Scott Wolf and Wife Kelley Wolf Break Up After 21 Years of Marriage
Originally appeared on E! Online
Scott Wolf and Kelley Wolf are no longer a party of two.
The Party of Five star's wife revealed June 10 that she and her husband of 21 years are going their separate ways.
'It is with a heavy heart that Scott and I are moving forward with the dissolution of our marriage,' Kelley wrote on Instagram. 'This has been a long, quiet journey for me—rooted in hope, patience, and care for our children.'
And while the Real World: New Orleans alum explained she would 'not speak publicly about the details' of their separation, she noted, 'I feel peace knowing that I've done everything I can to walk this path with integrity and compassion.'
Kelley—who shares kids Jackson, 16, Miller, 12, and Lucy, 11, with Scott—also praised the Doc actor for being a great dad to their kids.
'Scott Wolf is one of the best fathers I've ever known and one of the best partners a woman could have the privilege of sharing life with,' she continued. 'He is kind, thoughtful, funny, and beautiful in spirit.'
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Kelley added, 'We both look forward to an extraordinary life centered around the most extraordinary children. My priority has always been their wellbeing—and my own healing. That will never change.'
Though the 48-year-old did not specify any stressors from her relationship, she emphasized that moving forward she is 'stepping into a chapter of peace, freedom, and protection—with grace.'
In a final call for privacy, Kelley petitioned, 'May we all remember: healing isn't loud. It's sacred.'
For his part, Scott has not spoken out about the couple's separation. Most recently, though, he celebrated his wife and their daughter in a touching Valentine's Day post.
'To my forever Valentines. You have my whole heart and always will,' he wrote on Instagram in February alongside a picture of Kelley and Lucy. 'The most beautiful, kind, wise, brave, powerful people in my life. I love you so very much.'
Read on for more stars who have called it quits this year.
Sasha Farber & Jenn TranScott Wolf & Kelley WolfDakota Johnson & Chris MartinRyan Lochte & Kayla Rae ReidRomeo Beckham & Kim TurnbullFortune Feimster & Jacquelyn "Jax" SmithMatt Bolton & Colleen ReedJoJo Siwa & Kath EbbsSavannah Chrisley & Robert ShiverRami Malek & Emma CorrinGleb Savchenko & Brooks NaderMark Cuevas & Aubrey RaineySydney Sweeney & Jonathan DavinoHolly Madison & Zak BagansSia & Dan BernardEmily Osment & Jack AnthonySimone Ashley & Tino KleinValerie Bertinelli & Mike GoodnoughLily Allen & David HarbourMamie Gummer & Mehar SethiShemar Moore & Jesiree DizonAngelina Pivarnick & Vinny TortorellaJamie Foxx & Alyce HucksteppJames Kennedy & Ally Lewber
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Mental Illness Took My Dad. After His Death, I Discovered His Secret Past Inside An Old Filing Cabinet.
In my memory, there are two dads: the Richard before mental illness — and the one after. The Richard beforenever seemed very rock 'n' was just another workaholic father, keeping his brick of an early mobile phone close, even on vacations, and coming home late from the family business, the Great American Tent Company. The one after ... well, I try not to dwell on him as there was a third Richard I knew nothing about until after he was gone. One day when I was 26, just months after my dad's death from congestive heart failure, I visited to check on my mom. I found her at the kitchen tablewith a pile of well-worn manila folders fanned out in front of her, an ashtray nearby with a half-smoked joint still smoldering. Mom was an old eBay queen from the '90s — she bought and sold Beanie Babies for profit back when that was possible — and I could tell she'd hunted up something good. I looked closer. Each file had a famous name written on it in my father's neat print: Lynyrd Skynyrd, Lionel Richie, Allman Brothers, Santana. 'What is this?' I took a seat across from Mom. 'Your father's rock files,' she said, toking on the joint. 'He kept everything from his days running Peace Concerts.' 'Peace Concerts?' 'Take a look!' I could tell she was high on more than just pot. She opened a folder and produced a yellowed letter that read, 'The Birmingham Hyatt House will not be able to accept any further rock group reservations. This directive is a result of many bad situations with these groups staying in the hotel and especially the malicious destruction caused by Lynyrd Skynyrd staying here over July 4th, 1975.' The letter said the damages amounted to $500.I looked up at Mom, eyes wide, and we laughed. My soft-spoken dad had dealt with these musical madmen? 'Richard said they were the nicest boys,' Mom said, 'when they weren't drunk.' 'You knew about this?' 'Not this,' she said, taking back the letter and handing me the joint. 'Why would Dad save this?' 'Eh, he was a hoarder. But also probably for tax purposes.' I dragged on the joint and ruminated with the smoke. That was Dad, always business-minded. However, I suspected there was more to the story. He'd always loved music, filled his days with it from the radio or cassette player, or his voice, smooth as Southern syrup, or his acoustic guitars, which he left me. He loved music until depression struck him down. In addition to his heart issues, my father spent the last dozen years of his life numbed by mental illness and antidepressants. Years ago, when he began to slip mentally, he paced our house at night, thought my mother was poisoning him, and believed my siblings and I were starving (even though we were all chunky). I've never been a big fan of Valentine's Day. Maybe that's because on that day in 2001, I came home from school, sensed something was off, and asked, 'Where's Dad?' My mom told me that she and my older cousin had taken him to the hospital, that he'd tried to jump out of the car on the way, that he was now admitted to a psychiatric ward. I was on the cusp of turning 14, my mother 44. Over the next dozen years, as I meandered through adolescence and early adulthood, I grew to resent this man, his apathy toward his family and even his own life, as he deteriorated mentally and physically. His nails grew long and yellow, his hair dreadlocked into a mat of gray wire. And after years of an all-fast food diet and not taking care of himself, his heart finally gave. But here was my father, an energetic young promoter, in folder after folder of rare rock memorabilia: a contract signed by the legendary guitarist Duane Allman, another by Glenn Fry of the Eagles, a promotional flyer featuring a 20-something Lionel Richie in some of the first concerts the Commodores ever did — all shows my dad booked. He was a pioneer in carving out a new Deep South concert scene, billing these rock shows as 'dances' because, as Mom explained, going to concerts back then wasn't yet accepted in the buttoned-down Bible Belt. Not once did Dad talk about this to me. I wondered if he was secretly ashamed that his dreams had deflated into owning a company that supplied concerts with tents, tables and chairs instead of attention-grabbing talent — a company that started from the leftovers of those rosy rock days, with an old red-and-yellow tent top Richard put up over the stage for his acts. 'Where did you find this?' I asked Mom. She waved me down the grungy, carpeted stairs to the basement, where a battered tank of a file cabinet stood tucked away in a nook. As a kid, I'd overlooked it a million times, more captivated by the toys and board games surrounding the 1940s-era metal tower. Opening a squeaking drawer, I saw it fully packed with documents, an extremely thorough paper archive focusing on Dad's time as a concert promoter from 1968 to 1976. He'd saved it all: contracts, guest passes, flyers and posters, ledgers, photos, receipts (sometimes scrawled on a bar napkin). Bathed in the sickly, fluorescent basement lights, I was overwhelmed by the gravity of these to do with all this? Back upstairs, Mom and I discussed selling some ofthe hoard. Dad had saved many copies. But I was hesitant. 'Some items should be off-limits,' I said. Out of respect for Dad, for his story, for this side of him I didn't know. Mom agreed. So we went through each document of Dad's old music promotion business, Peace Concerts. I read the print too tiny for Mom's eyes and wrote descriptions while she priced and categorized. For an eye-catcher, we chose a silvery, vintage poster of a bare-chested Stevie Nicks and Lindsey Buckingham when they were still a dad had booked the last concerts they did before joining Fleetwood Mac and made a bundle on those few shows. The pair were treated so well that Nicks later said in an interview: 'We could join Fleetwood Mac or we could move to Birmingham, Alabama.' Mom and I decided we would not part with the poster. However, we did make glossy reproductions and sell them for $20 a pop. On a too-brightspring day about a year after Richard's passing, I packed my mom's car with the rock files anddrove us to our first record show at a modern, red-bricked convention center. Set up in a large room by plate glass windows, we sold 'retro musical mementos' mostly to old rock 'n' rollers and longhaired hippie-looking characters, all grizzled or gray now, some with a limp or cane. Yet when they browsed the faded posters and dog-eared flyers, a smile would break across their faces as they remembered that packed after-party my dad threw for Stevie and Lindseyfor their sold-out show at the Alabama Theater, the last concert they played before merging with Fleetwood Mac —or how everyone's ears were ringing after that raucous Lynyrd Skynyrd concert at Rickwood Field in '74, the first time that group performed 'Sweet Home Alabama' in the state. For this generation, music was a spiritual experience, and my dad was at the center of it. Well, center backstage. I fidgeted in my chair as I nodded along, jealous that it seemed like these strangers knew my father better than I did. Occasionally, one would squint at meand say, 'You look just like him.' It's true. I have my dad's red-brown curls and intense blue eyes. Although I always thought his shade of eggshell blue was far prettier. Music was another thing we had in common. Dad possessed a sweeter voice, but I was the better guitarist. I didn't start learning until I was 16, so he never played music with me nor expressed an interest after the depression sank deep inside him. Years into his isolation, I visited to perform for him. I must've been 20 and studying classical guitar, eager to show off my new finger-style skills. But after I finished my first piece, a difficult and delicate arpeggiated prelude by a Paraguayan composer named Barrios, he snapped at me, 'That's good, andI won't even count those two mistakes you made.' My throat clenched —my voice evaporated. His ear was still so sensitive. It wasn't a spotless performance, as he'd demanded of his local bands back in the Peace Concert days — he'd told my mother how he kept detailed, sometimes harsh, performance notes from his spot in the back row. I wanted to snap all my guitar strings. Instead, I never played for him again. For years, a feeling of shame flooded over me when I flashed back to that memory — and I carried my resentment around inside like a balled-up mass of old strings. So it went at the record shows: After selling for several hours, Mom and I would gingerly repackage everything back into her car, and I'd drive us back home. We'd split the cash, and I'd roll us a joint. 'For Richard,' we'd toast as thick blue smoke unfurledaround our heads. 'Did he hang out with the acts other than just working with them?' I asked. Mom bit her lip and thought about it. Long ago, Richard told my mom some of Peace Concerts' history — how he saved money from his job at the telephone company to book his first acts, and how promoting was like gambling and he lost it all on a bad run of concerts where the ticket sales didn't materialize. 'Not really,' Mom said. 'He wasn't in it for that. He liked making money — and he did it for the thrill.' The thrill of the risk, or of creating an event that would reverberate in people's minds for decades? She said she didn't know. My mom, Shari, met my dad when she was 22. A theater major and techie, she'd just blown out of college from Michigan State, headed 700 miles south before landing in Birmingham and met him just three days later, introduced through a mutual friend. By then, he'd lost everything to concert promotion. Their first 'date' was him grilling steaks on his patio, The Marshall Tucker Band's 'Can't You See' playing loud on the turntable. I asked Mom when she learned about Dad's rock days. She had to think on it — her hair gray and down to her back now, unlike the dark bob she'd sported most of my life. 'After just a few days together,' she said. 'He said, 'I'll tell you my story, but only one time.'' 'Whoa, it was like that?' She said he hated old concertgoers wanting to wax nostalgic with him about the glory days.I figured Dad, like me,always had big dreams hounding him down. Time spins like a vinyl, and after doing a few of these record shows and hearing every tale Mom knew, I began reaching out to Dad'sold friends and work associates from his promoting prime. Yet I heard the same thing I already knew: Dad was a 'workaholic.' 'And how exactly did he fall out of promoting?' About this I'd heard different stories. Mom had always said he'd lost it all on a bad concert run with Joe Cocker, and that he was distracted chasing a woman nicknamed 'Little Red' who never reciprocated my father's interest. But I'd heard more than one old associate say that Dad had also been outgunned by a hotshot New York promoter namedTony Ruffino who today gets the credit for putting Birmingham on the map for big rock bands. One old rock buddy who used to hang up flyers and do other promotional work even said that Richard tried to go rogue and represent Lindsey Buckingham and Stevie Nicks on his own, and for this the record biz blacklisted him. 'But what was he like as a person?' I'd ask these strangers who knew 'the old Richard.' That was always harder for them to answer. 'He was a private guy,' was the best answer I got from a man named Wendell, a partner in an early booking agency my dad founded and later sold. 'He didn't talk much about what was going on in his head.' I became desperate, looking to our family albums and VHS tapes for answers. But here, too, Dad was the invisible promoter, so frequently on the other side of the camera capturing/directing holidays and trips instead of being in them. A backstage man, even in his personal life. Wendell suggested I visit the iconic 2121 high-rise in downtown Birmingham to see my father's old office, where he built his Peace Concerts empire nearly six decades ago in what was then called 'the penthouse,' room 1727. When I told Mom about the idea, she smiled and said Richard used to point out the 2121 building in their earlier days, telling her he worked at the top in an office with a view. So I drove a half-hour into town to see for myself, uncertain what Wendell thought I would findso clarifying there. Riding the elevator up, my reflection rippled in the scratched, stainless steel doors in front of me, looking like a leaner, taller ghost of my father. On the top floor, I saw only three suite numbers: 1700, 1710, and 1720. I rang the bell at 1700, where a woman with graying blonde hair and sleepy eyes answered. I explained I was writing something about my relationship with my father and trying to hunt down his old office. Albeit bemused, she was nice enough to let me in and give me a quick tour. She explained that this suite connected to 1720 but there was no room #1727, not even 27 separate offices on that floor. The place had clearly been redesigned since my dad last stepped foot there. It was hard to believe that any rock concerts were ever planned in this now drowsy, overly air-conditioned space. But what I did see, everywhere I looked, were plate glass windows waist-high to ceiling. It was the kind ofspace where an overachiever could dream big while watching the world spin down below — exactly like something I would prefer, for I need a window nearby to write. 'I'm sorry I don't know any more,' the office worker said before walking away. I snorted a laugh and had to accept that I would never know my father like I wanted — that a history of objects can reveal but never resurrect — and also that, to some degree, he'd been there right in front of me. That private but friendly guy always working, always dreaming — that was my dad. A dozen years after my father's passing, the days of selling rock files are done. My mother eventually sold what was left in the file cabinet to a local collector who's creating an archive of the Birmingham music scene with the hopes of turning it into a museum. The archivist hauled away that clanky metal thing that, although lighter from fewer files, still had to be hand-trucked out by two strong one day, Dad's papers and accomplishments could be on public display. Mom kept a few favorites, including that black-and-white poster of Stevie Nicks and Lindsey Buckingham, forever frozen in their 20s, forever beautiful, boldly staring back at the viewer like wild-haired rock gods. Mom displayed it in her living room, a reminder of when she and Richard were young. Over the years of sellingrock documents, the parent I got to know was my mom. Even though she frequently griped about Dadnot being more involved in child care and housekeeping, I could tell part of her still loved him — the version of Richard before the disease of depression stole himfrom us. That's why she kept selling these rare items, not for the money, which she didn't need, but to keep his memory living and moving,just like the music they both craved. Remembering is also reacquainting. Although I thought I never played for my father again, that's not entirely true. I never played for him in person. While writing this essay, a memory returned to me: I used to keep in touch with Richard over the phone in the early days of his decline, when there was still some little spark of the old dad inside him. I must've been practicing guitar during a call one evening (a habit I still have) because he grew silent, listening to me play. I stopped plucking the strings, anxious. 'You sound good, son,' he finally said. 'Sound really good.' Do you have a compelling personal story you'd like to see published on HuffPost? Find out what we're looking for here and send us a pitch at pitch@
CNET
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I Review AI Image Generators. This Is How I Write My Prompts to Get the Best Results
In the messy world of AI image generators, there are a lot of things that can go wrong when you're trying to get the image you see in your head to appear on your screen. I've spent the past year testing and reviewing different AI image generators, and I've generated hundreds of images across services like Midjourney and Dall-E. But they haven't all been winners. A bunch of them have been downright horrifying. But it taught me that the best way to avoid creating a wonky AI image is using a good prompt. Prompt engineering, as experts call it, is knowing what words to use to get AI products to do what you want. For AI images, that means creating a holistic description of what you want, beyond just the characters and setting. I've written a lot of prompts through my testing, and I've learned that no matter what service you use, there are essential elements you need in every prompt for the best results. This is especially important if the generator you're using doesn't have a lot of editing tools, like the ability to upload reference images or fix weird hallucinations. Writing a good AI image prompt is very easy to learn. These are my best expert tips for crafting the right prompt, including some common phrases to use and common mistakes to avoid. Start with these three elements When you first write your prompt, you might feel overwhelmed or like you're not sure where to start. I've been there, and the best place to begin is with the essentials. These are the three necessary elements every prompt needs. Once you have something for each of these, you can build it out from there. Characters and elements in the scene Setting or where it takes place Dimensions, like portrait, landscape or a specific ratio (3:2, 16:9, etc) You might be tempted to add some exclusionary characteristics in your prompt, or things that you do not want in your image. I would caution against it. Even the most prompt-adherent generator is likely to ignore these, or worse, misread the prompt and include something you specifically asked it not to. If you want to eliminate an element from one image, it's usually easier to do that in the editing stage rather than in the original prompt. Specify the style and color palette you want Beyond the "who, what and where" in your basic prompt, you'll want to guide the generator toward a specific style. Here are some of the most popular styles of AI images. Photorealistic: As close to real life as possible. AI image generators aren't great at this, but it's worth trying. Stock photography: Like real photos, but shinier and brighter. Product features: Emphasizes individual elements over the background or scene. Cartoon: Fun, bright and usually less detailed. Illustration: Similar to paintings, pencil sketches. Gaming/Game UI: More advanced than cartoon, sometimes anime-like. Include specific colors you want, too. 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Kendra Wilkinson Reveals Biggest Regret From Her Playboy Mansion Years
Kendra Wilkinson Reveals Biggest Regret From Her Playboy Mansion Years originally appeared on Parade. Kendra Wilkinson rose to fame on the hit 2000s reality show The Girls Next Door, about Hugh Hefner and his "bunnies" living in the Playboy Mansion. While the show made it look like the Playboy Mansion was one giant funhouse, reports years later claimed it was actually a house of horrors. Wilkinson's former co-star Holly Madison has been vocal about the lasting trauma she endured during her time as Hefner's girlfriend, appearing in the explosive A&E docuseries Secrets of Playboy and writing a tell-all memoir, Down the Rabbit Hole. Now, Wilkinson has revealed her biggest regret from her time living in the Playboy Mansion. At a red carpet event, Wilkinson opened up in an interview with Fox News Digital. "The only thing I can say I regret in my life," she said, "is not starting my real estate career while I was living at the Playboy Mansion." The former reality star entered the real estate game during the pandemic, signing with The Agency, of Netflix's Buying Beverly Hills, in July 2020. She since left The Agency for Douglas Elliman, and even starred in a reality show about her career change, called Kendra Sells Hollywood. 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 "What was I thinking?" Wilkinson continued during the interview. "Like, I mean, I was surrounded by everyone, every celebrity, every billionaire, and what was I thinking?" The old adage rings true: sometimes you don't know what you've got until it's gone. Wilkinson hasn't said much about her time at the Playboy Mansion, but she did reveal a few other regrets from her time there in a 2024 interview with People. 'Why did I have sex with an old man at that age? Why did I do that? Why did I go to the mansion in the first place? Why did I get boobs? Why did I bleach blonde my hair? Why did I?' Kendra Wilkinson Reveals Biggest Regret From Her Playboy Mansion Years first appeared on Parade on Jun 12, 2025 This story was originally reported by Parade on Jun 12, 2025, where it first appeared.
