), we’re in for something spectacular. The kind of spectacular that makes you forget about your overpriced popcorn.

But here’s the thing about “Wicked: For Good” — it’s serving more than just emerald-city aesthetics. In these… shall we say, interesting times, its commentary on truth and consequences feels almost eerily relevant. When was the last time a musical sequel actually had something to say? (Don’t answer that, darlings. We all remember “Grease 2.”)

The anticipation’s killing us softly, but November’s just around the corner. Until then, keep those theories coming about our mystery Lion. Though personally? Smart money’s on someone completely unexpected. That’s just how Hollywood likes to keep us guessing.

Darlings, the winds of Salem are stirring once again — and this time, they’re carrying whispers of something deliciously wicked. Bette Midler, our eternally fabulous Winifred Sanderson, has finally laid eyes on the script for “Hocus Pocus 3,” and her reaction? Pure magic.

During a delightfully candid chat with Andy Cohen on “Watch What Happens Live” (where the tea is always piping hot), Midler couldn’t help but gush about the potential third chapter. “Well, you know, they sent a script, and a lot of it was brilliant,” she revealed — and honey, when the Divine Miss M drops the B-word, we sit up and pay attention.

The path to this potential third enchantment has been about as straight as a witch’s broom in a hurricane. Last summer, Midler served up the kind of deliciously macabre ultimatum only she could deliver, practically daring Disney to “Get us while we’re still breathing!” — a reminder that even immortal witches have scheduling conflicts to consider.

Let’s dish about the numbers for a moment, shall we? Because “Hocus Pocus 2” didn’t just cast a spell on Disney+ — it absolutely bewitched it. The 2022 sequel conjured up a staggering 2.7 billion viewing minutes in its opening weekend alone. That’s enough screen time to watch Thackery Binx transform from boy to cat roughly a million times over.

The original 1993 film, which started as a modest October curiosity, has morphed into something of a cultural phenomenon. Rather like a fine wine (or perhaps a well-aged poison apple), it’s only gotten better with time. By 2022, the franchise had worked enough magic to land the sequel as the sixth most-streamed movie of the year, amassing an enchanting 5.7 billion minutes viewed.

Currently, the project hovers in that peculiar Hollywood limbo where “logistical things” (read: budgets, schedules, and the occasional virgin to light the Black Flame Candle) need sorting. Somewhere, one imagines Sarah Jessica Parker and Kathy Najimy are updating their broom maintenance schedules, just in case.

Sean Bailey, Disney’s former president of Walt Disney Pictures, has already confirmed that this third spellbinding installment is materializing — though like any properly brewed potion, timing is everything. After all, you can’t rush perfection, especially when it involves resurrection spells and musical numbers.

What’s particularly bewitching about this development is how it showcases the enduring appeal of these delightfully wicked sisters. In an era where streaming platforms seem to cancel shows faster than you can say “Amok, amok, amok,” the Sanderson sisters have proven they’ve got more staying power than a properly bound spell book.

With Midler’s enthusiasm for the script (and darling, she’s never been one to mince words), this third chapter promises to be anything but a recycled incantation. These witches have always known how to put on a show — and something tells me they’re about to prove that the third time’s the charm.

Saturday Night Live’s latest lineup announcement feels like a perfect snapshot of entertainment’s shifting tides as we head into 2025. The iconic sketch show is serving up an intriguing November schedule that pairs established stars with fresh faces — and perhaps most notably, giving some of music’s most buzzed-about newcomers their first crack at Studio 8H.

Remember when Bad Bunny kicked off Season 51 back in October? Well, the show’s keeping that momentum rolling with a roster that’s got both industry veterans and emerging talents practically bouncing off the walls of 30 Rock.

The month kicks off with a familiar face when Miles Teller takes the helm on November 1. Fresh from his mind-bending performance in “Eternity” (still can’t get over that plot twist), he’ll be sharing the stage with the incomparable Brandi Carlile. It’s her third time bringing those powerhouse vocals to SNL, and word is she’s got some surprises planned from “Returning to Myself” — an album that’s been absolutely everywhere since dropping last month.

But here’s where things get really interesting. November 8 marks the SNL debut of Gen Z phenomenon Sombr (that’s Shane Boose to his mom). At just twenty years old, this kid’s already topped Billboard’s Hot 100 Songwriter’s Chart, and “Back to Friends” has been stuck in everyone’s head since hitting No. 22. He’ll be paired with comedian Nikki Glaser, who’s finally — yes, finally — getting her shot at hosting.

The following week brings another fresh pairing that’s got entertainment circles buzzing. “Top Gun: Maverick” heartthrob Glen Powell (whose new Amazon series is crushing it, by the way) makes his hosting debut alongside British vocal powerhouse Olivia Dean. Her album “The Art of Loving” quietly climbed to No. 7 on the Billboard 200 — not too shabby for someone who was playing London pubs just a couple years ago.

Speaking of recent history, let’s not overlook Sabrina Carpenter’s double-duty triumph earlier this season. Her “Man’s Best Friend” album topped the charts, and she managed to nail both hosting and musical guest responsibilities with the kind of ease that makes you wonder why she hadn’t done it sooner.

What’s particularly striking about this lineup is how it reflects SNL’s uncanny ability to keep its finger on the pulse of pop culture as we approach 2025. The show’s been doing this delicate dance for over five decades now — balancing established stars with tomorrow’s headliners. And somehow, they keep getting it right.

For artists like Sombr and Dean, an SNL appearance isn’t just another tour stop. It’s a cultural milestone, a rite of passage that’s launched countless careers into the stratosphere. As these newcomers prepare to step onto that legendary stage, they’re not just performing — they’re becoming part of a legacy that’s been shaping American entertainment since before they were born.

And isn’t that what keeps us tuning in, week after week? The possibility of witnessing that exact moment when a new star is born, right there on our screens, live from New York?

Live music in 2025 has taken an unexpectedly theatrical turn, blurring the lines between performer and audience in ways that would’ve seemed bizarre just a few years ago. Gone are the days when fans simply showed up in band t-shirts — now they’re part of the show itself.

Take the recent Pitbull concert at Brisbane Showgrounds. Hundreds of young women arrived transformed into mini Mr. Worldwides, sporting suits, ties, and (somewhat amazingly) perfectly fitted bald caps. The sight of these gender-bending doppelgangers created something between a carnival and an art installation — perhaps the most surreal fan tribute since the great Taylor Swift friendship bracelet phenomenon of 2023.

“To all the baldies out there, if you’ve put on the bald cap, you’ve come to have the time of your life,” Pitbull declared to his army of clones. The moment perfectly captured the evolving nature of concert-going, where audiences aren’t content to merely watch — they’re determined to become part of the spectacle themselves.

Meanwhile, across the pond, The Last Dinner Party continues pushing boundaries with their latest album “From the Pyre.” The London quintet has mastered the art of theatrical consistency without falling into predictability. Their signature flowing gowns and lace corsets have sparked a fashion movement that’s as much about artistic expression as it is about music.

The band’s sound defies easy categorization — gothic organs crash against baroque orchestrations while singer Abigail Morris delivers apocalyptic poetry with theatrical precision. “Oh here comes the apocalypse/And I can’t get enough of it” she declares, somehow making doomsday sound downright appealing.

Calgary’s music scene reflects this broader evolution. The city’s venues — from the intimate vibes of Commonwealth Bar to the arena-sized Scotiabank Saddledome — are hosting an eclectic mix that would’ve seemed impossible a decade ago. The Halluci Nation’s electronic-indigenous fusion shares billing with pop-punk survivors Papa Roach, proving that genre boundaries mean less than ever in 2025.

Even established artists are adapting to this new paradigm of performance-meets-spectacle. Mariah Carey’s recent Australian tour featured an unexpected moment of cultural connection — the diva actually attempted to eat Vegemite between her signature whistle notes. Sure, it might’ve been staged, but these manufactured moments of authenticity somehow feel genuine in their very artificiality.

The Last Dinner Party’s latest work perfectly embodies this era of fearless fusion. One track channels Jerry Lee Lewis-style piano while the next features French descant singing. They reference King Lear in one breath and Led Zeppelin in another. It’s high culture meets rock ‘n’ roll swagger, and somehow it all works.

This artistic fearlessness has infected audiences too. When hundreds of women don bald caps to see Pitbull, they’re not just showing appreciation — they’re creating a piece of performance art. It’s worlds away from the passive concert-going of previous decades, where simply watching and clapping sufficed.

As we navigate deeper into 2025, the boundaries between performer and audience continue to dissolve in fascinating ways. Whether it’s The Last Dinner Party’s gothic-psychedelic fusion or Pitbull fans staging their own mass performance piece, music remains an ever-evolving canvas for creative expression — both on stage and off. The question isn’t whether this trend will continue, but rather what surprising form it’ll take next.

Retro is making a comeback, and this time it’s wearing a smartwatch.

Something peculiar is happening in our hyper-modern world of invisible tech and minimalist design. Walk into any trendy apartment in 2025, and you might think you’ve stumbled through a time portal. That sleek wooden console against the wall? It’s actually a state-of-the-art sound system disguised as vintage hi-fi equipment. And that chunky TV that looks straight out of “The Brady Bunch”? Hidden behind its retro facade lies a quantum-display screen with better resolution than reality itself.

Welcome to the age of analog chic, where yesterday’s aesthetics are getting cozy with tomorrow’s tech. It’s not just about looking backward — it’s about cherry-picking the best bits of our collective past and giving them a digital makeover.

The movement has taken some unexpected turns. Take those massive wooden stereo consoles from the ’70s. Nobody expected them to make a comeback, yet here we are. Modern versions house everything from wireless charging stations to smart home hubs, all while maintaining that warm, nostalgic presence that makes you want to pour a scotch and put your feet up.

“People are craving tangibility in an increasingly virtual world,” notes Emmanuel Plat of MoMAstore. He’s got a point. There’s something deeply satisfying about the solid chunk of a physical button or the smooth rotation of an analog dial, even when that dial is controlling a sophisticated AI algorithm instead of a radio tuner.

The aesthetic mashup spans decades like a time-traveling interior designer gone rogue. Mushroom lamps cast their warm glow over Lucite furniture while Memphis-style patterns make wallpaper pop with mathematical precision. Some spaces look like “That ’70s Show” got a software update, while others channel “Miami Vice” through a quantum computer.

Design journalist Joseph Sgambatti hits on something crucial: “These nostalgic design choices aren’t just about aesthetics — they’re emotional anchors in a world that moves too fast.” In an era where the metaverse competes with reality and AI writes poetry, there’s comfort in these tangible connections to simpler times.

The color story tells its own tale. Those earthy ’70s tones — think avocado green and harvest gold — are making a surprising comeback, but with a twist. Modern materials and manufacturing techniques give these vintage hues new life, creating surfaces that would’ve seemed impossible fifty years ago. The ’80s palette crashes the party too, with neon accents that somehow feel both retro and futuristic.

What’s fascinating is how Gen Z has embraced this movement. Born into a digital world, they’re discovering analog culture through a uniquely modern lens. They hunt vintage treasures and vintage-inspired pieces that play well on social media while offering something their neural implants and haptic displays can’t replicate — authenticity.

The irony doesn’t escape notice. Modern technology perfectly recreates imperfections that were once considered flaws. Those warm tube amp distortions? Now they’re precisely calibrated algorithms. That VHS tracking fuzz? It’s a digital filter that costs more than an entire video store circa 1985.

Marianne Starke of Gensler architecture puts it perfectly: “We’re not just designing spaces — we’re creating time machines for the soul.” These environments tap into memories some of us lived and others only inherited through media and stories. It’s comfort food for the eyes, served with a side of cutting-edge tech.

As 2025 unfolds, this fusion of past and future shows no signs of slowing. Maybe that’s exactly what we need: spaces that feel human in an increasingly automated world. After all, who says you can’t stream tomorrow’s hits through yesterday’s speakers?

Studio 8H is buzzing again — and not just with the usual creative chaos that defines Saturday Night Live. As the show settles into its post-50th season groove, the November lineup reads like a carefully curated mixtape of entertainment’s established heroes and tomorrow’s breakout stars.

Miles Teller’s return to hosting duties on November 1st feels particularly well-timed. After his solid debut back in ’22, the “Top Gun: Maverick” star has proven he’s got more than just fighter pilot charm up his sleeve. He’ll share the stage with Brandi Carlile (yeah, that makes four SNL appearances for her now) whose raw vocal power could probably shake loose a few of those historic studio ceiling tiles.

Here’s where things get interesting — Nikki Glaser’s stepping into the host spotlight on November 8th for her first-ever SNL gig. Fresh off running the show at the Golden Globes (and honestly, who wasn’t a bit surprised by how smoothly that went?), Glaser’s take-no-prisoners comedy style might be exactly what SNL needs right now. Musical guest Sombr brings his own fresh energy to the mix; “Back to Friends” hasn’t just been stuck in everyone’s head, it’s practically taken up residence there.

The November trifecta wraps with Glen Powell making his hosting debut on the 15th. Another “Maverick” alum (seriously, what is it with that movie and churning out charismatic performers?), Powell’s been killing it in Hulu’s “Chad Powers.” He’ll be joined by Olivia Dean, whose “The Art of Loving” has been doing that rare thing — actually deserving all the buzz it’s getting on both sides of the pond.

But let’s talk about the elephant in the studio — SNL’s gone through some serious changes lately. Saying goodbye to Heidi Gardner and Ego Nwodim felt like watching your favorite coffee shop regulars move away. Add Devon Walker and Michael Longfellow to the departure list, and you’ve got some pretty big shoes to fill. Enter the new blood: Tommy Brennan, Jeremy Culhane, Ben Marshall, Kam Patterson, and Veronika Slowikowska. No pressure, folks.

The show’s still riding high from its 50th anniversary festivities — those seven Emmy noms for the main show ain’t too shabby, and 23 more for the anniversary specials? Not bad for the old guard of late-night TV. Before this November crew takes over, though, there’s still Sabrina Carpenter pulling double duty as host and musical guest on October 18th. Following Bad Bunny’s recent host/performer combo might seem daunting, but something suggests Carpenter’s got a few surprises planned.

Look, 51 seasons in, and SNL’s still throwing curveballs. Whether they’re all going to connect is anyone’s guess — that’s live TV for you. But between Teller’s return, Glaser’s edge, and Powell’s fresh take, November’s shaping up to be anything but predictable. And isn’t that exactly what we’re tuning in for?