Lifestyle
She delivered Hailey Bieber's baby and saved Olivia Munn's life. Her new calling? Podcast host
Stepping into Dr. Thaïs Aliabadi’s Beverly Hills space, you may forget for a second you’re in a gynecologist’s office. A massive glass chandelier dangles from the ceiling. Ceramic sculptures dot the sleek surfaces. Nearby sits a potted olive tree and a lighted antique silver Illuminazione candle. Crystal butterflies sit in two ornate cabinets. Floor-to-ceiling glass windows show a 360-degree view of the Hollywood Hills.
And then, there’s the physician herself.
Dr. Thaïs Aliabadi
(Stella Kalinina / For The Times)
Clad in a bright blue dress she’s held onto since a guest appearance on “The Doctors” 10 years ago, she acknowledges she personally opts for neutrals in real life (and her signature pink scrubs when seeing her patients), but that she’d been advised to wear jewel tones for “on camera” moments. In a town known for sculpting movie stars, Aliabadi looks like she could be on “Grey’s Anatomy” as she towers in high heels and a sparkly pink and white butterfly necklace as she poses for a Los Angeles Times photographer.
Aliabadi has delivered the babies of Rihanna, Khloe Kardashian and Hailey Bieber. She has also diagnosed Olivia Munn with breast cancer, Tiffany Haddish with endometriosis and Florence Pugh with polycystic ovary syndrome (PCOS).
All of these celebrities’ health journeys are public information because her famous patients have discussed them in detail on her weekly podcast, “SHE MD,” which she co-hosts with former fashion designer Mary Alice Haney. The show — which was launched by Dear Media, the largest women’s podcast network, in March of last year — aims to educate women about common overlooked medical conditions. It regularly features interviews with Aliabadi’s famous patients and other celebrity doctors or authors who discuss everything from preeclampsia to egg-freezing.
“My dad was like, ‘I did some research and the best person in the business is this doctor named Dr. Thaïs Aliabadi,’” Sofia Richie Grainge, daughter of Lionel Richie, explains on a recent episode of the podcast. She started seeing Aliabadi at 15.
“They are the most privileged women in this world — especially when it comes to access to medical care,” Aliabadi says of the podcast’s famous guests. “These are women who have good insurance. They can afford going to any doctor on this planet and yet their symptoms are [still] dismissed. They’re speaking from their heart because they want to help another woman.”
Awards hang on the wall of Dr. Thaïs Aliabadi’s Beverly Hills office.
(Stella Kalinina / For The Times)
Aliabadi’s high-profile clients and podcast have elevated her status on social media. Called Dr. A by patients and fans, she boasts 441,000 followers on Instagram, where she shares clips of her celebrity interviews. She regularly appears on network television to discuss women’s health. She has even made the occasional cameo on “The Kardashians” as Khloe Kardashian’s ob-gyn. She’s run with the role, both with the professed hopes of educating women on their health, but also with business prospects.
Haney urged Aliabadi to co-create SHE MD to combat misinformation surrounding women’s health issues. “We are providing a resource that is backed by science and medicine,” says Haney. “People are getting their medical information on TikTok. That’s dangerous.”
With women’s health entering the spotlight as an overlooked area of medicine and as fewer people have access to healthcare, becoming one’s own medical advocate has never been more important — and confusing. It’s led to the rise of wellness influencers with questionable qualifications, which is why Aliabadi says she committed to doing the podcast.
“If you want to talk about endometriosis, how many endometriosis surgeries have you done?” Aliabadi says. “How many thousands of patients have you treated?”
Aliabadi is connecting with consumers on many platforms with “SHE MD,” which is filmed like a glossy talk show from a Brentwood office. They can listen to her and Haney’s hourlong podcast episodes or catch video clips on social media.
“SHE MD,” which stands for “Strong Healthy Empowered,” features deep dives with health and medical experts — as well as celebrities such as SZA, Shailene Woodley, Tiffany Haddish and Olivia Munn — on a variety of topics including fertility, breast cancer, menopause and endometriosis. Key takeaways and action plans are available following each conversation.
Aliabadi reviews patients’ labwork. She helped save Olivia Munn’s life by suggesting she take the Tyrer-Cuzick test that revealed she had an alarming lifetime risk of breast cancer. Now Munn says it’s her mission to get more women to take the test.
(Stella Kalinina / For The Times)
Munn’s story in particular garnered national attention after Aliabadi diagnosed her with an aggressive breast cancer in April 2023. With a clear mammogram, ultrasound and pap smear, Munn’s cancer could’ve been among the estimated 20% that go undetected, according to the National Cancer Institute. But it was discovered after Aliabadi introduced her to the Tyrer-Cuzick test, which assesses one’s lifetime risk of breast cancer. Munn’s score was an alarming 37.3%. (Anything above 20% is considered high-risk.) An MRI, further ultrasounds and biopsies revealed she had Stage 1 invasive cancer, and Munn underwent a double mastectomy.
“Without Thaïs being so proactive I don’t know when or at what stage I would’ve found it,” Munn tells The Times. “She saved my life.”
Aliabadi says Munn felt a responsibility to turn her pain into purpose. “Olivia came to me and said, ‘I want to talk about this issue,’” she recalls. “She knew that sharing her story will save millions of lives.”
Munn felt compelled to speak out while still coming to terms with her diagnosis. “I was looking back on photos of playing with my then 1-year-old son, and I realized that at that time I had just had a clear mammogram and ultrasound — yet I had breast cancer and didn’t know it,” she says. “I asked myself, ‘How many other women [are] also walking around unaware they had breast cancer?’ I knew then that I had to talk about it. This little known, lifetime risk score test is free, online and saved my life. Every woman can and should know their score. Thaïs told me this test had been around for years, and it was her lifelong mission to get every woman in the world to know about it. It has since become my mission too.”
Long before becoming ob-gyn to the stars, Aliabadi recalls waking to the sounds of sirens and bombs while growing up in Tehran during the Iranian revolution in 1979. “We would all run down to the shelter that we had created underground,” she says. “Imagine a 12-year-old doing that five times a night.” Her family was granted a green card when she was 17. “It felt like the gates of heaven were opening for me,” she recalls thinking after landing in Los Altos. “We were like, ‘Why would we ever go anywhere else?’”
After medical school at Georgetown University School of Medicine and completing her residency at USC Medical Center, Aliabadi, 54, opened her private practice at Cedars-Sinai Medical Center in Los Angeles in 2002. She credits word of mouth, and her office manager of nearly 25 years, Kimmy Ferdowski, with helping her build the practice she has today. “When I first started, there was a gynecologist across the hall who told me something I’ll never forget,” Aliabadi recalls. “He said, ‘Every happy patient who leaves your office will refer four other patients to you.’”
That mantra and her detailed approach are the secret to her success, she says. “I look at my patient as a whole,” says Aliabadi, whose appointments run between 30 minutes to an hour, leading her to stop taking insurance around seven years ago. “I don’t just look at your uterus, tubes, ovaries, breasts and say, ‘You’re done.’ I talk about depression. This morning, I was scheduling an MRI and MRA of a brain to rule out [a] possible stroke in a patient of mine.” Now, her fees vary by patient, but she offers “superbills” for potential reimbursement, similar to therapists who don’t take insurance.
Women with “complicated cases” typically come to her with health concerns that have gone otherwise undiagnosed elsewhere.
Take for example, “Lopez vs Lopez” actor Mayan Lopez, daughter of comedian George Lopez, whom Aliabadi diagnosed with insulin resistant PCOS in her 20s — even though she’d been describing the same symptoms to other doctors since she was 10. Her symptoms became even more prevalent during college, when she developed excess facial hair and gained 75 pounds in three months without explanation despite eating well and exercising. By 23, her hormone levels were so low she was practically menopausal.
Lopez says she felt elated once she had a diagnosis and plan for proper treatment. “I just remember going into the car and crying from pure relief,” she says. “For the first time in a decade, I felt hopeful and unafraid of my body.”
Aliabadi says she does more than the typical pap smear at her appointments, taking notice of other issues her patients may be having, like depression or hair loss.
(Stella Kalinina / For The Times)
“I see every dismissed woman in this town,” Aliabadi says. “These patients are complicated. You need to sit down and listen [to their symptoms].”
Aliabadi has other frustrations with the healthcare system.
“The issue is,” she says as she lets out an exasperated sigh. “I mean, there are so many issues.” She points out that even the most informed person still needs access to a doctor willing to listen as well as the ability to afford treatment. “If they’re going to charge you $3,800 for a breast MRI, ‘Can you afford it?’” she says. “There are limitations at so many levels.”
By not taking insurance, one could argue she too is creating another limit, but she blames insurance companies that don’t recognize quality time spent with patients. “I’m not seeing you in five minutes.”
Given the limited time patients often have with their doctors, Aliabadi hopes women will demand more from their care providers if she arms them with the right questions to ask.
Despite trying to build an online persona with the help of her celebrity circle, Aliabadi confesses she’s not very online or in touch with pop culture.
“Sometimes [Khloe Kardashian] calls me, and I think I’m just talking to her,” says Aliabadi, who delivered her second baby via a surrogate on the show in 2022. “Then six months later, my daughter’s like, ‘Mom, they called you [on the show.]’”
That’s why Haney is the media savvy yin to Aliabadi’s medical yang. “She’s a doctor first, and she’s a podcast host second,” says Haney.
An ultrasound machine in Aliabadi’s Beverly Hills office.
(Stella Kalinina / For The Times)
Like other medical professionals and influencers in the wellness world aiming to expand their reach, Aliabadi has her own nutritional supplement, Ovii, which she advertises on her podcast. At $79.99, Ovii is aimed at women with PCOS and includes ingredients such as vitamin D, magnesium and biotin. And like other supplements advertised on podcasts, it hasn’t been tested in peer-reviewed clinical studies.
In the long term, she’s exploring a chatbot, a tool increasingly used by influencers to communicate with fans. Aliabadi believes her chatbot can help expand access to women’s health education.
“It’ll sound like me. It’ll be trained by me. Obviously, it’s just for knowledge and education. It cannot treat or prescribe,” she says.
Aliabadi welcomes technological advances to shake up the medical field.
“I look forward to robotic doctors,” she says. “The robot will not dismiss a woman who said, ‘I’ve gained 40 pounds in two years, and I’m doing exactly what my skinny sister is doing. Something’s wrong.’”
Aliabadi has four daughters, who are 20, 19, 13 and 4 (she recently adopted the youngest). Her oldest daughters attend Stanford University and she sees them following in her footsteps. She advises them to become doctors or develop technology to help women around the world.
“I think that is more powerful,” she says.
Lifestyle
Terry Tempest Williams on why women with big ideas get labeled ‘crazy’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: I met Terry Tempest Williams about 25 years ago at a writer’s conference in Yosemite Valley. I was a young reporter who was there to do a story about how literature was addressing climate change and she made such a huge impression on me. I had never heard someone talk about the natural world the way Terry did and she had a spiritual depth I hadn’t encountered in my life at that point.
To this day, Terry’s writing always reorients me towards what is good, what is beautiful, and what is true. Her newest book is called “The Glorians.”
Lifestyle
Meow Wolf taps famed L.A. animation house for its new Los Angeles venue
For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward skewering our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.
The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.
It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.
As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.
“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”
Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.
An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.
(Gabriela Campos / For The Times)
Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”
“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”
Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.
“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”
Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.
In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.
“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”
Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Phimémon Martin, and Jun Ioneda.
Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.
Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.
“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”
Lifestyle
Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center
The Kennedy Center on June 28, with its facade signage still covered by a tarp and scaffolding.
Alex Wroblewski/AFP via Getty Images
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Alex Wroblewski/AFP via Getty Images
On Wednesday, a federal appeals court denied President Trump’s request to stop the removal of his name from Washington, D.C.’s Kennedy Center. The signage on the building has been covered with tarp and scaffolding since June 13, but in a court filing last month, the center’s current executive director said that Trump’s name has been removed.
In their decision, three judges from the U.S. District Court of Appeals for the District of Columbia Circuit said that the president had failed to prove that the arts center would be “irreparably injured” without Trump’s name attached to it.

NPR requested comment from the Kennedy Center, but did not receive an immediate reply.
This latest round of court decisions is part of the ongoing litigation filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. In a statement emailed Wednesday to NPR, Beatty said: “Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful. His name no longer desecrates this sacred memorial, which belongs to the American people. Now it is time for the Trump administration to accept this, comply with the law, and take the tarps down.”
In previous court filings, Trump’s legal team had asserted that removing the president’s name from the arts complex, both on the physical building and in its digital materials, would inflict irreparable harm in both time and money already spent. In the denial, the three judges — Patricia Millett, Robert Wilkins and Gregory Katsas — wrote that since Trump’s name has already been removed, “a stay would not avert those harms.”
Furthermore, Trump had claimed that without his name attached, future fundraising would be threatened “and [will] contribute to the financial decline of the Center.” In response, the appeals judges wrote: “Appellants, however, have failed to support this assertion with any specific facts or evidence. They offer only the conclusory assertions of the Kennedy Center’s Executive Director that were made in a factually unsupported declaration.” The center’s current executive director, Matt Floca, specializes in physical plant management.

The presiding judge in the case, Christopher R. Cooper, has ordered that the center provide him a status report on the center’s operation and programming before the end of this month. As of Wednesday, the center’s calendar lists a small roster of programs, including outdoor free movie screenings, workshops for children, and five free live performances in July on its Millennium Stage. In the past, the Kennedy Center presented over 2,000 arts and education events each year, including free daily Millennium Stage performances.

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