The Orchard has hired Heather Vassar as senior vp, Nashville, the company announced Tuesday (March 24). Vassar previously served as senior vp at EMPIRE, where she helped launch the company’s Nashville office. She will now spearhead and strategically guide The Orchard’s Nashville division, reporting to Colleen Theis, The Orchard’s president and COO.

At EMPIRE, Vassar helped sign and develop acts including Shaboozey, CeCe and Wyatt Flores. Following her Orchard appointment, she will maintain ownership of Casual Media Partners, a music and media company blending record label services, artist management, content creation and innovation initiatives spanning AI, tech and cross-media storytelling.

“We are excited to welcome Heather to The Orchard,” Theis said in a statement. “Heather brings an invaluable level of expertise to our organization, given her deep-rooted relationships within the Nashville market and significant connections throughout the wider music industry. Her proven ability to strategically cultivate opportunities for artists spanning an array of genres will be instrumental in helping us further our mission: to connect our diverse roster of clients with exponentially growing global audiences. Her appointment also represents a pivotal step in our ongoing commitment to elevating and empowering women in high-visibility leadership roles across our company.”

Vassar was named to Billboard’s 40 Under 40, Country Power Players and Women In Music lists in 2025. She joined EMPIRE in 2019 and left the company in May 2025. Among her successes there was the successful launch of Shaboozey, whose track “A Bar Song (Tipsy)” tied the record for most weeks at No. 1 on the Billboard Hot 100, at 19. The song also made history by going top 10 on Billboard‘s Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts.

“I’m honored to join The Orchard as SVP, Nashville, at an exciting time as genre lines blur and independent artists scale globally,” Vassar said in a statement. “I look forward to elevating our footprint to support this momentum while maintaining the vision and integrity established by Brad, Colleen and The Orchard team.”

After directing the left-field Broadway smash Oh, Mary! (which earned him a Tony for best direction of a play in 2025), Sam Pinkleton is turning his attention to the only play weirder, gayer and more musically madcap than Cole Escola’s take on Mary Todd Lincoln — The Rocky Horror Show.

“Like 10 seconds before I got on this interview, Rocky was being born from an amniotic sac in Frank’s lab in the other room,” Pinkleton, rocking a Brontez Purnell T-shirt and skater cap, tells Billboard with a grin. “Every day in rehearsal, I’m like, ‘Can you guys believe we’re doing this?’”

Depending on your familiarity with queer counterculture, Pinkleton’s words are either a complete enigma or loaded with deliciously demented imagery. For the latter crowd (a remarkably devoted bunch of earnest oddballs), it’s time for a toast. On March 26 at Manhattan’s Studio 54, Brad, Janet, Dr. Frank-N-Furter, Riff Raff and the rest return to the stage in a new version of Richard O’Brien’s musical, as directed by Pinkleton. The eclectic cast is a fever dream befitting the freaky, funny, iconoclastic material: Rachel Dratch, Andrew Durand, Luke Evans, Amber Gray, Harvey Guillén, Stephanie Hsu, Juliette Lewis, Josh Rivera and Michaela Jaé Rodriguez.

Originally a West End production in 1973, The Rocky Horror Show eked out a brief Broadway stint in 1975, the same year the incalculably influential cult film The Rocky Horror Picture Show came out. A quarter century later, the play time warped back to the Great White Way for a 16-month run starting in 2000. Now, more than a half century after it first emerged from the velvet darkness of the blackest night, The Rocky Horror Show is ready for a Frankenstein face-lift. But what does that even look like in 2026? How do you freshen up a familiar, beloved text without losing what made it work in the first place?

While still in rehearsals, Pinkleton took a breather from Transsexual Transylvania to answer Billboard’s questions about reimagining The Rocky Horror Show, how this production’s unusual cast came together and his “romantic game of telephone” with Rocky Horror creator/O.G. Riff Raff Richard O’Brien.

What was your first exposure to Rocky Horror? How deep does it run for you?

It was always in my consciousness, just as a weird kid. I was an arty teenager in a small town. I knew the imagery of it before I had actually seen it. I don’t think I saw it actually until college, and it kind of freaked me out.

It didn’t become capital-I Important to me until, I’m gonna say, about seven or eight years ago, when I started talking to my friend Pam MacKinnon. This is actually how the conversation started: She runs A.C.T. [American Conservatory Theater] in San Francisco and we were like, “What is the most fun thing you could do in San Francisco in a 1,200-seat theater?” And I said, “I think there’s only one answer, and it’s Rocky Horror. Let me make sure.” I went back and I watched the movie, and when I watched the movie, I was like, “Wait, what have I been missing?”

This is a tale as old as time: I wish someone had shown me this when I was 14, because it would have saved me a lot of struggle. Then when I started thinking about making a show, I started talking to people who have both spent time making Rocky Horror, but more than that, people who have basically had their lives saved by Rocky Horror, which is quite a population.

I interviewed Richard Hartley, who did the score for the original London stage production and the film, for the movie’s 50th anniversary.

Such a good interview.

Thank you! He also talked about meeting so many people liberated by Rocky Horror. For you, did you first see it on TV or in a theater?

The first time I saw it was definitely on a TV at home but very soon thereafter I went to the shadow cast in New York, back when they were still doing them on 23rd Street. I think now they’re at Village East. It was one of the most moving experiences of my entire life. I was completely unprepared for how much it meant, how militant everyone was. I had no idea. They sell out (the theater). As a theater maker, I feel like you’re constantly asking, “How do we get everybody in one room to care about the same thing?” And I feel like the Rocky shadow cast culture is like, “Um, we figured that out a long time ago. Way better than theater usually does.”

The cast that you’re working with for this Studio 54 production — put together by Carrie Gardner and Stephen Kopel — is phenomenal. It’s stacked, it’s inventive. How involved were you in the casting process?

I don’t think it would be possible for me to be more involved than I was. I would say that the casting of The Rocky Horror Show has been the main activity of my life for the last year. When we started working on it at Studio 54, the very first thing I said to our casting directors was, “I want to look at the stage and be like, ‘How did this group of people end up together?’” Because to me, that is the essence of Rocky Horror, period. It’s what the movie feels like. That energy was really important to me.

There’s this unique opportunity doing it on Broadway, of all places — because Rocky Horror is a musical, and it was a Broadway musical, but it’s not like a “Broadway” musical. And it doesn’t want to be muscled into becoming a splashy Broadway musical. A gift of doing it in a 1,000-seat theater is that it is a guarantee that the audience will come in with radically different experiences of Rocky Horror, ranging from “It is my religion” to “I wish they weren’t doing this. I wish they were doing a pleasant play instead.” The fun of making it is about creating as many different access points as possible for as many different audience experiences.

And so many of these actors come from different acting and performance backgrounds.

Of course there’s familiarity with some of these people, but also there’s just this pretty bananas range of physicalities and looks and experience, literal experiences. Rocky Horror is the unique container that can hold everything. A thing that matters to me a lot about the show is that it weirdly has a giant heart. It’s a bunch of tender weirdos, and it was important to me that the show be made by tender weirdos. That’s exactly what this group of people is.

Rocky Horror has an edge, but the message of “don’t dream it, be it” is very heart-on-sleeve.

Ask anyone who is devoted to (Rocky Horror): It’s serious stuff, it’s life-saving stuff. It’s also ridiculous and hilarious and trashy and sparkly and all of that. The stakes of it are really big. “Don’t dream it, be it” is audacious.

And it’s audacious to bring it to Broadway in 2026. There are Rocky Horror fans who will show up to the theater ready to hate this production.

Guaranteed. I actually think there’s something incredibly liberating about the fact that it can’t be all things to all people. One of the things I love about Rocky Horror is that everyone has really strong feelings about it — and everyone is right. The piece itself actively holds contradictions, which is so unpopular in 2026: the idea of two things being true at once, the idea of nuance, the idea of contradiction. Our brains can’t handle it. We just need to be told one thing, and Rocky refuses that, and Richard O’Brien refuses that.

When I think of Frank-N-Furter, Magenta, Columbia — not only are they iconic roles, but even the timbre of their voice is locked into people’s minds. When you’re working with your cast, how do you approach that? Do you pay homage to the past, do you subvert it?

I’m learning it in the moment. I think often with Broadway revivals, there’s this kind of understood logic of “We’re going to approach it as if it’s never been done before.” But in fact, the fun of Rocky Horror is that it has been done before, and that’s in the room with us now. We get to decide what we do with that. We can’t do a recreation of Tim Curry and Patricia Quinn and Nell Campbell: It wouldn’t be good, because they are singular.

I’m gonna get really woo-woo — and pardon me, but it’s a woo-woo thing, this show. There are spiritual guideposts in how it was originally conceived that we can’t ignore. There are things about Sue Blaine’s original costume design that are just undeniably iconic. There’s something violent. If Columbia and Magenta are in purple spandex bodysuits, I better have a really good reason for doing that, because I’m taking people’s Columbia and Magenta from them. Like Richard O’Brien says [in the 2025 documentary Strange Journey: The Story of Rocky Horror] —which I love very much —”Rocky Horror doesn’t belong to me anymore, it belongs to everyone.”

I think that’s true for this. We are obviously making our version, and we’re coming in with a very strong point of view. Also, these characters belong to everyone. This has been part of the design process, and this has been part of the rehearsal process with the actors. We’ve had fun knowing what it’s been, knowing what it is, and then making a choice about when and how we’re leaning into that or leaning away from it. It’s all in the room with us. There’s a forensic element to it that I love. We have the material, as well as 52 years of stuff.

A lot of people in this cast are making their Broadway debuts.

We have nine Broadway debuts overall, including Juliette Lewis, Michaela Jaé Rodriguez, Josh Rivera, Luke Evans.

Wow. You’re obviously pretty experienced on Broadway. I mean, you have a Tony. Do you find yourself giving different notes, or a different kind of encouragement, to actors who primarily come from the world of film and television?

A thing that is really special about this company — and this sounds like something that I would say in an interview, but in fact, it’s the truth — I have a pretty fierce “no a–holes” policy. I don’t know if I’m any good at directing, but I’m pretty good at feeling out the vibes of putting a company together. No one person was cast in isolation on this: A company was put together. There’s real experience-sharing.

So sure, Juliette Lewis has never been in a Broadway musical before, but she’s been in a play in the West End. Amber Gray has been in a million Broadway musicals. People know Stephanie Hsu from movies, but she came from theater. Also we have Paul Soileau as one of the Phantoms, who is known to many as CHRISTEENE, who has this incredible alt-queer performance background — which is as useful as Broadway musical experience. I see the Broadway people talking to Paul Soileau and Boy Radio, who are Brooklyn queer icons, and I see the Hollywood people talking to the Broadway people. So there’s this very beautiful cross-pollination happening.

I don’t wish that people had the experiences they didn’t have. There’s a really delicious chaos. I think the unruliness of that is part of what makes it fun, and it feels very Rocky Horror to me. Also, frankly, everybody came in with the contract of having a real affection for the material and a real sense of adventure. That is the thing that is driving the process. And maybe this is easy for me to say, because I have worked a lot on Broadway, but I don’t find that thing of [adopts deep, faux-authoritative voice] “Well, this is Broadway” to be helpful at all.

That makes sense. Particularly with Rocky Horror, because it is unruly and chaotic. It contains so many tonal shifts.

It can’t be smoothed out. It’s the surest way to kill it.

Even though Rocky Horror has so many reference points to the ‘50s, there’s something timeless about it. The story of sheltered squares being exposed to the wider world and liberated is just as relevant now as 50 years ago. It probably always will be. You come from a smallish town, right? This has to feel pretty relatable.

Yeah. I basically come from Denton [the fictional town where the movie takes place]. I think the notion of “what’s on the other side of the castle wall” is something that is timeless. We all want to know, and we all want to be scared a little bit and titillated a little bit. There’s not anything like it. It’s so crazy how singular it is.

I want to talk about the music, which I know Kris Kukul is working on. Similar to the acting, the music is another thing where fans will come in with expectations. How are you approaching that?

For me, a real north star with Rocky Horror is to not treat it like it’s broken. People can pick at it any way they want, and I invite that, but ultimately, there’s a reason it’s stuck around for 52 years, and these tunes are a big part of that. To me, Rocky Horror is the Big Daddy/Grandfather who’s still cooler than everyone in musicals. Everything pours from Rocky Horror and Hair and Jesus Christ Superstar, right?

Yes. Though I’d say Rocky Horror is a little bit cooler than the other two.

I never know what cool is. Cool stresses me out. But I think part of why it’s cool is because it’s not trying to be cool. Musically I-slash-Kris are working from a baseline of “it’s not broken, it doesn’t need us.” The first conversation I had when I started working on Rocky Horror, like eight years ago, the first conversation I had was with Richard Hartley, who I know you’ve talked to. To me, that guy is just a beacon of sense when it comes to the show. There’s a simplicity to these tunes: they’re real ‘70s rock n’ roll tunes, it’s a five-piece band and we want to embrace that. We don’t want to Broadway it up, we don’t want to make it sound like 2026. It’s just kick-ass rock songs. Richard O’Brien always says, “Just make sure we can hear the lyrics.”

The band will very much be a part of the experience of watching the show. Sometimes you go to Broadway musicals and you’re like, “Is this live? Where is this music coming from?” And that feels like a bummer to me. A big part of how we’ve conceived the production is to feel the music get made in the room. It’s a throwback. I don’t know, maybe that’s going to be disappointing to people. But we want to do these tunes as conceived really well for these super specific voices.

You mentioned Richard O’Brien. Have you spoken with him at all about this production?

Richard and I are in the longest, most romantic game of telephone, via the great Howard Panter, who is kind of the Rocky Horror worldwide impresario. Richard and I pass notes back and forth almost constantly via Howard. I just can’t believe that we get to be alive at the same time as Richard O’Brien. He’s every bit as pure and beautiful and radical and so not bulls–tty. There’s never been bulls–t, and there still isn’t bulls–t. I feel the weight and the responsibility and the great honor of getting to do this. I’m really grateful to him for it.

I have a few specific music questions. “Once in a While” is a Brad song in the original stage production that got cut from the movie. Are you including it?

It’s making the cut! Yes. Let’s hear from Brad.

In the original stage version, “Science Fiction/Double Feature” is peppy, energetic; in the film it’s slower, grander, a ballad. How are you approaching it?

Well, we’re going in a way that you’re seated at a Broadway musical, and the next thing you know, Juliette Lewis is center stage singing to you about some science fiction movies. So I would say it is neither version. I would say it is a version that is driven by Juliette, and the lyric of that song and the total obsession with sci-fi. It sounds like I’m trying to squirrel out of the question, but I just feel like it’s a much more lyrically driven thing than a musically driven thing.

The queer community has so much love, affection and obsession for Rocky Horror. Throughout this process, I imagine you’ve been inundated with hyper-specific questions (like mine) and suggestions from people.  

A gift of Rocky Horror is that everyone has thoughts, and if I spent all of my time synthesizing the thoughts, I would forget to direct the play. The best thing that I can offer is my best swing at a version of Rocky Horror that loves Rocky Horror as much as it loves every person who comes and sees it. That’s what I’m trying to do. For every person that said, “I hate you, you’re gonna destroy this,” 10 people said, “I’m really excited,” and that’s great. I feel the responsibility of it. I don’t want to say pressure, but I feel the responsibility of it. I don’t know everything. From the cast to the designers to the associates to the technicians, I’ve tried to assemble a group to look at it from different points of view.

To me, that’s the fun of making theater. If everybody was just looking at it with my eyes, who cares? I think that’s especially important on Rocky Horror. I have people in the room and in the cast who know it back and forth and have been in shadow casts. I have people who approach it with great caution, who have thoughts about the bad it can do as much as the good. And to all of that I say, “Great, bring it on.” I don’t feel naive about all of the feelings. I feel like it’s worth taking a big, muscular, heartfelt swing. And I also could give a f–k about what people are saying on the internet in the comments.

For what it’s worth, when I saw your name attached to this, I was excited. I’ve seen Oh, Mary! and Ta-Da!, both of which are phenomenal, and I thought, “Okay, we will actually get a fresh perspective here.”

I can say with total, total confidence: There is nothing I would rather be doing right now. I’m so happy to be doing it and to be visiting it and to be staring at this puzzle that means so much to so many people. So many of whom will be in the room, and so many of whom will never be able to be in the room. I take that s–t so seriously. And also, I don’t want to take it too seriously, because that’s how I will destroy it.

Jay-Z sat down for a rare interview with GQ that was published on Tuesday (March 24), which marks the rap legend’s first cover story in nearly a decade.

Among the myriad topics discussed was Hov’s take on whether hip-hop has surpassed the need for rap battles, as he pointed to things getting taken too far in the blockbuster Drake and Kendrick Lamar feud in 2024.

“I love the sparring and the music you get, but in this day and age, it’s so much negative stuff that comes with it, you almost wish it didn’t happen,” he said. “Now people that like Kendrick hate Drake no matter what he makes … It’s like an attack on his character and I don’t know if I love that, I don’t know if it’s helpful to our growth, where the fallout lands … It’s too far.”

At 56 years old, Jay admits his age may be influencing his opinion on growing from rap feuds, as he’s long matured from the days of sparring with Nas well over two decades ago.

“Maybe I’ve grown in a space where I sound like the old guy wagging the finger,” Jay said. “I think we can achieve the same thing, as far as sparring with music, with collaborations more so than breaking the whole thing apart.”

The Brooklyn icon doesn’t appreciate fans taking things too far by bringing family and kids into the battles. With social media omnipresent, he also doesn’t think that fans can move on from battles properly.

“It’s too far. It’s bringing people’s kids in it. I don’t like that,” he added. “It takes up so much oxygen, it’s like trying to tear down people’s lives. I don’t know if it’s worth it at this point.”

Jay finished with a pointed message about rap battles: “I don’t know if battling needs to be part of the culture anymore.”

Kendrick rode the momentum from his feud with Drake into a Super Bowl Halftime Show in 2025, which Hov plays an integral role in helping select each year’s halftime performer. However, that selection wasn’t made to undermine his “Light Up” collaborator.

“I chose the guy that was having a monster year. I think it was the right choice. It wasn’t in some sort of alliance to a battle,” he said. “Not just me, they drag everybody in there like everyone’s part of this conspiracy to undermine Drake. Like what? I’m f–king Hov!”

Kendrick’s “Not Like Us” diss served as the killshot in his 2024 battle with Drake. The Mustard-produced anthem went on to top the Billboard Hot 100 and broke the record for the most weeks at No. 1 on the Hot Rap Songs chart, while also collecting Grammy Awards for record of the year and song of the year.

Watch Jay’s full interview with GQ below.

Firebird Music Holdings has today (March 24) announced a new strategic partnership with U.K. artist management company Goodlife Management.

The partnership brings the Goodlife team — including founders Oliver Sasse, Lucy Sasse, Ellie Shaw and David Watters — along with the company’s artist roster into Firebird’s suite of management companies. Goodlife currently represents an esteemed slate of dance and electronic artists including British phenomenon Fred again.., American scene leader The Blessed Madonna, Dutch trance star Ki/Ki and Japanese DJ/producer Yousuke Yukimatsu.

Under the terms of the partnership, Oliver Sasse will now serve as a senior advisor for Firebird, with a focus on growing the company’s dance music acquisitions and exploring opportunities within catalog, labels, managers, live events and more.

With the deal, Goodlife joins Firebird’s group of U.S. and U.K. management partners, including Mick Management, Red Light Management, JET Management, Hills Artists and Special Projects.  

“For us and our artists, it builds on the global network and creative momentum, while unlocking more commercial opportunities,” Oliver Sasse tells Billboard of the partnership. “Just as importantly, we’re able to lean into the experience and business acumen of Nat, Nathan and their team, while plugging into a network of managers we respect enormously, many of whom are friends and now partners, further strengthening what we can offer our roster.”

The partnership will give Goodlife access to Firebird’s strategic infrastructure and ecosystem of industry-spanning experts, with an eye towards expanding Goodlife’s roster.

Launched in the wake of the pandemic, Firebird has access to more than $1 billion in equity and is backed by institutional investors including the Raine Group and KKR Partners. Over the last several years, the company has invested in leading management companies and indie labels specializing in developing artists, with a vision to, as Firebird executive chairman Nat Zilkha told Billboard in 2023, “participate across a much broader range of all the activities artists participate in by having a horizontal relationship with them so that we can be more forward leaning in terms of how we invest in artists’ careers.”

In a statement on the Goodlife deal, Zilkha adds that “We are thrilled to partner with Oliver on developing creative and business opportunities for his artists, as well as collaborating with him on impactfully expanding our own footprint across the genre.”

“Oliver Sasse and the Goodlife team have been at the forefront of the global popularity for electronic music for the last decade, fostering unique artists and delivering innovative approaches to building longer lasting, more impactful global careers,” Firebird CEO Nathan Hubbard added in a statement.

This Tuesday (Mar. 24), the moment Hannah Montana fans have been waiting for has arrived: the much-teased and highly-anticipated Disney+ special celebrating the show’s 20th anniversary is here.

On Monday night, the premiere took over downtown Hollywood with a special screening at the El Capitan Theatre, followed by an after party at The Hollywood Roosevelt — both of which were attended by Cyrus along with her family and a handful of Hannah cast members. But, just weeks prior, key moments in the special were still (not so) secretly being filmed.

On Feb. 27, superfans of both the show and its star, Miley Cyrus, were invited to Los Angeles from around the world to watch her perform; But even upon arrival, details were vague and parking passes simply referenced “Project Wig Anniversary.” (Project Wig was also scribbled on a box of blonde wigs that were later tossed to select attendees). Upon entering the Sunset Gower Studios lot, phones were locked and secrets were (mostly) kept — until now.

As fans made their way toward Stage 14, they were greeted by a towering logo for the Hannah Montana 20th Anniversary Special plastered onto the gate. And parked right in front was, of course, the same black Ford Mustang convertible with its HM 20 plate that Cyrus was previously spotted driving around Malibu.

And after a few hours kept patiently waiting, upon walking into the soundstage there were two major moments to take in: On one side, iconic Hannah Montana sets had been reconstructed, including Hannah’s Malibu home living room and her legendary spinning closet; on the other side, a stage had been built.

A blend of Hannah Montana and Miley Cyrus hits played in the background, and a camera operator sang along to “Party in the U.S.A.” while Call Her Daddy podcast host Alex Cooper (who co-produced the special) looked on from the back of the crowd. Soon enough, the music cut out and was replaced by gasps and claps as Hannah appeared — or was it Miley? Or Miley as Hannah?

“It’s hybrid Hannah; it’s a little confusing, huh?” said Cyrus with a smile, scanning the room. “A little bit Hannah, a little bit Miley.” (She later joked to a production assistant: “My dress is too tight, will you grab my sunglasses? That’s the Miley part.”)

Wearing a stunning floor-length, halter neck sequin gown with an open back that showed off many of her tattoos, the artist standing on stage was indeed a little bit of both worlds — and, more than anything else, that’s what this anniversary is truly celebrating.

“The best training I had to be Miley was Hannah,” Cyrus shared in between performing Hannah Montana hits “This Is the Life” and “The Climb.” She continued: “I used to think of Hannah separate from myself… This is my reclaiming.” (She performed both songs twice, explaining that the second take was “music video style” including tighter shots of her face. “I’m lip-syncing for my life,” Cyrus laughed ahead of the second take. “It’s still going to be major.”)

After her live vocals and close-ups were complete, Cyrus cautioned fans before exiting the stage: “You’re about to be so gagged for what’s to come.” And after a brief reset — during which the iconic Hannah Montana marquee appeared on stage and backup dancers took their places — she was proven right. As Cyrus ascended from below the stage — wearing the same black outfit she was spotted in days before while driving the Mustang — an instantly-recognizable drumbeat kicked in as she prepared to perform the show’s hit theme song, “Best of Both Worlds.” Even her mom, Tish, couldn’t help but dance along.

And as confetti canons signaled the end of the song and the taping (of these three songs, at least, as other components of the special were filmed separately), Cooper expressed to Tish, “That was a spiritual experience.” To which Tish replied, “I’m gonna be depressed tomorrow that it’s over.” 

But, as Miley shared earlier in the day — and as she reiterates in the special — creating something that extends beyond one moment and serves more than just one audience in one specific location at one specific time was exactly how she landed on a pre-taped special.

“We got to be with you all in your homes,” she said, reflecting on the experience of being on TV. “That’s what my character didn’t want to let go of.”

It seems Miley herself didn’t want to let go, either — and thank goodness for that.

She said it best in Hannah Montana: The Movie when she sang: “You can change your hair and you can change your clothes/ You can change your mind, that’s just the way it goes/ You can say goodbye and you can say hello/ But you’ll always find your way back home.”

Fans have indeed seen and supported Cyrus through such hair, clothes and mindset changes across the last two decades. And now, in this dim-light soundstage, seeing her embrace a character that at many times felt like a distant memory makes this homecoming an even bigger cause for celebration. And as Cyrus affirms in the special, “It’s good to be home.”