Navigating Health’s Murky Waters: From Alcohol Myths to Bathroom Battles and Policy Precipices

The murky waters of health research have been stirred once more—this time by new revelations regarding the dangers lurking in our everyday life choices and products. While heavy drinking has been incontrovertibly detrimental, prompting a collective nod of agreement even from ardent enthusiasts, the debate around moderate alcohol consumption continues to clink glasses with confusion. Health experts have long theorized links between alcohol intake and an array of cancers, with names like mouth, throat, and liver rolling off the tongue like a grim, morbid lullaby. Yet, as we delve deeper, the data on moderate consumption reveals itself to be as inconsistent as a barfly’s tally of drinks consumed.

Observational studies, many of which draw data from diverse cultures and populations, often leave researchers clutching at straws. The reliance on self-reporting leads to a tapestry woven with inaccuracies. After all, who hasn’t taken a liberty or two with their drink count at the end of a convivial gathering? The elephant in the room, however, is the non-drinking groups used for comparisons. A mélange of lifelong abstainers and past drinkers now sober due to health issues, these cohorts add a problematic depth to the analysis—like comparing a marathon runner’s stamina to someone recovering from a severe bout of flu.

And just when we thought it was safe to turn the page, another issue surfaces. Enter the forces of industry influence, a wave that has been washing over research findings with persistent regularity. The National Institutes of Health’s $100 million trial, intended to explore moderate drinking’s health effects, was unceremoniously halted after whispers of financial backing from the alcohol industry grew too loud to ignore. Such entanglements raise eyebrows—and questions—about the integrity of findings, particularly those hinting at alcohol’s supposed benefits.

Meanwhile, in a parallel realm of personal care products, a new storm brews. The common bathroom shelves—once thought of as sanctuaries of cleanliness—now stand accused. Scientists raise alarms about soaps, shampoos, and dental products that, rather than safeguarding our health, possibly compromise our immune systems through the very chemicals meant to protect us. These biocides, efficient germ killers, may also indiscriminately decimate the microbiome—our army of beneficial microorganisms—leaving behind a void for malevolent invaders. “Outside of healthcare, the benefits of biocides are at best speculative, but harms are potentially significant,” remarked Professor Andrew Seaton, highlighting what may be the greatest irony of personal hygiene.

Natalie Bennett, a former Green party leader, shapes this concern into legislative action, championing a bill that seeks to stem the tide of biocidal misuse. While the bill is far from becoming law, it underscores a demand for accountability—a reflection that echoes Dr. Paul-Enguerrand Fady’s warning of a ‘Wild West’ regulation landscape. Amid the debate, industry voices argue against outright bans, championing consumer choice and natural product incentives instead.

Meanwhile, in the hallowed corridors of policy-making, another drama unfurls. The Biden administration’s Medicare price negotiations spotlight a contentious intersection of healthcare costs and pharmaceutical power. With drugs like Ozempic and Wegovy leading the charge, this initiative seeks to alleviate the financial burden on seniors—potentially a landmark victory for affordable care. Yet, it faces formidable opposition. Critiques emerge from pharmaceutical investors and advocacy groups, who view the Inflation Reduction Act’s provisions as coercive. The threat of punitive taxation for companies opting out of negotiation, yet wanting to remain within the Medicare fold, adds an extra layer of contention.

In a climate where healthcare announcements are rolling out like a newsreel, the narrative finds itself at a precipice—caught between change and opposition, reform and tradition. As one administration exits and another strides in with ambitions to reverse or revise, the landscape of healthcare hangs in delicate balance. The outcomes of these struggles may very well define how we navigate the often-turbulent waters of health, both individually and collectively, in the years to come.

From Biocides in Your Shower to Price Wars in Pharma: Are We Balancing Health and Innovation or Playing a Risky Game?

In a world where personal grooming has escalated to a full-fledged ritual, who would have thought the sudsy lather of your morning shower could be harboring more than just cleanliness? Yet, a rising tide of research is shaking the foundations of our hygiene-centric lives, pointing fingers at the pervasive biocides laced into mundane items like your soap, shampoo, and dental care products.

Triclosan, chlorhexidine, benzalkonium chloride—these aren’t just tongue twisters—they are potent biocides. These chemicals, once heralded as the champions of sanitary living, may instead be wreaking havoc on the delicate balance of your microbiome. Our bodies, hosts to trillions of microorganisms, rely on this rich microbial symphony to keep us healthy. Disrupt it, and you might be sending an invitation to the very pathogens you wish to protect against.

Setting our sights across the Atlantic, a bold move is underway. A bill proposed in the UK is calling for a gate to come down on these chemicals—at least in non-medical, over-the-counter products. The presence of biocides, critics suggest, is akin to allowing someone to redecorate your house with a wrecking ball and calling it a renovation. Each swipe of antibacterial lotion or gargle with chlorhexidine-laden mouthwash isn’t just cutting down the nasties; it’s a scorched-earth policy on microbes, good and bad.

“The benefits of biocides are at best speculative,” says Professor Andrew Seaton, with an air of exasperation. Well, outside of hospital corridors, at least. And let’s be honest, while the idea of a germ-free life sounds as appealing as a spa day, the unintended consequences of such a lifestyle choice are becoming harder to ignore.

Meanwhile, over on the pharmaceutical frontier, the Biden administration is deploying its own form of negotiation—this time with drug prices. Medicare, armed with a new legal mandate, is preparing to haggle over the prices of 25 top-tier medications, an audacious move poised to save billions for taxpayers. Novo Nordisk’s popular Ozempic and Wegovy lead the charge, striking at the heart of exorbitant medication costs that have long plagued seniors on fixed incomes.

This isn’t just about numbers on paper; it’s about access. The administration is setting the stage for negotiations that could cut costs significantly for a U.S. population grappling with chronic conditions like diabetes, asthma, and cancer. However, pharmaceutical giants are not taking this sitting down—lawsuits already pepper the horizon, challenging the very legality of these negotiations.

Stephen Ubl, representing the Pharmaceutical Research and Manufacturers of America, warns of the potential impacts on innovation—a classic David versus Goliath narrative where the Goliath claims to be the guardian of progress. Yet, as the AARP’s Nancy LeaMond points out, waiting any longer to address drug prices isn’t an option for those who have already been making the tough choice to skip meals or cut pills in half to afford their prescriptions.

The stage is set, with ripple effects of these negotiations set to unfold in subsequent years. As more medications join the negotiating table, the potential for massive savings looms large on the horizon. And yet, the change leaves us pondering: In a bid for efficiencies and economies, how will our systems ensure that the balance of innovation and accessibility tips in favor of those who need it most?

As these stories unravel, they force us to ask—are we truly doing what’s best for our health, or are we just caught in the froth of a market-driven tide? The answers may just be the catalysts we need to redefine our approaches to well-being and age-old health practices.

Detox Your Morning: Are Your Soaps and Toothpastes Sabotaging Your Health?

In a world where your morning routine kicks off with a symphony of ‘antibacterial’ everything—from soaps to toothpastes and the ever-popular mouthwashes—there’s an unsettling reality lurking beneath the fragrant suds. Recent research throws a glaring spotlight on these everyday items, revealing they might do more than just keep you fresh. They could be sabotaging your immune system too.

Imagine starting your day, not just squeaky clean but having inadvertently waged war on the microscopic allies that inhabit your body’s ecosystem. Welcome to the world of biocides, potent chemicals embedded in your favorite toiletries and dental products, poised to cleanse away more than just bacteria. A bill set to be debated in Westminster aims to tackle this chemical conundrum, as the Mirror highlights, advocating for stricter regulations on these omnipresent compounds.

Natalie Bennett, the front spokesperson for this regulatory push, paints a vivid picture of a typical morning routine peppered with these agents—chlorhexidine in your mouthwash, benzalkonium chloride in your body wash, and triclosan in your hand sanitizers—each working diligently to decimate both beneficial and harmful bacteria alike. This indiscriminate microbial massacre can lead to a cascade of health issues, from elevated blood pressure to the emergence of resistant superbugs.

Peer Natalie Bennett articulates, “Before you go to breakfast, you have subjected your microbiome… to a barrage of biocides, in other words poisons.” Our bodies, transformed into battlegrounds, with our microbiome—this bustling metropolis of beneficial bacteria—caught in the crossfire. It’s a little like using a flamethrower to kill a fly, effective in the short term but quite destructive in the long haul.

In a similar vein, Love Is Blind star Kwame Appiah’s recent health revelation serves as a stark reminder of how seemingly benign symptoms can escalate into significant health concerns. Appiah’s diagnosis of ulcerative colitis underscores the critical importance of early intervention when dealing with persistent symptoms. His message is not just a cautionary tale but a call to be vigilant—knowledge is power when it comes to our health.

As Medicare embarks on its ambitious journey to negotiate lower drug prices under President Biden’s Inflation Reduction Act, medications like Ozempic and Wegovy are at the forefront of these negotiations. This landmark move seeks not just to ease the financial burdens on millions of seniors but to dismantle the economic barriers that keep essential treatments out of reach.

The list of drugs entering this second phase of negotiation is a veritable who’s who of big-ticket items, with a combined market presence strong enough to account for a staggering 14% of Medicare’s Part D prescription costs. The hope? To ease access, lower costs, and ultimately, to ensure that life-saving medications are not luxuries but accessible essentials.

The pharmaceutical industry, however, eyes these negotiations with skepticism, viewing them as a potential threat to its revenue streams and innovation. Yet, despite the anticipated legal pushback, there’s no denying the potential these negotiations have to transform the landscape of drug pricing in the U.S.

It’s a juncture where health, economics, and regulation intersect, raising questions about the future of healthcare access and affordability. While these shifts may or may not spell immediate change, they undeniably mark the start of a reformation—not just in the medicine cabinet or by the sink, but in the larger narrative of public health.

Navigating the Labyrinth of Modern Wellness: Unmasking Miraculous Promises and the Invisible Adversaries

In the whirlwind of modern life, maintaining one’s health has never felt more like a labyrinthine endeavor. On the one hand, we’re bombarded with promises of miracles—from capsules that swear to bolster thinning hair to lotions that claim to purify our very souls. On the other hand, a more sinister reality creeps in—a reality where the very products we trust with our most intimate care might be our unseen adversaries.

Take, for instance, the case of hair loss—a perennial specter haunting both men and women as the years creep by. Solutions abound, each more tantalizing than the last. One such contender, Dr Vegan’s Hair Saviour, tempts with its 38p capsules, boasting a bevy of 14 active ingredients. The linchpin here is AnaGain, an extract from humble pea sprouts, which purportedly transforms the balance of hair follicles from stagnation to vitality—a clinical trial validating this with a compelling ratio shift from 4.0 to 7.2 in active hair follicles.

Yet, amidst the allure of such botanical promises, the societal specter of obesity looms large—its ramifications reaching far beyond aesthetic concerns to grip the heart of public health. The discourse spearheaded by figures like Reverend Al Sharpton and Justice B. Hill calls for a reckoning. Hill’s poignant query lingers: “Why hasn’t obesity among Blacks become a national healthcare crisis?” Statistics paint a stark picture: nearly 50 percent of Black Americans classified as overweight, a figure swelling to almost 60 percent among Black women. The equation of high blood pressure, diabetes, and heart disease in turn exacerbates this crisis—a crisis invisibly shackled by societal inertia and the staggering cost of genuine resolution.

The narrative doesn’t loosen its grip here. Around us, the shelves of convenience stores overflow with toiletries labeled with promises of antibacterial prowess—each purchase a handshake with a biocide whose consequences are barely whispered. The common culprits? Chlorhexidine, Benzalkonium Chloride, and their kin, infiltrating everyday items from mouthwashes to soaps. A recent bill, championed by Peer Natalie Bennett, aims to hold manufacturers accountable for these invisible menaces—calling for the onus of proof to fall where it belongs.

The body—a symphony of microorganisms, trillions of players strong—relies on harmony, a delicate balance disrupted by the indiscriminate use of biocides. Research reveals a chilling truth: such chemicals can decimate beneficial bacteria, leading to an imbalance fostering infections and diseases. The Consumer Products (Control of Biocides) Bill, introduced in the House of Lords, seeks to ban these chemicals in non-medical products unless indisputably justified by evidence.

Experts like Dr. Paul-Enguerrand Fady call for an overhaul, likening the current market to the Wild West—a realm where oversight is scarce, and the stakes are steep. Professor Andrew Seaton warns of biocides’ potential to ignite antimicrobial resistance, a peril heralded as the “antibiotic apocalypse” by former Chief Medical Officer Sally Davies. This unseen battleground extends beyond human health, contaminating waterways and ecosystems—a silent encroachment demanding attention.

Yet, as the dialogue unfolds, counterarguments emerge. Dr. Emma Meredith acknowledges the strict regulations already enveloping cosmetic manufacturing—arguing that a blanket ban risks eliminating safe preservatives vital for preventing contamination. This complex interplay of regulation, innovation, and consumer choice underlines the multifaceted challenge of balancing safety with progress in personal care.

In this intricate dance of promises and perils, one truth remains unmistakable: the path to wellness is not paved with naïveté. It demands vigilance, critical reflection, and a commitment to seeing beyond the surface—a journey as personal as it is universal, demanding the very resilience and integrity we seek to cultivate through mindful living.

Bruce Willis and Kwame Appiah: Battling Health Challenges with Resilience and Gratitude Amidst LA Wildfires and Ulcerative Colitis

Bruce Willis, renowned for his charismatic presence and countless contributions to the film industry, has recently emerged from the confines of personal challenges to offer gratitude where it’s due. Amid the turbulent backdrop of the Los Angeles wildfires, Willis took a moment to thank first responders—making it his first significant public appearance since his health complications came to light. Diagnosed initially with aphasia in 2022, and more recently with frontotemporal dementia (FTD), Willis’ public engagements have become increasingly rare, making this appearance particularly poignant.

His wife, Emma Heming Willis, has been candid about the struggles they face, striving to maintain transparency with their children while also raising awareness about FTD. This neurological condition, known to shrink the frontal and temporal lobes of the brain, has inevitably imposed emotional and physical burdens on the family. Nonetheless, Emma’s dedication to their relationship and family remains unwavering, a testament to her commitment since their marriage in 2009.

Amid these personal trials, Willis was captured on camera, smiling as he engaged with police officers. This heartwarming moment was shared by Emma on Instagram, showing Willis—sporting a Yankees cap—expressing his heartfelt gratitude with a handshake and a resounding “thank you for your service.”

The video drew widespread attention and emotional reactions from fans and family alike. Tallulah Willis, Bruce’s daughter with ex-wife Demi Moore, commented on the clip, stating, “This makes my heart so freaking full,” illustrating the emotional impact of seeing her father in good spirits.

For many fans, this glimpse of Willis brought a mixture of joy and nostalgia. One fan remarked, “WOW, Awesome, Bruce looks great,” while another emphasized that despite cognitive declines, Willis’ kindness and ability to connect with people remain undiminished.

This appearance has further underscored the challenges faced by those living with dementia. Emma has been vocal about the importance of understanding this disease, noting that its symptoms often “whisper” before becoming more apparent. She emphasizes that proper diagnosis was crucial for learning about the condition and educating their daughters, Mabel and Evelyn.

On another front, the battle of an entirely different nature is being waged by Kwame Appiah, the ‘Love Is Blind’ star, who recently disclosed his diagnosis of ulcerative colitis. Appiah’s journey, marked by a period of neglect followed by severe symptoms, serves as a reminder of the fragility of health and the importance of proactive care.

Appiah’s revelation came through an Instagram Reel, where he candidly outlined his experience, emphasizing the preciousness of life and the need to address seemingly minor health issues before they escalate. He thanked his wife Chelsea Griffin and friends for their support, highlighting the transformative impact of a supportive network during health crises. His story, much like Willis’, is a powerful reminder of the importance of resilience and family support in navigating health challenges.

In parallel, the U.S. Surgeon General, Vivek Murthy, has called for a bold measure in public health—placing cancer warnings on alcoholic beverages. This advisory, although met with resistance due to the formidable alcohol lobby and political changes, seeks to illuminate the often-overlooked link between alcohol consumption and cancer.

For those who have witnessed firsthand the devastation of alcohol-related cancers, like therapist Edith Langford, this initiative is long overdue. Her personal and professional experiences vividly illustrate the harsh realities of alcohol abuse, a sentiment echoed as she recounts the loss of family members to cancer linked to excessive drinking.

Dr. Langford’s passionate advocacy underscores the critical need for public awareness and policy change. The surgeon general’s advisory aspires to cut through societal indifference and challenge long-standing norms around alcohol consumption, aiming to prevent the tragedy experienced by countless families across America.

As these narratives unfold—each a testament to human resilience and the importance of community support—they collectively encourage us to look beyond the surface, acknowledging the battles fought behind closed doors and the profound impact of collective empathy and action.

Joe Goldberg Prepares for a Gory Goodbye in ‘You’ Final Season Trailer

Hello Joe, and goodbye You. Netflix has released an official release date teaser for You Season 5, which marks the glorious and gory end of Joe Goldberg’s (Penn Badgley) reign of terror across the world. Badgley returns one last time as the world’s dreamiest mass murderer, with Joe returning to New York City in a full circle move for the first time since the first season of the show, but it looks like he won’t be getting that happy ending that he so desperately craves. The final season will also star Charlotte Richie, Madeline Brewer, Anna Camp and Griffin Matthews, all of whom are absolutely certain to be involved in more depraved nonsense from the man nobody can refuse.

Along with the trailer, we have the official logline and a release date set for April.

“In the epic fifth and final season, Joe Goldberg returns to New York to enjoy his happily ever after… until his perfect life is threatened by the ghosts of his past and his own dark desires.”

What Happened in ‘You’ Season 4?

When we last joined the drama, we saw Joe relocate to tea and crumpet land, in jolly old England as he made the City of London his new funhouse, while he decided he was a college professor. Sure. Unsurprisingly, though, he proceeded to wreak chaos on the lives of everybody he came into contact with, from his neighbors to his students and everyone in between. But there was a shocker in store as Joe also managed to find his most cunning partner to date, billionaire Kate Lockwood (Charlotte Ritchie). Joe told all of his darkest secrets to Kate, yet she decided to stay by his side and even helped him hide some of his more unsubtle crimes from the past, which had given Joe more encouragement to continue his dark and depraved ways.

Now, tied to someone in high society and with his own identity restored, Joe is heading back stateside and to the Big Apple with renewed vigor, but the question remains, who will he go after? And there’s still the question of Marienne, one of the few survivors of Joe’s crimes, and whether she will be able to find the evidence needed to bring him down once and for all.

You will return to Netflix on April 24, 2025. Check out the trailer above, as well as a new poster below, and stay tuned to Collider for more updates. In the meantime, you can catch up on You Seasons 1 through 4 on Netflix now.

You TV-MA DramaCrime

A dangerously charming, intensely obsessive young man goes to extreme measures to insert himself into the lives of those he is transfixed by.

Release Date September 9, 2018 Finale Year November 30, 2023 Cast Elizabeth Lail , Michaela McManus , Ambyr Childers , Victoria Pedretti , Luca Padovan , Scott Speedman , Travis Van Winkle , Penn Badgley , Jenna Ortega , Shay Mitchell Seasons 4 Cinematographer W. Mott Hupfel, David Lanzenber, Cort Fey, Seamus Tierney Story By Caroline Kepnes Writers Greg Berlanti , Sera Gamble , Caroline Kepnes Network Lifetime Streaming Service(s) Netflix Showrunner Sera Gamble , Greg Berlanti Expand

Watch on Netflix

David Lynch, “Twin Peaks” Creator and “Mulholland Drive” Director, Dies at 78: ‘There’s a Big Hole in the World’

David Lynch, “Twin Peaks” Creator and “Mulholland Drive” Director, Dies at 78: ‘There’s a Big Hole in the World’

Victoria Edel

January 16, 2025 at 7:28 PM

David Lynch has died at the age of 78, his family announced on Thursday, Jan. 16.

“It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch. We would appreciate some privacy at this time,” read a message on Facebook. “There’s a big hole in the world now that he’s no longer with us. But, as he would say, ‘Keep your eye on the donut and not on the hole.’ “

“It’s a beautiful day with golden sunshine and blue skies all the way,” they added.

Lynch was best known for creating the 1990 TV series Twin Peaks. The show spawned a 1992 feature film, Twin Peaks: Fire Walk with Me, and a 2017 revival season. A four-time Oscar nominee, he also directed films including The Elephant Man, Blue Velvet and Mulholland Drive. He was known for his distinctive style that became described as “Lynchian.”

Lynch was born in Missoula, Mont., in 1946 and grew up in Spokane, Wash., and Boise, Idaho. His father was a forest research scientist, and Lynch spent much of his childhood outside, exploring. Those same mysterious Pacific Northwest woods would eventually inspire Twin Peaks.

When he was a teenager, the family moved to Alexandria, Va. He had “a kind of happy persona” there, he told PEOPLE in 1990, but soon learned “all the thrilling things happened just after school or between classes. It added up to some sort of pitiful joke — so constricting it would drive you nuts. It inspired me to try to break rules. Behind it all, I was getting it together to be a painter.”

Lynch went to Philadelphia to study art at the Pennsylvania Academy of the Fine Arts, and there he began experimenting with film and animation. “I loved Philadelphia,” he said in 1990. “The most corrupt, fear-ridden city I’ve ever seen. It’s one of my major film influences.”

In 1975, he released The Grandmother, a 35-minute blent of live-action and animation about a lonely boy whose dead grandmother comes back to life. It earned him a spot in the American Film Institute’s Center for Advanced Film Studies in L.A. He spent the next five years working on his feature debut, 1977’s Eraserhead. To support himself, he held a series of odd jobs, including a paper route.

“$9.80 a night was not a thrilling rate, so I was pretty depressed,” he said in 1990. “But I worked it to where I was shooting the route in one hour, almost to the second — a totally efficient hour. You learn to fold, bag and drive at the same time.”

“I got an awful lot of pressure to abandon Eraserhead and do something worthwhile,” he added. “I just couldn’t. It was frustrating, but also beautiful.” Eraserhead had a small opening, but gained interest as a midnight movie and ultimately became a cult favorite. One fan was Mel Brooks, who hired Lynch to create a film about Joseph Merrick. That movie, 1980’s The Elephant Man was a hit and garnered eight Oscar nominations, including best director and best adapted screenplay for Lynch.

Next he directed an adaptation of Dune, released in 1984. It received mostly negative reviews upon it release, though it went on to be a cult favorite. “It was a heartache for me. It was a failure, and I didn’t have final cut,” he told The Hollywood Reporter in 2020. “I’ve told this story a billion times. It’s not the film I wanted to make. I like certain parts of it very much — but it was a total failure for me.”

He released Blue Velvet, starring Isabella Rossellini, in 1986. The erotic thriller was criticized by some for being too violent, but he received a second Oscar nomination for best director. “When people first meet David, they expect him to be neurotic and crazy and sick, but he’s not,” Rossellini, who was romantically involved with Lynch at the time, told PEOPLE in 1990. “It’s just that he looks at life in a different way.” He said of his creative inclinations, “I’m in love with ideas, and I’m out there trying to catch them.”

His next major film was 1990’s Wild at Heart, starring Nicolas Cage and Laura Dern, who had also appeared in Blue Velvet. She told PEOPLE in 1990, “David’s greatest gift is that he sees making a movie like a trip to Disneyland.” Lynch described Wild at Heart as a “violent comedy, a love story in a twisted world.” He explained, “Wild at Heart goes to extremes — it’s not a film for everybody. But as shocking as some things in it are, they’re based on the truth of human nature, and there’s a lot of humor and love wrapped up in that.”

Twin Peaks also premiered that same year. “Working at this speed is unusually intense, but I really like it,” the director told PEOPLE. “It gets kind of crazy.” The mystery TV series reunited him with Dune and Blue Velvet star Kyle MacLachlan.

Set in the titular, fictional Washington town, Twin Peaks explored the mystery of who killed Laura Palmer (Sheryl Lee), though the surreal series came to mean so much more to fans. Not that Lynch was forthcoming about any of the ideas he intentionally incorporated into his work. “I never talk about themes,” he said in 1990. “No way. A film should stand on its own. People talk way too much about a film up front, and that diminishes it.”

MacLachlan praised Lynch as “a sound, mood and rhythm director. David hasn’t forgotten the images, fears and desires you have when you’re 10 or 18 or 25. They’re so pure, these images, that they have a lot of impact.”

“I like things that go into hidden, mysterious places, places I want to explore that are very disturbing,” Lynch said. “In that disturbing thing, there is sometimes tremendous poetry and truth.” The combination of violence, surrealism, mysticism and blue-collar life would come to define the “Lynchian” aesthetic.

Twin Peaks aired for two seasons on ABC. It was an instant success when it premiered; PEOPLE included Laura Palmer on it annual list of most interesting people at the end of 1990. But the second season was derailed when ABC executive Bob Iger made Lynch reveal in the premiere who had killed Palmer, a mystery the director had wanted to save for the end of the series. Ratings declined, Lynch was unhappy, and the show was canceled.

In 1992, Lynch visited the story again in the prequel film Twin Peaks: Fire Walk with Me. And he returned for a third season of the series, which aired on Showtime, in 2017. “I called all the regulars — or most everyone — and I had a chat,” Lynch told Deadline in 2018 about bringing the cast back together. “These people are like family, so it was so beautiful calling them and talking to them again and getting together like for a family reunion.” He guessed that 99 percent of the surviving cast was happy to return. Dern also joined the show for the third season.

Lynch felt season three was more comparable in quality to the first than the second, which he did not like. He received nine Emmy nominations for his work on Twin Peaks.

Lynch directed four more films: 1997’s Lost Highway, 1999’s The Straight Story, 2001’s Mulholland Drive and 2006’s Inland Empire. He received his third Oscar nomination for best director (and fourth overall) for helming Mulholland Drive, which followed an aspiring actress in Los Angeles played by Naomi Watts. It was originally conceived as a TV show.

“It was a closed-ended pilot, and then the ideas came to make it into a feature,” he told Interview in 2012. “I was meditating, and all these ideas just flowed in, in one meditation — all the ideas to finish that into a feature.” In 2019, Lynch received an honorary Oscar for his contributions to film.

Lynch never gave up his early love of painting and continued to create visual art throughout his life. In 1994, he published Images, a book that featured painting, photographs and images from his films. He was also involved in several music projects, including working on the scores of several of his films.

In 2006, he published a book, Catching the Big Fish: Meditation, Consciousness, and Creativity, about transcendental meditation, and in 2018, he published Room to Dream, which was a hybrid of memoir and biography. He directed music videos for artists like Moby, Nine Inch Nails and Donovan, as well as many commercials. He also portrayed director John Ford in Steven Spielberg’s 2022 film The Fabelmans.

Lynch was married to first wife Peggy from 1967 to 1974. They shared daughter Jennifer, who also became a director. Jennifer told PEOPLE in 1990, “He was not your normal dad, but he’s been the best dad he could be, and we’ve had a blast.”

From 1977 to 1987, he was married to Mary Fisk. They shared son Austin. From 2006 to 2007, he was married to Mary Sweeney, with whom he shared son Riley. In 2009, he married Emily Stofle, who appeared in Inland Empire and the third season of Twin Peaks. They shared daughter Lula Boginia. Stofle filed for divorce in 2023.

Looking back on his one-of-a-kind career, Lynch was mostly content. “Well, I’m sort of proud of everything except Dune,” he said in a 2020 YouTube video. “I’ve liked so much working in different mediums. It’s not a thing about pride, it’s more like the enjoyment of the doing, enjoyment of the work.”

He added, “I’ve just enjoyed working in all these different mediums, and I feel, again, really lucky to have been able to enjoy those things and be able to live.”

Read the original article on People

Aaliyah is now a new Barbie doll on what would have been her 46th…

Aaliyah has joined the hallowed halls of legendary singers immortalized in Barbie form by doll maker Mattel.

The collectible Barbie, which celebrates her enduring influence on music, fashion and pop culture, became available for pre-order Thursday on what would have been the late star’s 46th birthday.

In a testament to her enduring legacy, the Aaliyah Barbie sold out online in just 30 minutes, according to The Detroit Free Press. Re-sellers have already listed the doll — which retails for $55 — for upwards of $100 on eBay.

The Barbie will presumably be restocked on Mattel’s and Target’s websites (as well as in Target stores) by the time it officially goes on sale on Jan. 26.

Aaliyah — born Aaliyah Dana Haughton — died in 2001 at the age of 22 after a tragic plane crash in the Bahamas. Known for her groundbreaking contributions to R&B, hip-hop and pop music, Aaliyah is remembered not only for her powerful voice but also for her distinctive fashion sense that blended street style with elegance.

Drawing inspiration from the ensemble she wore in her “One in a Million” music video, Aaliyah’s Barbie wears a sleek leather jacket, cargo pants and accessories to reflect the late icon’s cool, laid-back style.

Aaliyah’s brother, Rashad Haughton, collaborated with Mattel to ensure the doll embodied the singer’s vibe.

“I can vividly remember my sister playing with her favorite Barbie dolls for hours when we were kids. She would make them sing, dance, and perform little concerts,” Haughton said in a statement.

“It’s clear to me now that she was imagining dreams that would eventually become reality when she embarked on a career in entertainment at just fifteen years old.”

“Inspiring confidence, belief in yourself and embracing who you truly are is the essence of Barbie,” he added. “My sister would be ecstatic to see her legacy celebrated this way.”

Aaliyah broke onto the music scene in 1994 at just 15 years old with her single “Back & Forth,” which peaked at No. 5 on the Billboard Hot 100 chart. She went on to have a No. 1 hit in 2000 with her hit “Try Again” and won three American Music Awards, two MTV Video Music Awards, and five Grammy nominations over the course of her short career.

Aaliyah’s Barbie is the latest entry in Mattel’s Music Collector Series, which also includes dolls of music icons such as Gloria Estefan, Tina Turner, Elton John, and Stevie Nicks.

“We hope the Aaliyah Barbie serves as a powerful reminder to her loyal fans and Barbie collectors everywhere that, like Aaliyah, they can unlock their limitless potential and achieve anything they set their minds to,” Senior Vice President of Barbie and Head of Dolls at Mattel Krista Berger said in a statement.

Missy Elliott honored her late friend on Thursday and weighed in on Mattel’s decision to make Aaliyah a Barbie.

“Babygirl the IMPACT that you have left in the years you spent here with the world is UNDENIABLE. Leaving generations to know your name ‘AALIYAH’,” she wrote on Instagram “They continue to learn of your UNIQUE Music ORIGINAL Style & GLOWING personality. You will NEVER be 4Gotten.”

Tagging Rashad, Elliott added, “Much love to you your sis would be proud.”

Wendy Williams Says She Is Not Cognitively Impaired, Wants Out of her Guardianship

On a phone call with The Breakfast Club, the former daytime talk show host — who was diagnosed with frontotemporal dementia and progressive aphasia in 2023 — said she feels like she is “in prison” in her care facility.

Wendy Williams is speaking out against her guardianship. The former daytime talk show host and radio personality has been under a guardianship since 2022, as her care team alleges that Williams’s health has been in decline after she was diagnosed with frontotemporal dementia and progressive aphasia. But during a recent call to the popular radio show The Breakfast Club, hosted by DJ Envy, Charlamagne Tha God, and Jess Hilarious, Williams said that she is mentally sound.

“Do I seem that way, goddamn it?” Williams asked the hosts.

“I am not cognitively impaired, you know what I’m saying? But I feel like I’m in prison,” said Williams, speaking about the New York City care facility where she has been living. “I’m in this place where the people are in their 90s and their 80s and their 70s…. There’s something wrong with these people here on this floor.” The 60-year-old said that she has to take seven daily pills at the care facility, and that she has “no idea” what they contain. “It’s to the point where, uh, ‘Excuse me, doctor, can you tell me what this pill is for?’” she said.

On the call, Williams was aided by her niece, Alex, who affirmed Williams’s assessment of the situation. Per Alex, the room where Williams lives at her facility is bare and drab: “She’s looking out one window at buildings across the street,” she said. “That’s her life.” Alex alleged Williams can make outgoing calls but loved ones outside of the facility can’t call her, and Williams said she has spent her past three birthdays on her own. “This is what is called emotional abuse,” said Williams.

Williams hosted the popular and juicy daytime talk show The Wendy Williams Show from 2008 to 2022. She stepped down from hosting due to medical issues stemming from lymphedema and Graves’ disease. Replacement hosts including Sherri Shepherd were brought in after Williams’s departure, but the show was soon canceled, airing its final episode in June 2022. In 2023, Williams was diagnosed with frontotemporal dementia and aphasia, and her diagnosis was shared with the public in February of 2024.

In 2022, a four-part Lifetime documentary called Where Is Wendy Williams? began filming Williams’s allegedly declining health — including multiple scenes in which the formerly sharp and irreverent talk show host appears to be erratic and out of sorts. Williams’s court-appointed guardian, Sabrina Morrissey, subsequently sued Lifetime’s parent company, A&E Television Networks, Lifetime Entertainment Services, and others to block the documentary’s release, alleging that Williams, who served as executive producer on the docuseries, could not legally consent to filming due to her condition. Months later, A&E and Lifetime countersued Morrissey, alleging that Morrissey wanted to bury the doc after she realized that it would critique her role as Williams’s guardian.

On the call, Williams told The Breakfast Club that she and Morrissey watched Where Is Wendy Williams? together when it aired, taking notes on the program. “She was the one who wanted to do that, you understand what I’m saying?” Williams said. “What do I think about being abused? Look, this system is broken, this system that I’m in. This system has falsified a lot.” During their conversation, she referred to Morrissey as “that person that you talk about who is holding me hostage.”

Ultimately, Williams said that she wishes to end her guardianship and move to Miami to be closer to her family, particularly her father. “I am exhausted thinking about, What if I can’t see my dad for his birthday? At 94, the day after that is not promised,” she said on The Breakfast Club, audibly holding back tears. “My life is, like, fucked up.”

Although she spent most of the call discussing her own trials and tribulations, in true Williams fashion she also gave her two cents about Diddy and his looming trial for alleged sex crimes. (Diddy has denied the allegations against him.) “Diddy will go to prison for life, people,” Williams said. “You don’t know things that I knew about Diddy back in the day. And you know what? It’s about time. Diddy done.”

Alex added that in the limited times she’s been able to see Williams, her aunt has seemed well and not incapacitated. “That’s why we say she’s in a luxury prison, because she is being held and she is being punished for whatever reason that other people are coming up with as to why she has to be kept in this position,” said Alex. She added that anyone who wants to support Williams can use the hashtag #FreeWendy, sign her change.org petition or donate to her GoFundMe.

David Lynch, surrealist filmmaker known for ‘Twin Peaks’ and ‘Blue Velvet,’ dead at 78

LOS ANGELES — David Lynch, the Oscar-nominated filmmaker who was known for surreal works such as “Twin Peaks,” “The Elephant Man” and “Muholland Drive,” has died.

Lynch’s family announced his death Thursday on Facebook. The director, an artist who channeled his talent in a number of mediums including film, television, music and art, was 78.

“It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch,” the post said. “We would appreciate some privacy at this time. There’s a big hole in the world now that he’s no longer with us. But, as he would say, ‘Keep your eye on the donut and not on the hole.’”

The post added: “It’s a beautiful day with golden sunshine and blue skies all the way.”

In 2024, Lynch revealed that he had been diagnosed with emphysema, a condition that causes shortness of breath, “from smoking so long” during his life. He said in an interview with Sight and Sound that his health had limited his ability to direct.

“I would do it remotely if it comes to it,” he said. “I wouldn’t like that so much.”

Lynch’s directing career included cult classics “The Elephant Man,” “Blue Velvet,” “Inland Empire,” a divisive adaptation of Frank Herbert’s “Dune” and “Wild at Heart,” among others.

His films were often filled with recurrent characters and motifs and blended film noir darkness, suspense and an ensemble cast of quirky characters. An influential filmmaker, Lynch most often drew his own inspiration from European filmmakers such as Jean-Luc Godard and Federico Fellini. He frequently worked with the same actors — Kyle MacLachlan, Jack Nance, Laura Dern, Grace Dern and Harry Dean Stanton among them. Most often, his films unfurled as Angelo Badalamenti’s haunting compositions swelled.

Lynch’s films often explored “the mystery and madness hidden in the normal,” as film critic Pauline Kael put it. The severed ear in “Blue Velvet.” Laura’s Palmer’s lifeless body wrapped in plastic on television’s “Twin Peaks.” The lone survivor of a car crash on Mulholland Drive, injured and wandering into Los Angeles. All were jarring openings that guided filmgoers into the strange netherworlds tucked away in otherwise normal big cities and small towns.

Born on Jan. 20, 1946, in Missoula, Montana, Lynch grew up in several states. The son of an English language tutor and a research scientist for the U.S. Department of Agriculture, the filmmaker and his family were often on the move, living in Washington, Idaho, Pennsylvania and Virginia.

After graduating high school, Lynch studied at the Museum of Fine arts in Boston. He then attended the Pennsylvania Academy of Fine Arts, where he created his first film, the 1967 animated short “Six Men Getting Sick.”

In 1977 Lynch directed his first feature film, the cult favorite “Eraserhead,” while attending the American Film Institute. He quickly gained the attention of filmmakers Stanley Kubrick and John Waters. George Lucas even courted Lynch to direct a “Star Wars” film, but Lynch turned down the offer.

Lynch kept busy in the ’80s with “The Elephant Man” in 1980, his controversial and critically panned take on Frank Herbert’s “Dune” in 1984 and 1986’s “Blue Velvet,” starring Isabella Rossellini, MacLachlan, Dennis Hopper and Laura Dern. He was nominated for an Oscar for adapted screenplay and best director for “Elephant Man” and best director for “Blue Velvet.”

“This film is a trip into darkness and back out again,” he told The Times of “Blue Velvet.” “There are things lurking in the world and within us that we have to deal with. You can evade them for a while, for a long time maybe, but if you face them and name them, they start losing their power. Once you name the enemy, you can deal with it a lot better.”

In 1989, Lynch reunited with MacLachlan for ABC’s iconic “Twin Peaks,” which he co-created with Mark Frost. MacLachlan starred as coffee-enthusiast and FBI special agent Dale Cooper. From Lynch’s atmospheric and eerie depiction of Washington state came some of pop culture’s most recognizable moments — including Michael J. Anderson’s dance in the red chevron-floored room.

The original “Twin Peaks” series ran for two seasons before ending in June 1991. Just months before the show’s cancellation, Lynch deadpanned about keeping the show alive during an interview with David Letterman.

“If it has to end, that’s all right. But if it doesn’t have to end, that’s even better,” he said. “And I’m asking people to write to Bob Iger, the president of ABC.”

Lynch revisited his “Twin Peaks” empire with the 1992 film “Fire Walk with Me” and Showtime’s “Twin Peaks: The Return” in 2017.

From “Twin Peaks” also stemmed his longtime partnerships with late musicians Badalamenti and Julee Cruise, who both died in 2022.

Some of Lynch’s turn-of-the-century works included the films “Lost Highway,” “The Straight Story” and “Mulholland Drive.”

The mystery film, which starred Laura Harring and Naomi Watts, earned Lynch the director award at the 2001 Cannes Film Festival and an Oscar nomination for best director in 2002.

His final film was “Inland Empire,” a 2006 surrealistic thriller that was filmed as it was being written.

Later in life Lynch brought his talents to other mediums, directing music videos, pursuing his own musical projects or exhibiting abstract art.

Among his various side projects was the series of “Weather Reports,” which he started in 2008 and revisited on YouTube during the years of the COVID-19 pandemic. Predictably quirky, Lynch would stare at the camera, give the date, the temperature — in both Fahrenheit and Celsius — and then a general description of the weather. “It’s cloudy and there’s quite a breeze, Have a good day.”

“There’s a connection between music, film, painting, writing, everything,” Lynch told The Times in 1999. “I guess the more [things] you’re into, the more they’re going to help each other.”

The director was also a vocal supporter of transcendental meditation. In 2005, he founded the David Lynch Foundation, which seeks to promote transcendental meditation among “at-risk populations” to “improve their health, cognitive capabilities and performance in life.”

Lynch was married several times. He and artist Peggy Reavey married in 1968 and divorced in 1974. Three years later he married Mary Fisk — that marriage lasted 10 years. In 2006 Lynch and filmmaker Mary Sweeney wed and divorced. Lynch married actor Emily Stofle in 2009. He had three children, Jennifer, Austin and Riley.

In 2019 Lynch received an honorary Oscar at the Governors Awards. He accepted the honor from “Blue Velvet” stars Dern and MacLachlan with a speech in true Lynchian fashion.

“To the Academy of Motion Picture Arts & Sciences, thank you for this honor, and to all the people who helped me along the road. Congratulations to all the other honorees tonight. And everyone, have a great night.” he said, before looking at his Oscar. “You have a very interesting face. Goodnight!”

Lynch is survived by his wife and three children. Representatives for the David Lynch Foundation did not immediately respond Thursday to The Times’ requests for comment.