Producer Jenifer Westphal Announces Parkinson's Diagnosis, $1M Donation to Michael J. Fox Foundation
The producer — who has been behind projects including 2018's Won't You Be My Neighbor? and the upcoming On Swift Horses, as well as Broadway hits like The Outsiders and Burlesque — received her diagnosis on Aug. 15, 2024 and is going public now, while also donating $1 million to The Michael J. Fox Foundation for Parkinson's Research.
More from The Hollywood Reporter
Christie Brinkley Honored at Aspen's Snow Ball Gala, Raising $3.5M for Pediatric Cancer Research
Jewel to Perform at Sean Penn's CORE Fundraiser at Art Basel Miami Beach: Org's Mission "Is a Vital Part of Building Strong Communities" (Exclusive)
Architect of Lil Jon's Viral DNC Cameo To Help Celebs Boost Social and Political Impact
The gift, announced during Parkinson's Disease Awareness Month, will support research that advances more precise and personalized treatments, including efforts to develop a simple diagnostic test for early detection. Westphal, whose career has been focused on supporting underrepresented storytellers, is also drawing attention to the impact Parkinson's has on women — approximately 40 percent of people living with the disease are women and their experiences are typically quite different from men.
'Women are often overlooked when it comes to being diagnosed, and in their own awareness of the risks and symptoms of the disease,' Westphal said in a statement. 'By partnering with the Michael J. Fox Foundation, which does incredible work driving resources and awareness to Parkinson's, we can hopefully reach more people and bring us closer to the ultimate goal of finding a cure.'
Westphal has long been involved in the philanthropic space, with her family's foundation investing millions in education initiatives; she has also been a supporter of organizations that empower neurodiverse people, as well as of community impact projects, land conservation efforts and mental health advocacy. And the Michael J. Fox Foundation, now in its 25th year, is a leader in Parkinson's research, funding over $2 billion in studies and accelerating 19 new treatments to market.
'Thanks to the generosity of our supporters like Jenifer, the Michael J. Fox Foundation is closer than ever to improved treatments and a cure for the millions of people and families living with Parkinson's,' said Lisa Boudreau, MJFF chief development officer. 'With Jenifer's tremendous gift, remarkable storytelling and shared vision for what's possible when we work together, we're seizing on today's Parkinson's research momentum and pipeline with urgency and optimism.'
Best of The Hollywood Reporter
From 'Lady in the Lake' to 'It Ends With Us': 29 New and Upcoming Book Adaptations in 2024
Meet the Superstars Who Glam Up Hollywood's A-List
Rosie O'Donnell on Ellen, Madonna, Trump and 40 Years in the Queer Spotlight
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
3 hours ago
- Vogue
Taylor Swift's Sultry, Spangled Next Act
The show(girl) must go on! If your router's been down for 48 hours, let me be the first to share that tortured poet Taylor Swift has announced her 12th studio album, The Life of a Showgirl, coming out in October. On the back of a 21-month, billion-dollar Eras Tour and her first-ever podcast interview, the album is promised to be a 'rapid-fire,' 'upbeat' miscellany that also includes a cover of George Michael's 'Father Figure.' TLOAS has been teased with a theatrical, behind-the-Broadway-curtain shoot, our showgirl found offstage—befeathered, boa-ed, and bejeweled bralette-ed—after her audience has filed out into the night. In the weeks before release, we can only guess at the type of showgirl Taylor will be—though it is difficult, without lyrical clues, not to draw a through line from this showgirl to Cristal 'You are a whore, darlin'' Conners in the just-grotty-enough camp classic Showgirls; or Pamela The Last Showgirl Anderson. Of course, there's a certain gloss to Swift's afterhours showgirl-ism, Taylor's version leaning into sumptuous pink ostrich and vintage cabaret opulence over store-bought 'Ver-sayce.' And as Swifite sleuths decode the album teaser's orange hues, and the Internet ironically memes showgirls eternal—shoutout to Samantha Jones, Alison Hammond, and the long-suffering songstress Marnie from Girls—there's an ebbing sense of film noir, of bias-cut diamond desire, of silver-screen sexuality. For about as long as she's been working, part of Taylor's appeal has been that unlike so many modern popstars—and no shade to them—she doesn't sell sexual availability or rudimentary male-gazing titillation. Taylor Swift is a hot comrade, a buxom BFF, a girls' girl rather than an adversary, and despite her billionaire lifestyle (the PJ milage!), she's more personably relatable than materially aspirational. Where the album art lightly evokes erotic thrillers and the illicit, shadowy thrill of a dingy cabaret, it manages to also remain true to Taylor's brand of sexual inexplicitness: it's sensual but not graphic; sexy, but in a safe way. (The feature from Sabrina Carpenter—the reigning queen of cartoonish carnality—on the album's title song feels, in a word, perfect.) There is, of course, something to be said about girls and being on show. To be a woman is to perform—to have your visage assessed as it moves though the world—and to calibrate what's transmitted with what's recieved. The Life of a Showgirl is bound to tackle what it is to be perceived—from Taylor's klieg-lit perspective, sure, but also one that will inevitably strike a more universal chord. Swift is a professional performer, observed by millions on the world's biggest stages—but don't we all stage performances of self, putting on our own little shows? Taylor Swift may be the one in the rhinestone bralette, but aren't we all showgirls at heart?


San Francisco Chronicle
8 hours ago
- San Francisco Chronicle
Bob Odenkirk isn't an action newbie anymore
NEW YORK (AP) — Bob Odenkirk ducks into a West Village coffee shop wearing sunglasses and a Chicago Cubs cap. Some degree of subterfuge might have been necessary for Odenkirk years ago. Surely fans of 'Mr. Show' or 'The Larry Sanders Show' might have recognized him. But with time, Odenkirk has traveled from the fringes of pop culture to the mainstream. He's well-known now, but for what is a moving target. At 62, Odenkirk is not only a comic icon, he's a six-time Emmy-nominated actor, for 'Better Call Saul,' a Tony-nominated Broadway star, for 'Glengarry Glen Ross,' and, most surprisingly, an action star. He's not even a newbie, either. With 'Nobody 2,' the sequel to the 2021 pandemic hit original, Odenkirk's butt-kicking bona fides are more or less established. In the sequel, which opened in theaters Thursday, he returns as Hutch Mansell, the suburban dad with latent powers of destruction. This time, he and his family go on vacation to Wisconsin Dells, where they run into trouble. 'My goal is Jackie Chan's 'Police Story,'' Odenkirk says, sipping an iced tea before a day of promotion obligations. 'It exists to be funny. The disconnect is the lack of irony. Hutch has to mean it.' Odenkirk's unlikely but sincere turn into Keanu Reeves territory has, in a way, only illuminated the rage that bubbled throughout his comedy. Chatting casually but intensely, Odenkirk explained how all of these iterations of him make sense — and how 'Nobody' might have even saved his life. AP: Your friends in comedy, have they been funny about you as an action hero? ODENKIRK: The whole time I was training I was thinking: They're not going to make this movie, and I'm getting free exercise training. The second thing I was thinking: If they make this movie, David Cross, Conan O'Brien, Adam Sandler, David Spade, these people are going to see me do this thing and go, 'Really?' It's just so fundamentally discordant. I could have asked for more comedy in the first one. And I didn't want that. I wanted to either make a real action movie — which would blow my friends' minds — or don't do it at all. If you're just going to ridicule the form, don't do it. Or just do 'Naked Gun,' which is super fun, too. I thought the funnier thing — what I did — was to do it. That's a joke on a cosmic scale. I'm literally pranking the universe. I am, right? That's the big joke. Now, what do I do with it? That's the question. AP: With the 'Nobody' movies and your recent Broadway experience, you've set a high bar for surprising people with what you're capable of. ODENKIRK: I thought about the character of Saul. He never quits. He gets pushed around. He's clever. He's in a spot and he has to think of a way out. That's an action character. While it's true that it feels like, 'Oh, boy, you went so far away.' I didn't really go that far away. It's one step. It's a big step. Everything else is in Saul. I did think that for people who know my comedy, this is going to be a hard sell. But that's not that many people. That's a cult group. AP: And it might not be that hard of a sell to your comedy fans, either. The lie detector 'Mr. Show' sketch, in which you calmly confess to outlandish things, has a similar what's-under-the-surface quality like the 'Nobody' movies. ODENKIRK: (Laughs) Yeah, yes. AP: Maybe the most relevant sketch, though, is the one where you and David Cross play tough guys who bump into each other in a bar and then remained locked in mutual animosity through their lives, even through marriage. 'Nobody 2' kicks off with a similar encounter. ODENKIRK: It's a tap on the shoulder that sets this whole thing off. He agrees to leave. Then this little tap happens. Then he leaves. He's outside. He can keep walking, which is what you would do. You'd get home and tell your wife, 'That guy tapped her on the back of the head.' It would just sit with you forever. The whole thing could have been avoided if it wasn't for who Hutch is, which is a person who allows himself to go crazy. AP: Allowing yourself to go crazy isn't a radically different impulse in comedy. Did you always feel like rage or anger was fueling some of the funniest things you did? ODENKIRK: For sure. I remember sitting with David Cross in the morning. We would start our time at 'Mr. Show' trying to generate ideas, sitting around with the paper. Oftentimes, it was: 'This really pisses me off,' or 'Look at this stupid thing.' So, yeah, frustration, anger, those are the very raw materials of comedy. AP: You're just funneling that rage into a different place. ODENKIRK: Life conjures up this rage in you, but there is no place that deserves it. In the first film, the first place he goes to exact revenge, he realizes all these people have nothing, they don't deserve it. In the second film, he goes after this guy and he's like, 'I'm under her thumb.' It's really not something you're supposed to do in an action movie, and I love that. You don't just get to find a bad guy around the corner. You've got to go looking. AP: You've said you'd like to do a third one that ends with Hutch having nothing. ODENKIRK: Yeah, the moral would be that everything he loves is gone. He burned everything he loved. We let him get away with it because the movie is an entertainment and it's meant to tell you: Yes, you can let go of your rage in this magical world. But in the end, I would think that it's an addiction. And he does want to do it. He does want to have a go, and so does every guy. That's why we have movies. And that's why we have boxing matches. AP: How much credit do you give these movies for saving your life? After you had a heart attack in 2021 on the set of 'Better Call Saul,' you attributed your narrow survival to your 'Nobody' training. ODENKIRK: When I had my EKG, where you can see the heart, the doctor explained that I had almost no scarring from that incident. And that's kind of weird because of how long that incident went on and how drastic it was. They were like: 'This should all be scar tissue, and there's none.' They said that's because these other veins are bigger than we're used to seeing, and that's from all the exercise you've been doing. And, dude, I did a lot. I went from a comedy writer who exercised just by riding a bike three or four times a week to the action I did in those movies. AP: You told Marc Maron you saw no white light and tongue-in-cheek advised him to 'go for the money.' ODENKIRK: Well, I got nothing. Nothing. I did talk to my family the next day. I woke up the next day around 1:30 and talked to my wife and kids. I was talking to people for the next week, and I don't remember any of it, or the day that it happened. AP: But did the experience change you? ODENKIRK: (Long pause) It's a big component of my thinking about who I am and what I want to do with myself and my time. The thing that's driven me the most in my life is a sense of responsibility. Not just like, 'Oh, I have kids. I have to make money and take care of them.' But, like, responsibility to the universe. 'Oh, they'll let you do this action movie.' Well, then you better do a f------ great job. 'They want you do 'Better Call Saul.'' Well, let's go. The universe is saying: You can do this. And you owe that opportunity that's so unjustified and magical. I just feel responsibility almost too readily. But the heart attack, however you want to feel about everybody's expectations of you, I mean, you're going to be gone. The world's going to go on without you, just fine. So I don't know, man. Yeah, you've got to come through for people. But you've also got a lot of freedom to invite who you want to be.
Yahoo
10 hours ago
- Yahoo
The Internet Is Obsessed With KPop Demon Hunters' Music, And I Had One Big Question For The Directors About It
When you buy through links on our articles, Future and its syndication partners may earn a commission. Right now, KPop Demon Hunters is captivating those who watch it with a Netflix subscription, it's breaking Netflix records, and it's dominating the music charts. This entry on the 2025 movie schedule has taken the world by storm, and now a bunch of its songs are probably stuck in millions of people's heads, which I love to see. Seeing all this success also reminded me of a question I asked the directors about this movie and its music: Is this a musical? Before KPop Demon Hunters premiered on Netflix's 2025 schedule, I had the chance to interview its directors, Chris Appelhans and Maggie Kang. During that discussion, I asked them a question that could easily spark debate, which was: Is their movie a musical or a movie about music? In response, they told me it's both; however, they came to that conclusion, especially the musical part, 'reluctantly,' as Appelhans told me: I think we would reluctantly consider it a musical now, because it was such an education for us. You had to progress the scene with every song; the lyrics needed to not repeat themselves, all while staying cool, being a good pop song, and that was really hard. We had an incredible executive music producer, Ian Eisendrath. And I think beyond his musical gifts, he's a good storyteller, and he would ask really hard, annoying questions about, 'Yeah, but what does this character want?' Think about it, 'Your Idol' tells us exactly how the Saja Boys are here to take everyone down by making them swoon for their music. 'Takedown' literally explains and shows exactly how frustrated Huntrix is with the Saja Boys and the challenges they're presenting. 'Golden' introduces us to the girls' vulnerable sides and their drive as artists while also being the single Huntrix releases in the film. As all musicals do, this movie's music drives the plot forward. Therefore, it's a musical. It's also worth noting that the executive music producer the director mentioned, Ian Eisendrath, is no stranger to working on musicals. His Broadway credits for music supervision and arrangements include Diana, A Christmas Story and Come From Away. Along with that, he was the executive music producer on the live-action Snow White, and he was an executive music consultant on one of the great musicals and best movies of 2024, Wicked. So, he knows how to tell a story with music and helped do so masterfully on KPop Demon Hunters. However, this movie isn't just a great musical. It has great music, point blank. What they did was craft excellent pop songs that also serve as story devices. So, rather than feeling like you're in a conventional musical, you are hearing these incredible, radio-worthy K-pop tracks that also happen to drive the narrative forward, which was the goal, as Appelhans told me: But I think that ultimately, if we did it right, then it shouldn't feel like a musical. It should feel like a concert film. And then you slowly realize, like, 'Wait, this song is story,' but never break the pop spell. Well, they never broke that 'pop spell'; if anything, they used it to get all this music stuck in everyone who watches the movie's heads. Need proof of that? According to Billboard, 'Golden' is No. 1 on the Global 200 and No. 2 on the Hot 100, while 'Soda Pop,' 'Your Idol' and 'How It's Done' sit at No. 5, 6 and 7, respectively, on the Global 200. The film's soundtrack is No. 3 on the Billboard 200. That's not it either; many of the film's other songs are charting too, showing the adoration this music has. On top of that, many of the movie's tracks have tens of millions of views on YouTube, with 'Golden' sitting at 106 million. So, I'd say this team accomplished exactly what they set out to do. They made a brilliant, and I mean brilliant, movie that uses its music to propel the story of this iconic girl group forward, which makes it a musical. However, they also created incredible pop songs that make you feel like you're at a K-pop concert. It really is the best of both worlds, and I think it's one of the many reasons why KPop Demon Hunters is dominating the world right now. Solve the daily Crossword