Entertainment
Britney Spears ends protracted battle with her father over conservatorship legal fees
Britney Spears and her father Jamie Spears, her former conservator, have settled their protracted legal dispute over the payment of his legal fees and how he managed her finances during her 13-year conservatorship.
The two parties settled for an undisclosed amount Thursday in Los Angeles County Superior Court after first filing about the issue in December 2021. The settlement helps the 42-year-old pop superstar avoid continued litigation, including a hearing that had been set for May, over her father’s alleged financial misconduct during the controversial legal arrangement.
The infamous court-ordered guardianship, which was implemented in 2008 after Spears exhibited a spate of erratic behavior, dictated the superstar’s personal and professional life, and controlled her money, for more than a decade. Jamie Spears, 71, served as the conservator of her person and estate for years before resigning as her personal conservator in 2019 over “personal health reasons.” He was removed as a conservator of her estate in September 2021, and the legal arrangement was terminated altogether more than two years ago, but the fallout over accounting issues and legal fees carried on in court until last week.
“Although the conservatorship was terminated in November 2021, her wish for freedom is now truly complete,” the singer’s attorney, Mathew S. Rosengart, said Monday in a statement to The Times. “As she desired, her freedom now includes that she will no longer need to attend or be involved with court or entangled with legal proceedings in this matter.”
Rosengart, who changed the trajectory of the Grammy winner’s situation after he was hired as her personal attorney in July 2021, said it has been an “honor and privilege to represent, protect, and defend Britney Spears in that matter.”
Jamie Spears’ attorney, Alex Weingarten, also confirmed that a settlement had been reached to resolve all outstanding disputes but would not comment on the specifics because the settlement is confidential.
“At the insistence of counsel for Ms. Spears, the settlement is confidential and I cannot discuss it,” Weingarten said Monday in an email to The Times. “Jamie has nothing to hide and would be happy to disclose everything about every aspect of the conservatorship so that the public knows the actual truth. Jamie loves his daughter very much and has always done everything he can to protect her.”
Last week, Weingarten told People that Jamie Spears is also “thrilled that this is all behind him,” adding that it is “unfortunate that some irresponsible people in Britney’s life chose to drag this on for as long as it has.”
Jamie Spears, who had sought court approval for more than $2 million in payments to multiple law firms before officially relinquishing control of his daughter’s finances, also sought fees to be paid to his own attorneys. However, Rosengart objected to the fees, arguing that Britney Spears should not have to pay her father’s legal bills because he had paid himself millions as her conservator, improperly surveilled her and engaged in financial misconduct during his tenure, the New York Times reported.
Jamie Spears has denied any wrongdoing.
The “… Baby One More Time” and “Toxic” singer appeared to address the latest legal development on Instagram in a since-deleted post that blasted her parents.
“My family hurt me !!! There has been no justice and probably never will be !!!” she wrote, according to a screenshot of the Sunday post published by TMZ.
“The way I was brought up I was always taught the formative of right and wrong but the very two people who brought me up with that method hurt me !!! I am so lucky to be here !!!,” she added.
Spears, who has long contended that she’s afraid of her father, said she hasn’t told her parents her thoughts face to face. The mother of two also said she misses her home in Louisiana and wishes she could visit but “they took everything.”
Meanwhile, citing sources with “direct knowledge,” TMZ reported Monday that Spears is in “serious danger” on both the mental and financial fronts, faring far worse than she had been when she was under the control of the conservatorship.
Rosengart and Weingarten declined to comment on the allegations.
After the conservatorship ended, the “Mickey Mouse Club” alum wrested back control of her life and narrative and has basked in her newfound freedom, including making moves that have seemingly led to new revenue streams.
In 2022, the former Las Vegas headliner landed a $15-million book deal that resulted in the publication of her bombshell memoir “The Woman in Me” last fall. The revelatory account — chronicling her early career, romances with Justin Timberlake and Kevin Federline and the conservatorship — was released to much fanfare and impressive sales. It sold more than 1.1 million copies in the United States its first week. In January, Gallery Books, a division of Simon & Schuster, announced that the book had sold more than 2 million copies in the U.S. alone across multiple formats. The audiobook, recited by Oscar winner Michelle Williams, became the fastest selling in the company’s history.
Hollywood producers, including Brad Pitt, Margot Robbie and Reese Witherspoon, have reportedly also been looking to adapt the book for the big screen.
Although Spears has largely retreated from her live-performance career, she has been flaunting her freedom and lifestyle on Instagram, posting photos from the various destinations she has traveled to via private jet. She is also presumably enjoying the royalties from her 2022 collaboration with Elton John on “Hold Me Closer,” a reimagining of his 1970s classic “Tiny Dancer.”
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
-
Miami, FL5 minutes agoCain, Kushner launch South Florida JV with plans for Edgewater rental tower
-
Boston, MA11 minutes agoMBTA Green Line trains out from Kenmore to Boston College on B branch through April 30
-
Denver, CO17 minutes agoNuggets vs. Timberwolves | 3 keys to a Denver win in Game 3
-
Seattle, WA23 minutes agoThe Honorable Brandon Lee Gowton Picks for Seattle at #32 | Field Gulls
-
San Diego, CA29 minutes agoPerson struck, killed by train in Encinitas
-
Milwaukee, WI35 minutes agoFatal opioid overdoses decline in Milwaukee County
-
Atlanta, GA41 minutes ago‘Rich and Unemployed’ podcaster sentenced for $3.8M scheme
-
Minneapolis, MN47 minutes agoEdina shooting leaves 1 dead, suspects on run