Wendy Williams is speaking out against her own legal guardian who stated last year that the former TV host is “cognitively impaired, permanently disabled, and legally incapacitated.”
The daytime talk personality, 60, asserted Thursday morning: “I am not cognitively impaired.” Williams and her niece Alex Finnie called into “The Breakfast Club” radio show, where they raised concerning allegations about Williams’ care under guardian Sabrina Morrissey.
“I feel like I’m imprisoned,” Williams said.
Williams was placed under financial guardianship amid a legal battle with Wells Fargo in 2022. Later that year, “The Wendy Williams Show” aired its final episode after 13 seasons. The daytime series was canceled amid its host’s physical, mental and financial struggles.
Since 2022, Williams has been receiving treatment at an unknown facility — a “luxury prison” in New York, her niece said Thursday. Williams and Finnie spoke to “The Breakfast Club” about allegedly tight security at the facility and accused Morrissey of keeping the former radio host from seeing and contacting her loved ones.
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Morrissey’s role as Williams’ legal guardian garnered public attention last year ahead of Lifetime’s four-part documentary “Where Is Wendy Williams?” Before the documentary’s February release, news broke that Williams had been diagnosed with aphasia and frontotemporal dementia. That same week, Morrissey filed a lawsuit against the “Where Is Wendy Williams?” team, including Lifetime parent company A+E Networks. At the time, Morrissey requested a restraining order “prohibiting publication of [the] documentary,” but a New York judge gave Lifetime the green light to proceed.
Williams on Thursday shied away from questions about the documentary (“I don’t wanna watch that again,” “I don’t wanna talk about that”) and doubled down on her cognitive state. In a September legal filing, Morrissey alleged Williams did not “have the capacity to consent to being filmed” for the Lifetime documentary and that her dementia and aphasia diagnoses left her “cognitively impaired.”
“How dare,” Williams said Thursday. “Do I seem that way?”
She added: “For the last three years, I have been caught up in the system.”
Finnie, who has spoken out publicly against her aunt’s guardian, encouraged “The Breakfast Club” listeners to spread the word about Williams’ experience and take action “to make sure my aunt is in a place where she is living her life in dignity.” She called on Williams’ caretakers to “give her the freedom she deserves.”
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Before the new year, Williams attended her son Kevin Hunter Jr.’s college graduation. Williams said she is hoping to get some time with family to celebrate her father’s 94th birthday, but alleged — seemingly fighting back tears — that Morrissey might not allow it. “My life is like f— up,” Williams said.
Roberta Kaplan, an attorney representing Morrissey in the lawsuit against A&E, bolstered the guardian’s September claims about Williams’ cognitive health. Kaplan said in a statement Thursday that “a state court found her to be legally incapacitated, meaning that she is not capable of making legal and financial decisions on her own.”
Kaplan added: “Unfortunately, because of her diagnosis, Wendy’s condition will only get worse with time and she will require care for the rest of her life. But as anyone who has had a family member with dementia knows, Wendy has both good days and bad days. It is truly a shame that there is so much voyeuristic attention to this right now, since it only leads to the same kinds of exploitation that we saw in the so-called documentary, as alleged in our complaint.”
Toward the end of her “Breakfast Club” appearance, Finnie condemned the “broken” guardianship system. Last month, Hunter also voiced concern for his mom and told fans his mother was “sober and wants to come home.”
“The longer she’s under this guardianship, the longer they have the keys to her life,” Finnie said, “her personal, her financial, emotional … everything.”
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
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He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
