Entertainment
Wendy Williams declares, 'I am not cognitively impaired,' disputing guardian's assertions
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.
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.”
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.”
Dangerous Animals brings together two of horror’s most popular sub-genres. Zephyr (Hassie Harrison, Yellowstone) is a rebellious surfer who is not interested in anything on land. She is the perfect victim for Tucker (Jai Courtney, The Suicide Squad), a serial killer obsessed with sharks. When she finds herself trapped on his boat, she must find a way to escape before becoming food for the sharks.
It is the perfect premise for an over the top comedy horror. Surprisingly, the film is a tense and creepy affair that is never played for laughs. The premise means there are some wild moments, but Dangerous Animals is a tight psychological horror. The writing does an excellent job of building tension. The plot is constantly moving forward once Zephyr is brought into Tucker’s world. It is an exciting watch that is helped by set pieces which adds to the terror.
The characters are a mixed bag. Courtney is fantastic as the unhinged Tucker. Initially, he is cold and calculating. It is the kind of attitude in serial killers that some mistake as charisma. He commands the screen in every scene that he is in. Things change in the third act following an incident following one of his most cherished possessions. He loses all sense of control and the calm he exuded earlier is replaced by the mania that was hinted at. Tucker is downright frightening.
There is nothing wrong with Harrison’s performance, but her character may be a little too much for some. She lives her life on the edge and makes sure to constantly let anyone who asks know. It can be overbearing and corny at times. That being said, there is a sense of self-awareness, like in the moment when she quotes Point Break to explain her life. She is also a fantastic Final Girl, resourceful and willing to take any risk in order to survive.
It all comes together in an exhilarating watch. Dangerous Animals never tips its hand and each shocking reveal works to full effect. It is the rare twist-free horror movie that unpeels layers of its characters. Instead, fantastic sound design and well-shot shark action bring all the fear.
Dangerous Animals releases in theaters June 6.
When Domingo Hindoyan, the Venezuelan chief conductor of the Royal Liverpool Philharmonic, made his debut with L.A. Opera last November with “Roméo et Juliette,” Times classical music critic Mark Swed called it “a coup for the company.” Swed also wondered if it was a “signal that he is a candidate to succeed Music Director James Conlon, who steps down in 2026?”
It turns out Swed was right.
On Friday, L.A. Opera announced that Hindoyan has been named the company’s Richard Seaver Music Director. He will succeed Conlon, the longtime music director who joined the company in 2006 and announced last year that he will step down at the end of the 2026 season. Conlon will take on the newly created role of conductor laureate.
In a statement, Hindoyan said he was deeply honored to become only the third music director in the company’s nearly 40-year history. “From the first rehearsal, I felt a strong connection to the extraordinary musicians, staff, and spirit of this company,” he said. “It is a privilege to follow Maestro James Conlon, whose legacy has shaped L.A. Opera into what it is today — a dynamic and ambitious institution.”
After considering “dozens” of candidates from around the world, L.A. Opera President and CEO Christopher Koelsch said he was “struck by the fluidity of his technique and the clarity and command of his musical ideas” after seeing Hindoyan at the Berlin State Opera in 2016. “His deeply collaborative nature and generous spirit in rehearsal make him a favorite among singers, who are inspired by the space he creates for musical risk-taking and expressive freedom.” Koelsch also praised Hindoyan’s “deep rapport with musicians and audiences alike.”
Hindoyan, 45, is originally from Caracas, Venezuela, and began his career as a violinist. Like departing Los Angeles Philharmonic Music Director Gustavo Dudamel, he attended Venezuela’s renowned public music education program known as El Sistema.
In addition to his role as chief conductor of the Royal Liverpool Philharmonic Orchestra, a role he has held since 2021, Hindoyan has served as principal guest conductor for the Polish National Radio Symphony Orchestra; he has conducted opera productions at New York City’s Metropolitan Opera, Lyric Opera of Chicago, Berlin State Opera, Vienna State Opera, Paris Opera, Royal Swedish Opera, Dresden Semperoper, Madrid’s Teatro Real and Barcelona’s Gran Teatre del Liceu.
In a statement, Conlon said he was happy to pass the baton to someone who shares his passion for opera.
“Domingo is an artist of exceptional depth and imagination, and I know the company will welcome him warmly,” Conlon said.
Hindoyan’s five-year contract will begin July 1, 2026, and continue through the 2031 season. According to a Facebook post from Hindoyan, the new role in L.A. will run concurrently with his position with the Royal Liverpool Philharmonic Orchestra.
Hindoyan, son of Venezuelan violinist Domingo Garcia, a former president of the Orquesta Sinfónica Venezuela, is married to the soprano Sonya Yoncheva, who’s singing at the Metropolitan Opera in Tchaikovsky’s “The Queen of Spades.” (Performances are scheduled on Wednesday and Saturday.) The couple has two children and lives in Switzerland.
In late April, the album “Tchaikovsky: Souvenir de Florence & Symphony No. 6 ‘Pathetique,’” from Hindoyan and the Royal Liverpool Philharmonic Orchestra, was released.
Movie Reviews
Shashtipoorthi Movie Review: A relatable relationship drama, held back by a plodding screenplay
Review: Shashtipoorthi, directed by Pavan Prabha, follows a familiar yet heartfelt path, exploring themes of estrangement, reconciliation and the quiet resilience of familial bonds. Ilaiyaraaja’s soulful score and a couple of evocative songs, paired with the director’s nostalgic treatment of community life, give the film a warm and intimate texture.
The screenplay, however, falters. The narrative takes too long to reach its emotional centre, with several scenes in the first half feeling random. The core premise, which revolves around an earnest attempt to heal a fractured family, truly comes alive only in the latter half, which may test the patience of some viewers.
While the emotional arcs in the second half strike a chord, the film misses the opportunity to make the most of its veteran actors. Rajendra Prasad and Archana, though impactful when they appear together, are underutilised in the first half. Their dynamic needed more screen time and depth, given the emotional weight their characters carry.
Rupeysh Choudhary delivers a committed performance, and Aakanksha Singh supports him well. The supporting cast helps build the world convincingly, especially through community interactions that evoke a gentle nostalgia reminiscent of old-school Telugu family dramas.
Visually, the film is pleasing. The cinematography is clean and unobtrusive, capturing the grounded environment with sincerity. Production values are decent, lending authenticity to the narrative setting.
Despite its slow start and inconsistent screenplay, Shashtipoorthi redeems itself with moments that touch the heart. It’s a modest yet meaningful watch for those who enjoy reflective family dramas rooted in tradition and culture.
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