Dolly Parton has made it clear that while she’s cheering for the upcoming remake of “9 to 5,” she won’t be appearing on screen.
According to People, the music legend shared support for the film led by Jennifer Aniston, noting her excitement for the modernized story but confirming there are no plans for her or her former castmates to reprise their original roles.
Speaking with HuffPost on May 21, 2025, Parton explained that despite years of efforts to reunite the original cast for a sequel, those plans never came together. Parton starred in the 1980 workplace comedy as Doralee Rhodes alongside Lily Tomlin and Jane Fonda. The film was a commercial success and helped address issues of sexism and inequality in the workplace.
The country icon revealed that she, Tomlin, and Fonda had tried for years to develop a follow-up called “9 to 5: Two.” According to Parton, despite their enthusiasm, the idea never moved forward to actual production.
Jennifer Aniston, 56, is now stepping in to helm a fresh take on the popular workplace tale through a full-fledged remake. Aniston had expressed interest in involving the original cast in the new version, but Parton says that’s not in the cards.
“We have no plans to be in that,” Parton said. She pointed to the age of the former trio as a reason they may no longer be suited for starring roles in the modern storyline. “We’re all older now,” she explained, adding that appearing on screen alongside a new, younger cast was not something she envisioned happening.
Nevertheless, Parton spoke highly of the script for the remake. She described it as a revised and timely version of the story that aligns the office setting with today’s world. She credited the update with making the narrative feel meaningful for a new generation.
“The script I read, I thought, was really good and a new and different take that brings the office up to date,” she said. Despite stepping away from the screen, Parton is eager to lend her talents in other creative ways.
Parton said she gave Aniston her blessing to include the original theme song “9 to 5,” which she wrote and performed for the original film. The track became a cultural hit and is still associated with themes of workplace empowerment.
She also offered to contribute new music if the production team needs it. “If you need some additional songs, or if you need the ‘9 to 5’ song rewritten or reworked,” she told Aniston, “you know, to do that.”
Parton added that she “would love to write some music” for the movie and hopes to be involved in that way creatively. Her desire to remain part of the project, at least musically, shows her ongoing dedication to the story that helped launch her Hollywood career.
This isn’t the first time Parton has aided a reboot. She was previously an uncredited producer on the original “Buffy the Vampire Slayer” film and will be contributing to its upcoming reboot through her company, Sandollar Productions.
Parton said she plans to support the “Buffy” revival by contributing as needed, ranging from involvement in production strategy to possibly generating episode concepts. Her openness to behind-the-scenes roles reflects a shift in focus from acting to broader creative development.
“I will be as involved as I need to be, or as I can be,” she remarked when discussing her participation in the “Buffy” project. That flexible engagement may mirror her approach to the “9 to 5” remake.
The new “9 to 5” script is being penned by screenwriter Diablo Cody, best known for her Academy Award-winning work on “Juno.” Cody has expressed a strong personal connection to the material.
In an interview with PEOPLE in August 2024, Cody said she felt compelled to take on the writing role. “If I don’t do this, I’m going to regret it,” she said, explaining that her decision stemmed from a feeling of passion and ownership.
Cody noted that she tends to pursue the projects that spark envy in her if done by someone else, and that standard applied to the “9 to 5” remake. Her involvement brings fresh energy to the script while aligning with the film’s updated message.
While original fans may be disappointed that Parton and her former co-stars won’t return on screen, Parton’s support signals confidence in the new vision. Her connection to Aniston, whom she calls a friend of many years, has helped maintain a sense of continuity.
Parton’s belief that the new film still reflects the spirit of the original—while also speaking to today’s workforce—may encourage long-time admirers to embrace the remake. Her musical legacy and creative influence also ensure her signature will remain part of the production.
For now, it seems “9 to 5” will receive a new voice for a new era, with Dolly Parton’s melody still echoing behind the scenes.
Kourtney Kardashian’s revelation that she was punched in the face during a star-studded birthday party hosted by Sean “Diddy” Combs has reemerged online, sparking fresh conversation amid Diddy’s federal trial.
According to US Weekly, the resurfaced story comes from a 2016 episode of "Kocktails With Khloé," during which Kardashian recounted the incident while seated next to Diddy, who is currently on trial in New York on serious federal charges including sex trafficking and racketeering conspiracy.
On the episode, which originally aired nearly a decade ago, Kardashian detailed an incident that took place during Diddy’s birthday celebration held at Tao restaurant in Los Angeles. At the time, Diddy had rented out the entire venue for the event.
While speaking on the talk show hosted by her sister Khloé, Kardashian shared that the altercation occurred while she waited in line to use the restroom. She told her fellow guests that an unknown woman abruptly struck her in the face after cutting in line.
“I was in line for the bathroom and this girl cut in front of me,” Kardashian said. “I was like, ‘Excuse me, I’m next,’ and she just hit me in the face.”
Kardashian went on to explain that she was alone during the incident, with no security or friends nearby to intervene. She recalled retreating into the next available bathroom stall and quietly crying by herself.
“Nobody was with me, I was by myself,” she recounted. After the woman went into one stall, she said she entered another and broke down in tears.
The episode also included Kylie Jenner and Diddy as guests. Jenner remarked that she "loved" hearing the story, suggesting that it left a strong impression at the time despite its serious nature.
During the conversation, Diddy appeared taken off guard by Kardashian’s account, responding that he vaguely remembered hearing that someone had been struck during the celebration. He did not offer further comment during the episode.
Khloé Kardashian added that she attempted to find the perpetrator after learning what happened to her sister, but ultimately was unable to identify the woman responsible. No further action regarding the confrontation was discussed on air.
The episode remained relatively under the radar until the video began circulating once again online. Its resurfacing comes as Diddy faces mounting legal and media scrutiny from a wide-ranging federal case.
Combs, 55, is currently detained at the Metropolitan Detention Center in Brooklyn. He was arrested in September 2024 and charged with multiple federal offenses, including sex trafficking, conspiracy to commit racketeering, and transportation involving prostitution.
Since his arrest, Diddy has been denied bail on four occasions by Judge Arun Subramanian. The trial officially began in May 2025, and testimony has referenced many of the music mogul’s exclusive and often controversial gatherings.
The parties, which prosecutors have described as including so-called “freak-offs,” are being scrutinized for potential criminal conduct tied to the allegations. While the incident involving Kardashian is not part of the official charges, its reemergence adds to the public image challenges surrounding Combs’ legal case.
Diddy has pleaded not guilty to all charges and maintains that he is innocent. His legal team has stated that the accusations against him are exaggerated and unfounded.
Marc Agnifilo, his attorney, issued a statement claiming the prosecution is unjust. “He is an imperfect person, but he is not a criminal,” Agnifilo said. “Please reserve your judgment until you have all the facts.”
The attorney also noted that Combs had cooperated with the federal investigation and had voluntarily moved to New York shortly before his arrest to address the matter directly. “These are the acts of an innocent man with nothing to hide,” he said.
Though the 2016 incident was not previously seen as significant, its timing now carries new relevance. As discussions surrounding the trial continue, past and present accounts are contributing to the broader public narrative about Diddy’s legacy and his conduct at private events.
Kardashian has not recently spoken about the incident again, and no legal claims have been filed related to that night. The clip's viral resurgence, however, adds another layer to an already complex and unfolding legal story.
The federal proceedings are set to continue into the summer, with multiple witnesses expected to testify about Combs’ behavior and the environments at his exclusive gatherings. It remains to be seen whether past stories like Kardashian’s will influence public sentiment or courtroom strategy.
Katy Perry treated fans at a recent concert to an unexpected and humorous onstage moment when she appeared to confront an audience member over messages to her fiancé, Orlando Bloom.
According to Page Six, the interaction, which was part of a pre-planned skit, involved Perry playfully calling out a fan named Kyle mid-song, sparking viral attention and widespread social media speculation.
Taking place during a stop on Perry’s “Lifetimes” tour, the scene played out as the singer looked into the crowd and addressed someone directly. The moment quickly gained traction online, thanks to video footage that showed Perry’s animated concern over certain messages sent to Bloom.
“Cute grin. I know why you’re here,” Perry said to Kyle from the stage, hinting at inside knowledge of his behavior. The pop icon continued with a mock warning, saying, “Listen, if you keep DMing my man...”
She accused Kyle of having messaged Bloom for months, referencing the time since her previous residency. The tone remained lighthearted throughout, as Perry added that Kyle hadn’t even come to see her perform but had instead focused on her fiancé.
As the audience reacted with laughter, Perry escalated the joke with a faux ultimatum. She suggested Kyle might have to be removed if he didn’t stop, concluding with a theatrical declaration: “Seriously, get your own life. I’m his wife.”
Perry and Bloom got engaged in 2019 and raise their 4-year-old daughter, Daisy, though they haven’t legally married yet. Despite the mock seriousness of her words, the crowd quickly interpreted the moment as comedic because Kyle visibly showed amusement and excitement.
Kyle later spoke with entertainment outlet Lad Bible and said he had coordinated the situation ahead of time. He revealed that the exchange began after he asked Perry to perform a lesser-known song and jokingly hinted that he might have tried reaching out to Bloom for help.
Kyle commented that the skit created “the concert memory of a lifetime” and light-heartedly hoped that Perry would forgive him for contacting her fiancé. He also captioned his TikTok post about the incident with the phrase “in my homewrecker era.”
Videos of the bit quickly flooded TikTok, sparking debate among viewers about whether the moment had been spontaneous or staged. Some fans initially thought the exchange was genuine, while others recognized the theatrical elements suggesting it was all in good fun.
Several followers speculated that the alleged confrontation could have been a setup to lead into a performance transition. Perry has already incorporated dramatics into several shows on her 'Lifetimes' tour, which began in April 2025 and has featured several viral segments.
One such instance occurred in Las Vegas when Perry experienced a wardrobe mishap on stage. Like the recent Kyle encounter, that moment also circulated widely on social media, contributing to the tour’s ongoing buzz.
In late April, Perry used social media to speak openly about the public scrutiny she has faced during the tour. Responding to both criticism of her performances and questions about her recent Blue Origin spaceflight, she emphasized her personal growth.
“Please know I am OK,” Perry shared online. “I have done a lot of work around knowing who I am, what is real and what is important to me.”
Despite this, she continues to entertain with her signature flair. The balance of humor, music, and theatricality was especially evident in the well-received Kyle moment, where personal boundaries and public entertainment collided—intentionally and jokingly.
The “Lifetimes” tour is shaping up to be among Perry’s most talked-about performances, in large part due to her mix of setlist surprises and interactive segments with fans. Each city stop seems to carry its viral potential.
As for Kyle, the memorable night served as both a musical highlight and a moment in the spotlight. His interaction not only entertained a live arena crowd but also resonated with thousands online who appreciated the humor and creativity.
Whether responding to internet speculation or staging light-hearted drama, Perry seems to have found a rhythm that blends spectacle with sincerity, keeping fans engaged both in person and across platforms.
Latonya Pottain, former star of TLC’s “My 600-Lb.. Life,” has died at the age of 40 following a bout of serious medical complications.
Pottain died on May 17, 2025, at CHRISTUS Highland Medical Center in Shreveport, Louisiana, after experiencing breathing troubles that led to cardiac arrest, according to statements from her family, People reported.
The Natchitoches Parish Coroner’s Office conducted a preliminary autopsy that identified congestive heart failure as her cause of death, although a full autopsy is still pending. Her brother confirmed she struggled with worsening health problems in the months leading up to her death. She had reportedly been in declining health since mid-2024.
Pottain first came to the public's attention in 2022 during Season 11 of TLC’s popular weight-loss reality series “My 600-Lb. Life.” At the time, she weighed 531 pounds and was attempting to lose enough weight to qualify for bariatric surgery under the guidance of Houston-based surgeon Dr. Younan Nowzaradan.
By the end of her episode, she had reduced her weight to 505 pounds. However, the positive progress was overshadowed by negative reactions following the show's airing, which had a major impact on her mental state. Pottain said the criticism she received pushed her into a prolonged period of depression.
In February 2025, Pottain launched a GoFundMe campaign, describing the emotional and physical toll she had endured in the years since the show. She revealed in that post that she had become bedridden and weighed around 705 pounds.
“In 2022, I was featured on My 600-lb Life, where I started at 531 pounds and worked hard to get down to 505 pounds,” she wrote, reflecting on her initial progress. “However, after the show aired, I experienced overwhelming backlash, which sent me into a deep depression.”
She continued, “My mental health suffered, and I became fearful of undergoing weight loss surgery.” This fear led her to delay potentially life-saving treatment, eventually contributing to the deterioration of her physical condition.
By mid-2024, Pottain had become entirely immobile. According to her public statements, she had been bedridden for months, suffering from complications including severe sciatica, a condition that causes sharp lower back and leg pain due to nerve pressure.
In the same GoFundMe appeal, she highlighted the severity of her plight. “I currently weigh about 705 pounds and have been bedridden since June 2024 due to severe health issues,” she wrote in February of this year. She added that her excessive weight prevented emergency responders from safely transporting her to medical facilities, as EMS crews advised it would present a fire hazard.
“Now, I am completely bedridden and unable to get to the hospital,” she shared. Her request for donations was aimed at securing specialized transport services and gaining access to rehabilitation and medical care that was otherwise out of her reach.
Pottain’s final public message stressed her desire to turn things around. “This has been an incredibly difficult journey, and I truly want to fight for my health and my life,” she stated in the campaign.
Her initial appearance on the reality series included urgent guidance from Dr. Younan Nowzaradan, who emphasized her heart health as a critical concern. Dr. Nowzaradan stressed that without significant lifestyle changes, her cardiac risks could worsen quickly.
Though she had made progress during her time on the program, her momentum faltered after cameras stopped rolling. Without the show’s medical support system and amid harsh public criticism, her physical and mental health reportedly spiraled.
Her death came less than three months after she publicly asked for help to continue medical treatment, highlighting how quickly her condition declined in early 2025.
While Pottain’s story generated sympathy among fans of the TLC series, her fundraising campaign fell short of its goal to cover professional transport and rehabilitation expenses. Her GoFundMe post did not indicate exact figures raised, but it underscored her deep need for assistance.
The lack of accessible care for patients with extreme obesity was a consistent theme in her experience, creating a vicious cycle where poor health prevented her from accessing the treatment needed to improve her circumstances.
Her passing brings renewed attention to the challenges faced by individuals suffering from morbid obesity and the complicating social, physical, and economic barriers that accompany the condition.
Nicole Kidman may have stunned in red on the Cannes Film Festival red carpet, but all eyes ended up on an unexpected element of her look.
According to the Daily Mail, the Oscar-winning actress experienced a noticeable hair mishap during the 2025 Kering Women in Motion Awards, where a visible wig cap sparked widespread attention despite her otherwise elegant appearance.
Kidman, 57, appeared at the joint Kering event and Cannes Presidential Dinner, glowing in a classic red gown that balanced sophistication with allure. Her makeup was understated, allowing her naturally smooth complexion to shine. But it was a hair choice meant to reinvent her signature strawberry blonde locks that generated conversation.
To add volume to her hair, Kidman wore a piece that incorporated her natural strands into a fuller style. However, under the glare of flash photography, the mesh base of the wig was visible, creating a noticeable seam between the hairpiece and her scalp.
The styling misstep was particularly surprising given Kidman's reputation for polished beauty routines both on screen and on the red carpet. Perhaps aiming for a more youthful texture and fullness, the hairpiece unfortunately delivered the opposite effect under scrutiny.
Even earlier in the day, during a speaking engagement ahead of the formal dinner, fans noted that the hairpiece appeared misaligned with her natural hairline. Her edgy attire—featuring a leather corset jacket and black denim—was complemented by a similar hairstyle that showed signs of the same issue.
Hair talk aside, the evening held greater significance as Kidman was honored with the 2025 Kering Women in Motion Award. The accolade is given to women who have made lasting contributions to the film industry. Past honorees include acclaimed figures such as Susan Sarandon and Salma Hayek.
In her acceptance speech, Kidman emphasized her continuous support for gender equity in filmmaking. She reflected on her initiative, launched in 2017, to work with a female director every 18 months. That effort has grown, with the actress having now collaborated with 27 women in creative roles across various projects.
"I'm just an advocate and want to continue to keep moving forward with that,” she told attendees, also expressing pride in joining the respected list of previous recipients. She called them “artists and trailblazers I deeply admire.”
Despite the visual distraction of the wig, support for Kidman poured in across social media. Fans largely dismissed the mishap as a minor issue, pointing instead to her enduring impact on the film industry and her professional integrity.
Stylist Andrew Newport offered additional perspective, noting that Kidman’s recent hairstyle changes—such as the dramatic look she debuted at the Met Gala—likely involved custom extensions blended into her natural strands. The complexity of such techniques can lead to occasional imperfections, even for highly skilled professionals.
Kidman, whose nearly four-decade career includes standout performances in Eyes Wide Shut and Moulin Rouge!, remains active in upcoming projects like Babygirl and A Family Affair. Her appearance in Cannes served both as a professional milestone and a reminder of the pressures that come with public presentation.
She demonstrated poise throughout the evening, confidently stepping through press appearances and public engagements regardless of the wardrobe hiccup. Ever the professional, Kidman appeared unfazed by the chatter surrounding her hair and redirected attention to the substance of her work.
The Cannes festivities, known for their glitz and global spotlight, offered a fitting backdrop for Kidman’s recognition. Little surprise, then, that a small misalignment in styling would garner commentary—but also little surprise that Kidman navigated it gracefully.
Ultimately, the moment underscored the human side of a public figure long admired for her artistic excellence. And as fans were quick to emphasize, even a minor beauty glitch couldn’t overshadow decades of achievement and advocacy.
Billionaire music executive David Geffen has filed for divorce from his 32-year-old husband, David Armstrong, less than two years after they tied the knot in an ultra-private Beverly Hills ceremony.
According to the New York Post, the split, initiated without a prenuptial agreement, could have legal and financial complications, though California law and the short length of the marriage are expected to limit Armstrong’s claims to Geffen’s $8.7 billion estate.
Geffen, 82, officially submitted paperwork to legally separate from Armstrong, who also goes by the name Donovan Michaels, citing irreconcilable differences. According to documents obtained by TMZ, Geffen has retained well-known divorce attorney Laura Wasser to represent him in the proceedings.
The couple met in 2020 when Armstrong was hired as Geffen’s trainer. Their relationship progressed quickly, and in 2023, they exchanged vows in a discreet ceremony held in Beverly Hills. At the time of their marriage, no prenuptial agreement was signed between the two.
Under California law, assets obtained before marriage typically remain classified as separate property. This includes Geffen's vast fortune, which is largely held in stock holdings and investment portfolios. Additionally, dividends generated from stocks are also regarded as individual assets, not subject to division upon divorce.
Despite the absence of a prenuptial agreement, Armstrong is expected to receive limited financial support. California legal guidelines generally grant spousal support for half the duration of the marriage in short-term relationships. Since the couple was married for less than two years, Armstrong is likely to be awarded about one year of support payments.
Geffen is also reportedly responsible for covering Armstrong’s legal fees, as outlined in the formal divorce filings. As with many high-profile divorces involving unequal finances, the court may consider the lifestyle maintained during the marriage when deciding on the support amount.
Armstrong’s background has drawn public interest since the relationship became known. Raised in Imlay City, Michigan, he grew up as one of 13 siblings and left home as a teenager. He relocated to Florida in 2014, assumed the name Brandon Foster, and began working at gay nightclubs in Miami.
While in Miami, Armstrong, later known as Donovan Michaels, performed at events including clothing-optional pool parties and promoted nightlife events. In a social media post from 2014, he hinted at earning money through webcam performances, writing that he was preparing to entertain paying viewers online that evening.
By 2016, Armstrong had moved to New York City and adjusted his branding again. His efforts in the city included a series of odd jobs, and he was known for keeping much of his past life private. Friends and acquaintances have since described him as someone always seeking a better future, frequently reinventing himself along the way.
One former girlfriend recalled that although Armstrong dated women when they were together, she wasn't surprised by his eventual same-sex marriage. She cited his online image and the attention he received from both men and women, noting, “I wouldn’t be surprised. I mean, he’s very attractive.”
Others who knew Armstrong described him as reserved when it came to revealing his background. One former friend said it “took a while to get to know him,” as he avoided talking openly about earlier chapters of his life. The same friend suggested that Armstrong’s decision to leave home was driven by a rebellious period in his youth.
Another person from Armstrong’s past confirmed he was led by a desire to grow beyond where he started. They remarked that Armstrong was “always looking for his next adventure and was really determined to improve his life,” supporting the view that his partnership with Geffen may have been the culmination of ambition and personal evolution.
The couple was occasionally seen in public, although they maintained an overall low profile. In one appearance captured by photographers, Geffen was spotted at a New York City heliport wearing a gold ring, prompting speculation about their nuptials before their marriage was confirmed.
David Geffen’s influence in the entertainment industry spans decades. He co-founded several major music labels, including Asylum Records in 1971, Geffen Records in 1980, DGC Records in 1990, and DreamWorks Records in 1996. Through these companies, he played a central role in signing and developing major recording artists of several generations.
Geffen retired roughly 15 years ago and has since focused on financial investments. His current wealth is heavily based in equities, which has allowed him to maintain a strong financial position without ongoing involvement in the music or film sectors.
Although Geffen’s romantic life has previously made headlines, this relationship carried particular attention due to the age gap and the contrast in backgrounds. Yet their divorce appears to be proceeding in a structured and legal fashion, emphasizing privacy, similar to how the couple handled their marriage.
Ultimately, because of the brief duration of their union and California’s clear approach to marital property, Armstrong’s share of any disputed assets is thought to be minimal. While exact figures for spousal support haven’t been disclosed, they are unlikely to make a significant impact on Geffen’s overall net worth.
As of now, neither party has made public statements regarding the separation. Legal representatives have not commented beyond confirming the filing and citing irreconcilable differences as the basis for the divorce.
The story reflects the complexities sometimes involved in partnerships with considerable financial discrepancies, especially when personal histories vary so dramatically. With the divorce now moving through the courts, all eyes will be on how both parties transition out of their headline-making marriage.
Michael J. Fox is making a highly anticipated return to television, generating an emotional response from longtime fans.
Fox will join the third season of the Apple TV+ comedy-drama "Shrinking," marking his first acting role since 2020 and a significant milestone in his decades-long journey with Parkinson’s disease, the Daily Mail reported.
Now 63, Fox was diagnosed with Parkinson's disease in 1991 at the age of 29. At the time, he was filming the comedy "Doc Hollywood," a role that came during the peak of his acting career. He waited seven years before publicly sharing his diagnosis in 1998, a revelation that attracted widespread public admiration and support.
His last major acting appearance came in 2020, when he reprised his role as Louis Canning in the legal drama “The Good Fight.” Since then, he has mostly stepped back from the screen, focusing on family and advocacy through The Michael J. Fox Foundation, an organization he founded to fund Parkinson’s research.
Fox will appear in Season 3 of “Shrinking,” the Apple TV+ series created by Bill Lawrence, Jason Segel, and Brett Goldstein. The show stars Segel as Jimmy, a therapist dealing with grief who begins breaking traditional boundaries by sharing his honest thoughts with clients. This unorthodox approach leads to both humorous and life-changing consequences for his patients and himself.
Fox’s role in the series has not yet been disclosed, though the casting announcement has sparked significant fan excitement. He will join an ensemble that includes Harrison Ford, who plays fellow therapist Dr. Paul Rhoades. Newcomers to the third season will include Jeff Daniels, Sherry Cola, and Isabella Gomez, expanding the already critically acclaimed cast.
Fox is no stranger to working with co-creator Bill Lawrence. The two previously teamed up on ABC’s "Spin City," where Fox played Deputy Mayor Mike Flaherty. He exited the show after four seasons in 2000 due to worsening Parkinson’s symptoms. Later, he guest-starred on Lawrence’s hit series "Scrubs," playing a brilliant but troubled doctor battling obsessive-compulsive disorder in a memorable two-episode arc.
Fox first captured audiences in the 1980s with two of his most iconic roles. He starred as the ambitious Alex P. Keaton in the sitcom “Family Ties” from 1982 to 1989, a role that earned him widespread acclaim. Around the same time, he became a pop culture icon as Marty McFly in the “Back to the Future” trilogy, with the first installment launching in 1985 and the third concluding in 1990.
Over time, fans watched Fox balance his public life, acting career, and personal battle with Parkinson’s disease with a grace and openness that few in Hollywood have attempted. His performances in the 2000s and 2010s, which often weaved in elements of his real-life health condition, were hailed for their depth and courage.
This latest announcement has sparked a wave of emotional reactions online, especially from those who’ve followed his story for decades. On Reddit, one fan noted, “My admiration for this man has no limits… I’m happy to see him acting again.” Others expressed appreciation for how he has used his platform to raise awareness of Parkinson’s while continuing to deliver meaningful performances.
Another fan, citing personal connections to Parkinson’s, shared admiration for how Fox managed to incorporate his health challenges into his characters. The commenter added that they are eagerly awaiting his portrayal in “Shrinking,” hoping it could be both powerful and cathartic, given the show’s emotional tone.
Comments also highlighted the excellent fit between Fox and the American dramedy. One user wrote, “Love the show and this is really cool news. I can see him fitting into the cast very well.” Such sentiments reflect the strong emotional connection many still have with Fox and the sincerity that defines his performances.
In addition to his acting news, Fox recently revealed that he will publish his fifth memoir. Titled Future Boy: Back to the Future and My Journey Through the Space-Time Continuum, the book is co-written with Nelle Fortenberry and is scheduled for release in fall 2025. Its timing aligns with the 40th anniversary of the original “Back to the Future” film.
The memoir will delve into the pivotal year of 1985, a defining chapter in Fox’s rise to fame through both “Family Ties” and the time-traveling adventures of Marty McFly. It chronicles experiences that shaped his early career, long before he was faced with the complexities of living with Parkinson’s.
Speaking to People magazine about the upcoming book, Fox reflected on looking back several decades. “As we approach the 40th anniversary of Back to the Future, my thoughts turn to my adventures as a younger man,” he said. The memoir, he added, became a personal exploration: “This book has become a time machine for me.”
Continuing, Fox remarked that, unlike the famously cramped DeLorean car featured in the films, “there's plenty of room for anyone who'd like to climb in for the ride.” His words suggest an invitation for longtime fans to revisit the early chapters of his life and career alongside him.
Fox’s return to acting is more than just a casting update—it’s a poignant moment for fans who’ve followed his decades-long journey. His reappearance on a series known for layered characters and heartfelt storytelling offers the possibility of a performance that is both entertaining and deeply moving.
With ongoing public admiration and a legacy that spans generations, Fox continues to inspire with his resilience and creativity. His contributions to the entertainment world have not only defined eras of television and film but have also broadened public understanding of living with chronic illness.
As his acting comeback in “Shrinking” coincides with the approach of another career milestone—four decades since “Back to the Future”—Michael J. Fox once again finds himself embracing both the past and future, much like the characters that made him a household name.
In a sensational twist in the heated legal dispute surrounding the film adaptation of "It Ends With Us," actor and producer Justin Baldoni has accused actress Blake Lively of coercing her longtime friend, Taylor Swift, into taking her side.
According to Fox News, Baldoni’s legal team claims Lively attempted to influence Swift’s support during an ongoing $400 million lawsuit, while Lively's representatives call the accusations groundless and misleading.
The conflict stems from a lawsuit Baldoni filed in January 2025, alleging defamation and civil extortion against Lively and her husband, actor Ryan Reynolds. This came after Lively had sued Baldoni in December 2024, accusing him of sexual harassment during the production of "It Ends With Us," a romance film released in August 2024 based on Colleen Hoover’s bestselling novel.
On May 14, 2025, Baldoni's legal representatives submitted a claim that Lively pressured Swift to publicly endorse her. According to their filing, the actress allegedly sought the singer’s help to counteract negative press and legal claims stemming from the dispute with Baldoni.
The accusation further stated that Lively used her relationship with Swift to conceal damaging communications. Attorney Bryan Freedman, who represents Baldoni, cited an anonymous source alleging that Lively asked Swift to erase specific text messages tied to the case.
Freedman also contended that Lively's legal team had approached Swift’s lawyers with demands that the pop star issue a statement supporting Lively. Allegedly, Lively threatened to release private text messages if Swift declined to cooperate.
In response to these claims, Lively’s legal counsel, Mike Gottlieb, firmly denied any wrongdoing. Gottlieb characterized the allegations as "categorically false" and argued they were rooted in unsupported sources, posed as facts in an attempt to mislead the public.
“We unequivocally deny all of these so-called allegations,” Gottlieb said. “These claims are anonymously sourced, disconnected from reality, and harmful to everyone involved.”
The same day the claims were filed — May 14 — Lively’s attorneys submitted a motion asking the court to eliminate the statement submitted by Baldoni’s lawyers. The court swiftly responded by striking the filing and cautioning Baldoni’s attorney against further inappropriate actions, warning of potential sanctions.
Just days earlier, on May 9, Taylor Swift was issued a subpoena to testify as a witness in the lawsuit. Despite being drawn into the legal drama, Swift’s representatives clarified that she had minimal interaction with the production of the film.
According to Swift’s spokesperson, the singer was not involved in the filmmaking process, did not visit the set, and only saw the completed movie several weeks after it premiered. Her only connection to the project was the licensing of her song “My Tears Ricochet.”
“Taylor Swift never set foot on the set of this movie,” the spokesperson noted. “She had no input in casting, creative decisions, or music scoring. She saw the film after its release, having been on tour through 2023 and 2024.”
The conflict between Baldoni and Lively goes beyond legal filings and into private communications. In evidence presented by Baldoni’s team, a text message he sent to Lively praised her script modifications, assuring her the positive response was not influenced by Swift or Reynolds.
Lively replied to that message by describing Swift and Reynolds as her “dragons,” which Baldoni’s attorneys claim signifies they were used as pressure tactics during creative disagreements.
Baldoni asserts that during a visit to Lively’s New York home, he felt pressured to accept her vision for the film due to the presence of both Swift and Reynolds. The visit, according to Baldoni, led him to offer support for changes he otherwise may not have agreed to.
The film at the center of the controversy, "It Ends With Us," has faced continued scrutiny due to these overlapping lawsuits. Neither side appears willing to settle, and both parties have signaled that the dispute will head to trial in March 2026 in a New York court.
Freedman has continued to push for Swift’s involvement, insisting her input could prove relevant. “The Lively Defendants’ insistence that the Subpoena seeks irrelevant information is wrong,” he said, defending the demand for Swift’s testimony.
However, Swift’s spokesperson believes that the attempt to involve the pop superstar is a calculated move to draw public and media attention. “This document subpoena is designed to use Taylor Swift’s name to draw public interest by creating tabloid clickbait,” said the representative.
With motions flying between the parties and celebrity names being dragged in, the case has ignited significant public curiosity. At the same time, Swift’s team continues to emphasize her limited role, highlighting that songs from nearly 20 different artists were used in the movie’s soundtrack.
Lively’s representatives remain resolute, stating that their filings aim to keep the discussion rooted in legal issues rather than entertainment gossip. “It should be unnecessary to respond to anonymously sourced allegations,” stated her legal team. “Each of the allegations is false and improper as a matter of law.”
As of now, no new subpoenas or testimonies have been announced, but with trial preparations underway, further revelations could soon emerge from both camps.
The film’s contentious production, once touted as a high-profile adaptation destined for success, has become overshadowed by a complex legal saga involving some of Hollywood’s most recognizable names.
Television personality Sharon Osbourne was recently spotted in Los Angeles, appearing markedly different due to significant weight loss, a change she attributes to the diabetes medication Ozempic. Osbourne began using Ozempic in December 2022 to manage her weight, but has since ceased its use. Despite stopping the medication, she continues to experience dramatic changes to her metabolism and body weight.
According to the Daily Mail, Sharon Osbourne's candid revelations about her ongoing health battles after discontinuing Ozempic have been making headlines.
Osbourne discussed her situation on Howie Mandel’s podcast and with The Guardian, offering insights into her health ordeal. At 72, she has experienced a significant transformation, losing three stone (42 pounds) in just four months. Her decision to stop the medication came in November, yet the effects linger.
"I can't put on weight now, and I don't know what it's done to my metabolism, but I just can't seem to put any on because I think I went too far," Osbourne shared on the podcast. The struggle with her weight has been a public battle, one she feels has reached its limits regarding medical intervention.
In conversations with the media, Osbourne has expressed her decision to step back from further cosmetic procedures and medical interventions for weight control. "I’ve had enough. I’ve given up on all interventions," she told DailyMail.com, emphasizing her fatigue with continuous physical alterations.
Her acceptance of her appearance, despite ongoing discontent, marks a significant shift in her approach to body image. "I don’t think I’ll ever be happy with the way I look. But I’m now satisfied," Osbourne admitted, reflecting a sense of resignation and acceptance after years of treatments and changes.
These declarations highlight a new phase in Osbourne's life, where she chooses to avoid future cosmetic surgeries, including no longer using fillers or Botox. "There's not that much skin left to stretch, pull, or cut. And I won’t have any more fillers or Botox," she elaborated during her interview.
Osbourne's weight management issues have been a long-standing public topic. She once weighed as much as 230 pounds and addressed her weight openly, including during her appearance on the UK's Celebrity Big Brother in March 2024. "People who don't have to worry about weight have no idea what it's like. At one point, I was 230lb. It's a killer," she explained on the show, discussing the emotional and physical toll of being heavy.
Her use of Ozempic, which was initially to manage her weight effectively, was influenced by its popularity at the time. "Everyone was doing it," Osbourne said, indicating a peer pressure element in her decision to begin the treatment.
Despite her cessation of Ozempic, the long-term effects on her metabolism remain a significant concern for Osbourne. She continues to struggle with the inability to gain back any weight, posing new health and wellness challenges.
As someone accustomed to the public eye, Osbourne's experiences and decisions resonate with many who struggle with similar issues. Her journey highlights the complexities of celebrity health management and the impact of medical treatments like Ozempic on long-term wellness.
The turning point for Osbourne, deciding against further medical or cosmetic interventions, also underscores a broader dialogue on aging, health, and acceptance in the face of ongoing public scrutiny and personal health challenges.
Through her public discussions and interviews, Sharon Osbourne continues to engage in a candid dialogue about her health struggles, providing insights and perhaps guidance to others facing similar battles. "This is me. It’s finally time to leave well alone," she stated, marking a new chapter in her personal health narrative.
In an unprecedented move, Major League Baseball's Commissioner Rob Manfred has reinstated Pete Rose, "Shoeless" Joe Jackson, and several others from the permanently ineligible list. This key decision could pave the way for their potential induction into the Baseball Hall of Fame by 2028.
According to the New York Post, Commissioner Rob Manfred's decision effectively reverses longstanding bans primarily stemming from gambling violations.
The shocking reversal was formalized in a letter handed down on Tuesday to Jeffrey M. Lenkov, the attorney who had urged for Rose's reinstatement earlier this January. Lenkov had advocated vigorously for reconsideration following Pete Rose's death on September 30, 2024.
Pete Rose, who played in the MLB from 1963 to 1986, set numerous records, including most hits, games played, at-bats, plate appearances, and singles. However, allegations of gambling that surfaced in August 1989 overshadowed his career and led MLB officials to place him on the permanently ineligible list.
Rose made previous attempts at reinstatement—first in 1997 under Commissioner Bud Selig and again in 2015 under Commissioner Rob Manfred—but both efforts failed during his lifetime. Only after his passing did momentum for his reinstatement gain enough strength to capture public and official attention.
A notable turning point came in April, when former President Donald Trump met with Commissioner Manfred and discussed Rose’s reinstatement, helping to reshape Rose’s posthumous reputation.
In his letter, Manfred explained, "Obviously, a person no longer with us cannot represent a threat to the integrity of the game." He added that the permanency of past penalties often had a sufficient deterrent effect, implying that such ineligibility should not extend beyond an individual's life.
"Therefore, I have concluded that permanent ineligibility ends upon the passing of the disciplined individual, and Mr. Rose will be removed from the permanently ineligible list," Manfred clarified, providing a clear end to Rose's decades-long banishment from MLB's grace.
Not all previous commissioners had agreed on the terms of Rose's ineligibility. Indeed, Manfred noted that Rose's initial ban was not even a direct commissioner action but a result of a 1989 settlement aimed at avoiding potential litigation.
This decision also gives hope to other players whom baseball officials similarly banned, such as "Shoeless" Joe Jackson, whom they ousted in 1921 after the infamous 1919 Black Sox scandal. Like Rose, supporters have posthumously restored Jackson and others as possible Hall of Fame candidates.
The reinstated list includes names like Eddie Cicotte and Happy Felsch—players officials had previously sidelined under various accusations. By making this move, Manfred not only redeems these players but also reopens long-debated chapters of baseball history.
While Manfred has made it clear that this reinstatement does not imply any specific endorsement for Hall of Fame election, the decision alone alters the landscape of baseball legacy. As he states, "It is not part of my authority or responsibility to express any view concerning Mr. Rose’s consideration by or possible election to the Hall of Fame."
In contextualizing his decision, Manfred referenced past practices where banned players, like Joe Jackson, were allowed Hall of Fame consideration in the mid-20th century. He suggests that permanent bans, while useful as deterrents during a player's life, should perhaps not outlast their death, especially in cases where their playing careers had significant positive impacts.
Manfred's correspondence provides a nuanced view on past decisions, aligning the new policy with expectations set during Rose's initial agreement and addressing changes in how the Hall of Fame considers candidates with previous bans.
The full impact of this reinstatement will unfold as the baseball community and the public adjust to a new understanding of justice and legacy in the sport. This decision opens up a crucial dialogue on the balance between punishment and recognition in the realm of professional sports.