
Shock twist in Scott Wolf's ugly divorce with wife of 21 years
Last month on June 10, it was revealed that the Party Of Five actor, 57, had filed for divorce from his wife after 21 years of marriage and welcoming three children together.
However only days later, Kelley was detained by police, which had been accidentally caught on camera, and taken to a Utah hospital for a mental health evaluation. She later claimed that she was placed under an involuntary mental health hold 'again' by police earlier this month.
On June 25, Wolf requested for a temporary restraining order against the mom-of-three which he was granted.
But in a major turn of events, the TRO was dropped after it was dissolved by a Utah judge on Saturday due to an agreement Scott and Kelley reached, according to court documents obtained by People.
The agreement was made earlier this week on Tuesday - and contains a number of terms revolving around visitation, communication as well as finances.
But in a major turn of events, the TRO was dropped after it was dissolved by a Utah judge on Saturday due to an agreement Scott and Kelley reached, according to court documents obtained by People
Wolf has also been granted sole custody of their three kids: Jackson, 16, Miller, 12, and Lucy, 11.
Per the agreement that had been reached, Kelley will be allowed to have 'liberal' supervised time with her children.
This includes supervised time with her kids in person that has been worked out ahead of time by counsel. She is also allowed to have either three phone or video calls with her children - also supervised.
If any of her kids reach out to her first, Kelley has been given permission to also respond.
Both Scott and Kelley cannot discuss certain topics in front of their children, including adult issues, divorce and their kids' relationship with either parent.
The estranged couple also are not permitted to ask their kids what goes on at the other parent's place of residence.
A gag order has also been put in place for both parties which prohibits either Scott or Kelley from posting and commenting about each other on social media.
They also cannot talk about their children, divorce or marriage, and any third party is further prohibited from making posts/comments regarding the above topics.
The end goal over a certain period time would be for Kelley to return to having unsupervised time with her three children.
On June 25, Wolf requested for a TRO which was granted.
At the time, Judge Richard Mrazi said that Kelley, 'has been engaged in an escalating pattern of behavior that poses a substantial threat of immediate and irreparable harm to the party's minor children,' per Today.
The judge also said that Scott's estranged wife has made 'threats to remove the party's minor children from the country.'
While the TRO has officially been dropped, a hearing that had been set for July 21 is also no longer taking place.
The actor will remain at their Park City, Utah residence with their children - while Kelley will be allowed to only enter the property during supervised time with her kids.
Scott will also have full control of marital funds, with Kelley receiving $10,000 each month to cover living costs. The star will also cover her other monthly bills such as car and credit card payments, as well as some attorney fees.
The new twist in the estranged couple's divorce comes shortly after Kelley claimed she was placed under an involuntary mental health hold 'again' by police - who she alleges abused her in custody.
Kelley took to Instagram over the past weekend to level curious claims against the Summit County Police Department - alleging she had been 'thrown down the stairs' by cops while on a seven day 'involuntary hold' - after being 'taken' from Sundance.
However, Summit County Police Department confirmed to Dailymail.com they were not involved in any response to Sundance Resort on July 6 - as Sundance is not located in Summit County.
Sharing a photo of her bruised arm, Kelley alleged: 'I was held for 7 days and they tried to keep me for 90. I will not be quiet anymore. I cannot be quiet anymore.'
She claimed of her injuries: 'This is from the police. I will get myself safe but I'm asking for help. Thrown down stairs. Broke my wrist, Contusions on my head. I'm bruised everywhere and I literally was released last night. This is the SECOND time.
'Summit county police took me from Sundance on July 6. I was in a hot tub. Placed me on an involuntary hold at Summit county Behavioral health. The truth must be told.'
A further post saw Kelley say: 'I love my kids. I'm not crazy. I need help. And I want my kids back. That's all for now.'
A Summit County Police Department spokesman said in a statement they are 'aware of several photographs and social media posts circulating that inaccurately claim "Summit County Police" responded to an incident at Sundance (Resort) on July 6, including allegations of a confrontation involving Summit County law enforcement.
'Sundance Resort is not located within Summit County, and therefore, no law enforcement agency from Summit County, including the Summit County Sheriff's Office , would be involved in incidents occurring there.
'I can confirm that the Summit County Sheriff's Office was not involved in any response to Sundance on July 6.'
DailyMail.com has contacted representatives for Utah County Sheriff's Office, Summit County Behavioral Health, Sundance Mountain Resort and Scott Wolf for comment but has yet to hear back.
The Boston-born actor's brother Michael Wolf also entered a declaration in the matter, Us Weekly reported after reviewing court docs.
'It's so sad for the kids, but Kelley is ready to fight like hell for her children,' an insider close to Kelley, a mental health professional, told the outlet.
The source added: 'It is not warranted, it's cruel. And it's incorrect.'
On June 9, Wolf submitted to the court documents indicating his desire to divorce Kelley, who he exchanged vows with in May of 2004.
Before Scott had his restraining order in place and had temporary custody of their three kids, Kelley was detained by police after strange comments she made to her father and others.
On June 13, Kelley shared footage of police arriving to take her to the hospital while she was on an Instagram Live stream.
Deputies responded to the Sundance Resort for a report of a female that needed some help,' read a statement from law enforcement obtained by People.
'Upon speaking with the female, our Deputies learned that she had made concerning comments to a family member, and she also made similar comments to our Deputies,' the statement continued.
'For that reason, our Deputies transported the female to a local hospital.'
Kelley later confirmed she was placed under an 'involuntary 5150,' which is 'a critical intervention used to detain individuals who are considered a danger to themselves or others or are gravely disabled due to a mental disorder,' per the National Alliance on Mental Illness.
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Daily Mail
18 minutes ago
- Daily Mail
Liam Neeson looks back on 'falling in love' with late wife Natasha Richardson amid new Pamela Anderson romance
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The Guardian
18 minutes ago
- The Guardian
Authority: Essays on Being Right by Andrea Long Chu review
Andrea Long Chu stands accused of not playing by the rules, of appraising works of fiction as if they were essays or confessions rather than aesthetic objects. 'It is true that I tend to treat a novel like an argument', she writes in the introduction to Authority, a collection of essays and reviews published between 2018 and 2023 in outlets such as N+1, Bookforum and New York Magazine. Long Chu – who won a Pulitzer prize for criticism in 2023 – believes 'all novels refract the veiled subjectivity of their authors', and to pretend otherwise is to indulge a 'pernicious form of commodity fetishism'. In her reviews, books betray their authors, invariably revealing some kernel of inadequacy – be it immaturity, myopia or just terminal dullness. This approach borders on the psychoanalytical, and makes for fun reading. Long Chu diagnoses a case of 'Munchausen by proxy' in Hanya Yanagihara, whose bestselling novels A Little Life (2015) and To Paradise (2022) are powered by 'the misery principle': 'horrible things happen to people for no reason', and the author is 'a sinister kind of caretaker, poisoning her characters in order to nurse them lovingly back to health'. She notes a troubling tendency towards 'infantile' idealisation of mothers and girlfriends in Tao Lin's autofiction, and finds 'something deeply juvenile' about the scatological motifs in Ottessa Moshfegh's novels. Moshfegh's medieval gore-fest Lapovona (2022), fails to shock, because 'You cannot épater le bourgeois without an actual bourgeoisie'; 'the leading coprophile of American letters' is trying too hard to convince us she's not a prude. Reviewing Bret Easton Ellis's 'deeply needless' 2019 essay collection, White ('less a series of glorified, padded-out blog posts than a series of regular, normal-size blog posts'), Long Chu bemoans his descent into fogeyish paranoia, and suggests the author of American Psycho is starting to resemble his most famous creation. 'At some point,' she quips, 'one must ask if a man who sees Nineteen Eighty-Four all around him is really just stuck in the 80s.' A takedown of Curtis Sittenfeld's 2020 novel, Rodham, which imagines an alternative universe where Hillary Clinton never married Bill, is a withering indictment of hollow girl-boss feminism: this is 'an unpolitical book by an unpolitical author about … an unpolitical person'; Sittenfeld's complacency mirrors that of her protagonist, a woman whose 'true talent lies in persuading college-educated people that her ambition, and by extension theirs, is a genuine expression of competence'. A recurring figure in these essays is the successful author with a gripe about oversensitive lefty youngsters and social media mobs. These include Ellis, Moshfegh, Maggie Nelson – whose complaints about art-world censoriousness in On Freedom are dismissed with a huffily italicised 'boring' – and Zadie Smith, whose 'habit of sympathizing with the least sympathetic party in any given situation frequently drives her to the political center'. Long Chu provocatively suggests this tendency is a bit of an act, compensating for Smith's failure to produce a touchstone work of social realism: since Smith has 'never actually excelled at constructing the kind of sympathetic, all-too-human characters she advocates for', she makes up for it with a lofty bothsidesism she thinks becoming of a serious, above-the-fray liberal humanist. 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There are also several personal pieces including an essay on vaginoplasty, a fictionalised account of undergoing transcranial magnetic stimulation (a treatment for depression), and On Liking Women, a widely shared 2018 essay about the author's gender transition that kickstarted her writing career. Here Long Chu draws a connecting line between the gender separatist ideology of 1970s political lesbianism and today's anti-trans activists, whom she accuses of laundering 'garden-variety moral disgust'. In another era, such personal material would have sat uneasily in a volume of criticism, and it says something about our cultural moment that it doesn't seem particularly out of place here. As Long Chu observes in the title essay, the subjectivity of the critic is an increasingly visible presence these days. Tracing the vexed debates around critical authority from the 18th century to the present day, she concludes that the concept has always been 'an incoherent, inconsistent, and altogether empty thing'. The job of today's critic is not so much to impart expertise but to become a storyteller in their own right: 'The critic has become a witness, one whose job is to offer up an event within her own experience in such a way that the reader, if she is so inclined, may experience it too.' This checks out. Though Long Chu's writing style is not as overtly chummy as that of her fellow US critic Lauren Oyler, it has a similarly disarming first-person candour, offsetting stridency with spasms of self-effacing humility, and the sort of tentative qualifications more commonly encountered in spoken discourse than on the printed page. ('Perhaps I am being ungenerous'; 'What I mean is that …'; 'My point is that …'; 'I do not mean …'; 'If it sounds like I'm saying … I suppose I am.') These tics can be a bit cloying, and the occasional adolescent turns of phrase feel jarringly regressive: Long Chu uses 'boring' an awful lot; at one point, she introduces a particularly unimpressive quote with 'The following is an actual sentence.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion In a postscript to one of the greener pieces in this volume, Long Chu, who is in her early 30s, winces at the prose style deployed by her younger self – 'that kind of bloggy 'voiceyness' was dated even then'. Her anxiety on this score is symptomatic of a generational dilemma for a cohort of American writers who, having been raised to distrust authority – not just as a concept but perhaps especially as a register – and steeped in the highly self-conscious patter of online communities, must now work out how to be publicly clever in a non-overbearing way. In an anti-intellectual media landscape, one way to make yourself legible is to make yourself small. This is the striking thing about Long Chu's authorial tone: she combines the expert and the naif in a single voice, which chimes with a similar dualism in her reader. These essays are essentially journeys – knotty and meandering, with moments of pithy, clarifying insight. If you can hold someone's interest while figuring things out for yourself in real time on the page, you're doing something right. Perhaps the true source of authority is companionable intelligence, and what we think of as sound judgment is just a function of familiarity – comfort in another person's psychic skin. Authority: Essays on Being Right by Andrea Long Chu is published by Hutchinson Heinemann (£20). To support the Guardian, order your copy at Delivery charges may apply.


Times
an hour ago
- Times
Reneé Rapp: Bite Me review — the Joan Jett of modern pop
An odd thing has happened to mainstream pop. We are entering a new era of deathly dull boy-next-door types singing earnestly about their feelings while ensuring that they don't offend anyone in any way whatsoever. See No 1 stars such as Alex Warren, Benson Boone and other perfectly nice young men with a special ability to sit squarely in the middle of the middle. Perhaps, in an age when some silly thing you said as a teenager in a moment of online rashness can be used as evidence of the fact that you are a horrible human being who must be destroyed, these men are so terrified of being cancelled that they have decided the best approach is to be as boring as possible. Yet the new tranche of female pop stars have gone in the opposite direction. From Charli XCX capturing the messiness of a night out to Sabrina Carpenter's submissive sexuality ironically or deliberately setting the cause of feminism back a few decades, via Chappell Roan employing a flamboyance once exhibited by male pop stars such as David Bowie and Marc Bolan, it's the women who are pushing their personas to the limit. Add to this list Reneé Rapp, star of a musical version of Mean Girls and the TV show The Sex Lives of College Girls, who is back with a fun, punky album that throws caution to the wind entirely. 'My manager called me, said, 'Where's the single?'' she moans on Leave Me Alone, a Joan Jett-like litany of complaints about being told what to do, from having to sign NDAs to being ordered to behave in a way that won't damage her career. • Read more music reviews, interviews and guides on what to listen to next Leave Me Alone typifies the new female mood in pop, with its boldness and lack of concern about what people think, which is not easy in an age when technology means that anyone can tell you what they think. Perhaps it helps that Rapp has already made her name playing, as her most famous role suggests, mean girls. She certainly doesn't come across as someone likely to be fretting about checking her privilege. 'Oh Christ, it's getting hard to be nice,' she sighs on Mad, in theory a break-up song but in reality an exasperated critique of a girlfriend who is cross with her. And the mood of the album is best summarised by a summery pop anthem on which Rapp moans about life's annoyances, from agents harassing her to ex-girlfriends still wanting to be with her. It's called At Least I'm Hot. She does show her sensitive side every now and then. On one haunted ballad she laments the 'other woman' destroying her romantic life, but the fact that it is called Why Is She Still Here? suggests she hasn't fully come to terms with her feelings. Amid all this, Rapp's sexuality is never politicised or used as a banner of queer identity, it is simply taken as fact. It means there is something carefree and fresh about the album, even as the songs stick to well-worn formats. Rapp really does come across as someone who is just being herself. And she just happens to be a mean girl. (Interscope)★★★★☆Follow @timesculture to read the latest reviews