Welcome to Plathville‘s Isaac Plath is officially back with his ex Kaylynn Brinkley.

“Always been you,” the reality TV star, 20, captioned a Sunday, August 30, joint Instagram carousel that shared romantic glimpses from a couples’ shoot with Brinkley. The photos, captured in an idyllic field at sunset, showed the exes embracing each other in a series of poses including Isaac spinning his girlfriend around by the hand.

Isaac, whose breakup with Brinkley was documented in the April 14 episode of the TLC reality series, also tagged her in the post.

Welcome to Plathville, which follows rural Georgia couple Kim and Barry Plath and eight of their nine children. The conservative Christian family’s children’s love lives provide plenty of intrigue as each navigates sparks with matches from outside their strict and protected farm upbringing.

Isaac and Brinkley’s rekindled flame drew plenty of fan support in the post’s comments section, with one fan writing, “I’m so glad they are still together. I hope they marry and have lots of babies,” and another writing, “You sweet dolls!!!!! I just love this and seeing that you stayed together.”

During the pair’s breakup episode, which saw Isaac call time on the romance due to feeling overwhelmed by how quickly things were progressing, Isaac admitted that he regretted his decision. “That’s one of the things that makes me feel so stupid, and it’s one of those things where, right after you make the decision, you just know in your gut it wasn’t a good decision,” he said at the time.

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Isaac added that he’d reached out to Brinkley in the hope of reviving their relationship. “I have no desire to do anything other than to rebuild it with her,” Isaac said. “That’s all I want. That’s all I can see myself doing. She’s going to have to decide what she wants to do. A few days of being by myself is too much already, and it’s killing me inside.”

Brinkley’s response to her ex’s change of heart was far from being impressed. “Honestly, right now, I don’t necessarily know where me and Isaac stand. I really believed so much that he was the one. But trust isn’t just given,” she said at the time. “It’s something that you have to earn with your actions. We’ll just see what he does. And just give it to God, because that’s the only other thing I can do.”

Season 8 of Welcome to Plathville wrapped in June, with a new season yet to be announced, or confirmed, by TLC.

There’s an inherent brilliance to the medium of animation that has made it a staple of the film industry for generations, as the advancements and capabilities of animation continue to evolve and grow, bringing wildly creative stories to life in vibrant colors and overwhelming creativity. The 2020s have largely been no different in terms of prominent animation excellence, with feature-length animation arguably being some of the best that it’s ever been and getting even better as time goes on.

Even without the decade being fully complete, there is an exceptional quality to the animated films released so far in the 2020s, from breathtaking original concepts to the latest entries in beloved animated franchises. Especially with major animated releases like Wildwood and Shrek 5 on the horizon, it’s easy to envision the 2020s as one of the absolute best decades for animation. These films simply solidify its inherent greatness as the best that the past 6 years have had to offer in animation filmmaking.

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‘Wolfwalkers’ (2020)

Image via Apple TV+

2D animation has largely fallen out of favor in the 21st century thanks to the rise of 3D animation as the standard for massive productions. However, dedicated 2D animation studios like Irish studio Cartoon Saloon have continued to evolve and showcase the brilliance 2D animation can have in the modern day. Easily, their greatest and most highly acclaimed film is Wolfwalkers, a powerful story of identity, Irish folklore, and the ruthless cycle of fear and prejudice.

Even today, the film stands as one of the most beautifully constructed 2D animated films ever made, with it feeling as if it were ripped directly off the pages of a children’s book. It’s a work of art that deserves much more praise and recognition than it received, as while it was certainly celebrated at its release, the COVID-19 pandemic has severely limited its reach, made worse by being stuck on one of the most unused streaming services, AppleTV+.

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‘Memoir of a Snail’ (2024)

Image via IFC Films

From Adam Elliot, the acclaimed director of Mary and Max, Memoir of a Snail is a stop-motion animated film filled with personality and darkly comedic charm. It’s a film that completely breaks from the mold and perceptions of animation as a genre, being incredibly crass and raunchy with its R-rated humor while sticking to the beauty and overwhelming personality that stop-motion animation provides. The film has a sense of individuality that makes it an absolute one-of-a-kind animated feature and a genuinely sweet yet dark experience.

Its style has more in common with a traditional dark comedy, focusing on shocking and often unsettling subject matter but having a tongue-in-cheek tone that makes it all come across as hilarious. The stop-motion animation does wonders to ease the audience and catch them off guard for its most shocking jokes, easily making the film one of the most underrated comedy experiences of the decade.

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‘The Wild Robot’ (2024)

Image via DreamWorks Animation

While DreamWorks Animation has always been a competent force in the world of blockbuster animation, they have truly come into their own during the 2020s as a true titan of the industry that can consistently compete with the best that the industry has to offer. At the forefront of this uptick in quality is The Wild Robot, an extremely beautiful sci-fi family film that soars thanks to its beautiful colors and emotional story of family and adaptation. It’s an exceptional modern family movie that may just be the most approachable, mass-appealing animated movie of the decade.

Its central story of a robot learning to go against its own programming to live alongside wild animals and help a young goose grow is immediately compelling and engaging, made all the better by its quirky humor and beautiful watercolor visuals. If DreamWorks continues with this level of quality from their original films, they may just surpass the modern dependability of their longtime rivals Pixar, who have largely been in a slump this decade.

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‘Robot Dreams’ (2023)

Image via NEON

An exceptionally beautiful story of friendship and the pain of navigating its ending, Robot Dreams is a resoundingly beautiful work of art that actively goes against the trends of modern animation filmmaking. It isn’t just that the film is in 2D animation, but Pablo Berger harkens back to the earliest days of animation by creating a story with no spoken dialogue, entirely telling its story through visuals and accompanying music.

It would be one thing to simply tell a story of this unlikely friendship between a dog and a robot, yet Robot Dreams grows much more compelling when it deals with how the two halves of this duo are forced to navigate being separated from one another. It’s an uplifting story of growth and perseverance that feels timeless in its execution, blending its light and approachable visuals with a story rife with layers and emotional depth. It may be the least recognizable film on this list, but it’s also one whose strengths go without question.

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‘Puss in Boots: The Last Wish’ (2022)

Image via DreamWorks Animation

Releasing 11 years after the previous Puss in Boots film, Puss in Boots: The Last Wish is a triumphant return to the Shrek franchise that utilizes glorious stylized animation and surprisingly poignant themes on mortality that make it one of the absolute greatest DreamWorks movies. The film massively caught audiences by surprise with its quality, proving to be infinitely better than anyone could have expected the sequel to a Shrek spin-off film to be.

It’s a true revitalization of the core concepts and strengths of a Shrek film, with a larger focus on the creative prospects of a more ruthless fantasy world, but it employs an electrifying visual style that elevates the action and makes the comedy that much more effective. The fact that the film simultaneously works as this insightful story about enjoying life as well as a goofy animated family movie makes it that much more endearing and timeless as an undeniable classic of the modern age.

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‘Flow’ (2024)

Image via Baltic Content Media

One of the greatest benefits of the technological growth of animation in the modern age is how just about everyone has access to high-end software that allows people to create their own animated works of art. Flow is one such brilliant, deeply impressive achievement, being a breathtaking film with no spoken dialogue made by Latvian filmmaker Gints Zilbalodis in open-source software Blender. Easily standing as the defining indie animation masterpiece of the decade so far, Flow’s exceptional scale, created across 5 and a half years of development, is one of its greatest strengths.

This story of cutesy animals having to come together and work to survive a massive flood is filled with charm and passion in every second of its filmmaking. It’s an immediately compelling story of survival and community that can be easily recognized and appreciated by all cultures, expertly making use of the mass appeal and approachability of animation as an art form. It also features some of the absolute best visuals of the decade, which is all the more impressive when considering the extremely small team behind the film.

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‘Ne Zha 2’ (2025)

Image via Chengdu Coco Cartoon

While the film was largely ignored by Western audiences, Ne Zha 2 was an absolute cultural phenomenon in China that couldn’t be compared to any other animated film in its level of success. The film still stands as the highest-grossing animated film ever made, as well as one of only 8 films that have grossed $2 billion worldwide, with over 90% of that gross coming only from China. This overwhelming success isn’t without merit, as the explosive action and striking visuals easily make it one of the best animated films to ever come out of the region.

Ne Zha 2 continues the story from the previous Ne Zha film, setting the stage for powerful celestial beings to undergo trials and retain their physical bodies while an underlying struggle between mortals, immortals, and dragons is simmering under the surface. The real selling point is its brilliant action setpieces, with a sense of explosive glory that maximizes the potential of animation as a medium for flashy action filmmaking. With a third film currently in development, the stature and legacy of this massively successful Chinese film franchise is only just beginning.

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‘Spider-Man: Across the Spider-Verse’ (2023)

Image via Sony Pictures Releasing

The original Spider-Man: Into the Spider-Verse was one of the most acclaimed and celebrated animated films of the 2010s, so it only makes sense that the sequel, Spider-Man: Across the Spider-Verse, would receive similar levels of near-unanimous praise. With larger stakes, more colorful and mesmerizing animation, and a full exploration of multiversal potential, the film immediately became a fan favorite not just among animation fans, but is considered one of the very best superhero movies ever made.

While the original film did a great job of setting up the world and characters, Across the Spider-Verse amps up the emotional stakes and weight of the story, with a striking villain and the emotional struggle of fighting against seemingly impossible odds. Considering the fact that the film ended on one of the most painful cliffhangers of recent memory, many are waiting with bated breath to see how this legendary finale will finally conclude in the highly anticipated Beyond the Spider-Verse.

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‘Guillermo del Toro’s Pinocchio’ (2022)

Image via Netflix

Guillermo del Toro was already highly celebrated as one of the greatest fantasy filmmakers of the 21st century, so the prospect of him helming a stop-motion animated adaptation of Pinocchio is the type of thing dreams are made of. While the film took 14 years of development hell to release following its initial announcement in 2008, Guillermo del Toro’s Pinocchio managed to live up to all of the potential and prospects of a stop-motion film co-directed by a fantasy filmmaking legend and one of the masters of stop-motion, Mark Gustafson.

It helps that this adaptation is far from the child-friendly bundle of joy that the character is often treated as, as del Toro utilizes his signature sense of bleak worldbuilding combined with a sense of joyous optimism to create the darkest yet arguably most insightful rendition of the character to date. The film is breathtaking from start to finish, with the beautiful stop-motion animation amplifying the narrative brilliance of the timeless fantasy story.

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‘The Boy and the Heron’ (2023)

Image via Studio Ghibli

Few animation filmmakers can come close to the staggering number of absolute masterpieces brought to life by Japanese filmmaker Hayao Miyazaki, whose work under Studio Ghibli is often celebrated as some of the greatest animated movies of all time. This made the news of his return to feature directing after having been retired for a decade all the more tantalizing for fans, with The Boy and the Heron living up to the director’s legendary stature and then some.

This breathtaking work of art reflects upon Miyazaki’s entire career of fantasy coming-of-age storytelling, with masterful visuals complementing a classic story complete with all the signature conventions and stylings of Miyazaki’s other masterpieces. This, combined with the breathtaking evolution of 2D anime animation in the modern age, allows this modern masterpiece to stand tall alongside the perfection that came before it as a true titan of anime filmmaking.

The Academy Awards serve an important role in the entertainment industry because they encourage studios to make high-quality films that contend for trophies. While it might seem like a simplistic justification for giving filmmakers the authority to make projects that aren’t purely motivated by financial returns, the ecosystem of fall festivals, awards coverage, and campaign discourse does help to put a spotlight on films that would not have attracted as much attention otherwise. Although it can be frustrating when certain films are completely shut out of the conversation and the seasons last for over half the year, it does have an important function ensuring that these films are made.

There is the complication that the Oscars don’t always get it right, and are sometimes completely off-base. There are some instances in which a perfectly fine film ends up beating a masterpiece, as was the case when The King’s Speech won Best Picture over The Social Network, or when Dances With Wolves beat Goodfellas. There are also examples of films that are both bad and legitimately harmful are validated by the Oscars; Driving Miss Daisy and Crash are two notable examples of films with disparaging racial commentary. In looking at the most recent decade of Best Picture winners, it’s interesting to note of how significantly the Oscars have evolved in terms of their voting body and what type of films are awarded.

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‘CODA’ (2021)

Image via Apple Original Films

CODA won Best Picture in a truly bizarre year that oddly paralleled the infamous case of Crash beating Brokeback Mountain. In both cases, there was an LGBT Western viewed as a masterpiece on the festival circuit that seemed destined to win after being showered with praise by critics, only to have it beat by a sloppy, Lifetime Channel-quality melodrama that did nothing but maintain the status quo. Even if CODA’s victory didn’t come at the cost of The Power of the Dog, it’s a shallow and one-note film that seemingly evokes the perspective of the deaf community, but only to affirm a hearing character whose artistic ambitions are lifted straight out of a ‘90s teen dramedy.

CODA is the first streaming film to win Best Picture, and there is something decidedly uncinematic about it, despite the fact that it was acquired at the Sundance Film Festival. This isn’t a case like The Irishman or Roma where a great film just happened to be released by Netflix; CODA is best viewed passively at home because of its bland visuals and basic characterization, which isn’t engaging enough to sustain interest in a theatrical format. Its win, which came without nominations for Best Director or Best Editing, is an anomaly for stats obsessives.

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‘Everything Everywhere All At Once’ (2022)

Image via A24

Everything Everywhere All At Once is the film likely to age worse among recent Best Picture winners because there isn’t a single emotional moment that isn’t broadcast to the audience in the most identifiable strokes. Characters speak in Reddit posts and declarations, as the dialogue isn’t all that different from what would show up in the films of Anthony and Joe Russo (who helped produce it). The moments of seemingly bizarre spontaneity involving hot dogs and dildos might have seemed amusing at first, but they significantly dampen the rewatchability factor of a film that simply isn’t profound.

The best thing that can be said about Everything Everywhere All At Once is that it’s a well-shot action film, and serves as a break from tradition when considering how opposed the Oscars have traditionally been to genre fare. Yet, the degree to which Everything Everywhere All At Once affirms its quirks as being profound can be exasperating, showing that sincerity alone is not a hallmark if the message is no more complicated than a greeting card.

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‘Nomadland’ (2020)

image via Searchlight Pictures

Nomadland is among the strangest Best Picture winners ever because it is a completely atmospheric, existential road film that doesn’t have obvious commercial appeal. Although it may have only been able to win Best Picture in 2020, a year where people were feeling more alone than ever and not able to leave their homes to see films in theaters, Nomadland is beautifully made and deceptively simple. Chloe Zhao is at her best as a director when riffing on the naturalism of environments and working with non-professionals and it’s remarkable how much more comfortable she is with Nomadland compared to her work on Eternals.

Nomadland might be a film that is destined to be admired, but not loved, as it purposefully eschews monumental moments of emotion for quieter instances of truth. It’s a case where the totality of the experience has tremendous value, even if the pacing can occasionally drag. Although it’s silly to debate the ethics of what Nomadland is doing (a ridiculous hate campaign at the time claimed it was “Amazon propaganda”), Zhao is ultimately trying to connect with an aspect of reality that she can come very close to replicating, even if it there will always be some distance with the subject.

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‘Anora’ (2024)

Image via NEON

Anora is among the most entertaining Best Picture winners of its time because of the pure emotional rollercoaster ride that it creates. Sean Baker has traditionally made small-scale character dramas about low-income communities, and Anora attains the same intimate focus while expanding into a raucous road trip adventure that goes in unexpected places. It’s a surprisingly reserved film that does not ask the audience to feel anything that isn’t earned, and the sheer versatility of Mikey Madison’s leading performance makes it all the more riveting.

Anora is a far more complex film than it seems at first due to the nuance given to its side characters, with Yura Borisov being a particular standout. Baker has a clear admiration for cinematic classics, and his ability to weave in a highly personal story about loss of self among young people with a greater commentary on the American experience feels directly linked to past Best Picture winners like On the Waterfront and Midnight Cowboy. Although there is a risk that Baker’s continued obsessions with the same subject material of sex workers and paycheck living could grow derivative over time, Anora at least feels like an elevation of the work that he has done before.

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‘One Battle After Another’ (2025)

Image via Warner Bros. Pictures

One Battle After Another is a true epic that follows Paul Thomas Anderon’s tradition of complex family sagas, and feels specially attuned to the world as it exists within the 2020s. It’s both a condemnation of the failed efforts of past resistance movements and a notice of hopefulness about what this generation can achieve, but it also doesn’t feel bitter in its sentiments. Anderson assembles an electrifying thrillride that manages to never fall into dry periods, a truly remarkable achievement for a film that is almost three hours long. It’s also a better sign than ever that there is no director working today who is better with actors; Leonardo DiCaprio is at his funniest and most endearing, Sean Penn creates one of the greatest modern cinematic villains, Chase Infiniti is a true discovery, and there are also plenty of unknowns and non-professionals who make the film even richer.

One Battle After Another is the platonic ideal of a Best Picture winner because it is filled with subtext that makes it worthy of analysis and revisitation, yet also exists as an entertaining work of spectacle with a truly sincere father-daughter story. If Everything Everywhere All At Once was an encapsulation of temporary trends that will soon fall out of fashion, One Battle After Another is so grounded in modern sentiments that it is bound to be timeless.

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‘Oppenheimer’ (2023)

Image via Universal Pictures

Oppenheimer is a film that only Christopher Nolan could have made, as there is not another filmmaker with the ability to create a towering historical epic about the moment in which human history changed forever. Approaching such complex subject material would seem untenable, but Nolan structures Oppenheimer in a thoughtway way that allows for multiple narrative arcs to exist at once before congealing into a powerful thesis. It’s simultaneously the story of a single man and his flaws, portrayed in an all-time great performance by Cillian Murphy, that also takes advantage of a brilliant ensemble where even one-scene characters are portrayed by great actors. Robert Downey Jr. may have won an Oscar and Matt Damon delivered a scenery-chewing performance, but Oppenheimer is littered with standouts; Jason Clarke has a brutal single scene, Rami Malek delivers a career-best monologue, and Josh Hartnett provides a moral clarity to the first act.

Nolan leaves no stone unturned with a film that somehow manages to address everything about the creation of the atomic weapon, questioning if such a device was truly necessary to prevent the technology from falling into the hands of fascists. Enough time may not have passed to unpack all of the political theory and modern connections that Nolan packed into the film, but Oppenheimer is a completely deserving winner that is destined to be viewed as one of the century’s greatest classics.

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Oppenheimer

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Release Date

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July 21, 2023

Runtime

181 minutes

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Ryan Reynolds may still be putting on a brave public face, but behind the scenes, the fallout from the “It Ends With Us” controversy may be creating new challenges for his career.

The actor became caught up in the drama surrounding his wife Blake Lively and her legal battle with Justin Baldoni, with his involvement in the movie and its aftermath drawing criticism.

Now, concerns are emerging that the controversy may have damaged some of the industry confidence Reynolds previously enjoyed. This can potentially complicate his efforts to expand beyond his established projects and achieve some of his biggest career ambitions.

Reynolds’ involvement in the “It Ends With Us” scandal appears to have affected how some people in Hollywood view him. Although the actor maintained his usual upbeat demeanor during Comic Con this summer, a source claimed the situation behind the scenes has been considerably more difficult.

“Sure, Ryan was all smiles and jokes at Comic Con this summer, but it’s a much darker time than he’s letting on,” the insider said. According to the source, Reynolds has privately acknowledged that rebuilding the level of trust he once enjoyed within the industry could take years.

Part of the backlash surrounding Reynolds emerged after Lively revealed that her husband rewrote the movie’s well-known rooftop scene. He also faced criticism over an email he sent to “It Ends With Us” author Colleen Hoover following the film’s 2024 release. With the controversy continuing to follow him, the source said Reynolds now has “some serious rebuilding to do.”

Reynolds’ Hollywood Career Could Face A Setback

Beyond the damage to his reputation, Reynolds may face difficulties securing the same level of creative freedom he previously enjoyed. His extensive involvement in the production and the dispute that followed has allegedly made some industry figures more hesitant about giving him significant control over future projects.

“His significant involvement with the difficult It Ends With Us production and aftermath has made people wary of him,” the source claimed, adding that people are now less willing than they were several years ago to give Reynolds and his company ‘total creative control’ over a project.

The actor still has major work underway, including writing another “Deadpool Adventure” and developing a sailing reality show with Hugh Jackman. However, the insider questioned why the romantic comedies and action dramas that once formed a broader part of Reynolds’ career are no longer coming as they once did.

That narrowing of opportunities could be concerning as Reynolds looks toward the next stage of his career. As the source put it, “He doesn’t want to be still playing Deadpool when he’s 70, that’s for sure!”

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Reynolds’ Oscar Dream May Prove Difficult

The controversy could also complicate one of Reynolds’ long-held ambitions, which is getting recognition at the Academy Awards. According to the source, the actor entered the entertainment business with goals that extended beyond commercial success and included eventually winning an Oscar.

“Ryan grew up wanting to make a fortune and win Oscars, but the prestige projects are not materializing,” the insider said.

His personality may also be creating challenges when it comes to potential collaborations. The insider claimed some filmmakers are “downright scared of Ryan” because of what was described as his “domineering and exacting personality.”

Justin Baldoni’s Lawsuit Against Ryan Reynolds

Justin Baldoni and his Wayfarer Studios filed a $400 million countersuit against Blake Lively and Ryan Reynolds, accusing them of claims including civil extortion and defamation amid their dispute over “It Ends With Us.”

Baldoni’s side also alleged that Reynolds and Lively used the actress’s accusations to gain greater control, claiming they “exploited Lively’s false insinuations” to obtain “power and authority to which they were not entitled.”

Reynolds denied the allegations and sought to have the claims against him thrown out, with his legal team arguing that Baldoni had failed to establish a valid case against him.

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Ryan Reynolds Makes A Plan To Have The Lawsuit Dismissed

Reynolds sought to have Baldoni’s claims against him dismissed, with his attorneys arguing that the director could not pursue legal action simply over ‘hurt feelings.’ The dispute included Baldoni’s allegations surrounding Reynolds’ comments about him and claims that the Nicepool character in “Deadpool & Wolverine” was created to mock him.

Baldoni also accused Reynolds of calling him a ‘sexual predator.’ Reynolds’ legal team defended his comments as protected opinion, arguing that the actor had a First Amendment right to hold Baldoni in ‘deep disdain.’

His attorneys further maintained that Reynolds believed the allegations his wife had made about Baldoni and therefore had the right to express his opinion about the filmmaker based on that information. They argued that Baldoni’s lawsuit failed to establish grounds for holding Reynolds legally responsible for those views.

President Donald Trump has claimed that NBC journalist Kristen Welker “will be reported” to the Federal Communications Commission over comments made during a promotional segment for Meet the Press.

“Kristen Welker, the unpopular “hostess” of the once great Meet the Press, now considered Meet the Fake Press, just stated that Donald Trump has “mixed results” on his endorsements of candidates, when the recent WINS of Darline Graham and Mike Mazzei, stand at 100% for the U.S. Senate, and 98% for the U.S. House, recently and over the long term,” the president, 80, wrote via his Truth Social account on Sunday, August 30.

He continued, “How can anyone be allowed to say this, working for freely given Public Airwaves? Because of this purposeful inaccuracy, she will be reported to the FCC for rebuke or punishment.”

The president attached a graph that showed alleged endorsement records from the Republican primaries, which contradict comments made by Welker, 50, during an appearance on NBC’s local Washington, D.C. station that pointed to upcoming Meet the Press coverage.

Related: Ted Cruz Defends Jimmy Kimmel Over Donald Trump Feud Repercussions

Texas Senator Ted Cruz suggested that Jimmy Kimmel should not face legal repercussions from the Federal Communications Commission (FCC) for criticizing President Donald Trump. “It is not [the] government’s job to censor speech, and I do not believe the FCC should operate as the speech police,” Cruz, 55, told Punchbowl News in an interview posted […]

The journalist, who began serving as moderator on the news program in 2023, said during the appearance that the primaries showed “mixed results,” per reporting on Sunday by CNN. The outlet stated that NBC’s recent reporting backed up Welker’s commentary.

A spokesperson for NBC told CNN on Sunday, “Kristen is one of the best in the business and we stand by her.”

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FCC Commissioner Anna Gomez also took to X on Sunday to respond to the president’s FCC claim. “As I’ve said many times, the FCC has no authority to punish journalists this administration doesn’t like,” she wrote. “These threats to press freedom are dangerous. They undermine the foundation of our democracy, and they have no place in it.”

The president’s social media post stated that Welker was “not the only” journalist or member of the media to report alleged inaccuracy. “The radical left news is going out of their way to harass, demean, and libel anything “TRUMP.” Their new weapon is to say that my 99% SUCCESS rate on endorsements, 100% on senatorial endorsements (many of whom were not even given a shot of winning until I endorsed!), is either a mixed result, or not very good,” he continued. “In actuality, it is, without question, the strongest endorsement in the history of politics.”

He concluded, “The Press is a disgrace to our nation, and I hope that [FCC] chairman Brendan Carr, and the fine people of his commission, will take this threat to our country very seriously. Thank you for your attention to this very important matter of fake polls and commentary!”

The tributes following Dolly Parton’s death have ranged from emotional memorials to national honors, but one gesture sparked an unexpected political firestorm. 

After President Donald Trump ordered American flags flown at half-staff in recognition of the country music legend, a Mississippi mayor publicly questioned whether the honor should have been extended to the beloved entertainer. 

What followed was a swift backlash from supporters who argued that Parton’s decades of philanthropy, service, and cultural impact made her more than deserving of the rare distinction.

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As communities across the country continued to mourn Dolly Parton, Olive Branch, Mississippi, Mayor Ken Adams found himself at the center of a heated debate after publicly expressing reservations about lowering the American flag in her honor.

In a statement posted to the town’s Facebook page, Adams made clear that he admired the singer and considered her “a great person.” 

However, he argued that flying flags at half-staff should be reserved for a narrower group of individuals and circumstances.

“I believe lowering the American flag to half-staff should mean something very significant,” Adams stated, adding, “In my opinion, it should be reserved for our military heroes, fallen first responders, presidents and other major national leaders, or events that have had a tremendous impact on our country.”

The mayor stressed that his position was not intended as a slight against Parton. Instead, Adams argued that the gesture represented one of the nation’s highest forms of recognition and should be used sparingly.

“It’s simply my belief that the American flag at half-staff is one of the highest honors we can give, and I believe that honor should be reserved for truly extraordinary circumstances,” he added, later noting that “sometimes preserving the meaning of an honor means being selective about when we use it.”

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The response to Adams’ comments was immediate and overwhelming, with many users arguing that Dolly Parton’s contributions easily met the standard he described.

Numerous commenters pointed to the late icon’s charitable work, particularly her Imagination Library program, which has distributed hundreds of millions of books to children worldwide. 

Others pointed out her longstanding support for military families, disaster relief efforts, education initiatives, and countless community causes.

“I’d lower it for Dolly before any politician,” one commenter wrote. Another user argued that Parton’s impact extended far beyond entertainment, writing that she “did more for children than any politician ever has,” adding that this elevated her far above being “just a celebrity.”

One particularly pointed response described Parton as “the most unifying figure of the past 40 years … [who] she donated 325 million books to kids,” before asking, “Sounds like an impact … what have you done?”

Veterans also joined the discussion. “As a veteran and first responder I’m 100% ok with lowering the flags for Dolly. She gave her time and money to the military and multiply organizations. She earned this,” one commenter wrote.

Dolly Parton Debate Quickly Turns Political

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As the controversy continued, many critics suggested the mayor’s statement could have political consequences. 

Several users openly referenced future elections while questioning the wisdom of publicly challenging a tribute to one of America’s most beloved figures. 

“This post just made my choice for next election, if he is in the running,” one commenter wrote, while another reminded readers, “I think elected officials tend to forget they are ELECTED.”

Others pointed to historical precedent, noting that entertainers have previously received similar honors. 

One commenter cited comedian and entertainer Bob Hope, writing, “Flags were lowered to half staff when Bob Hope died. So this action is not unique for Dolly. It’s a sign of respect for someone who represents the best of America.”

Perhaps the most cutting reactions focused less on the mayor’s position and more on his decision to make it public at all. “There are certain times when it’s best to just say nothing. This is one of those occasions,” one user wrote.

More From The Blast

Parton’s Private Farewell Reveals Final Wish To Rest Beside Carl Dean

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The outpouring of tributes following Dolly Parton’s death showcased the enormous impact she had on millions of lives, but beyond the public memorials and emotional messages, her family was focused on fulfilling one final request.

On August 28, just three days after her death, the “Jolene” singer was laid to rest during a private funeral in Nashville attended only by immediate family members, honoring her long-stated desire to keep her most personal moments out of the spotlight. 

As The Blast reported, the service took place at Woodlawn Memorial Park and Mausoleum, where Parton was buried beside her husband of nearly six decades, Carl Dean, who died in March 2025. 

Their shared memorial featured symbols of the life they built together, including intertwined wedding bands and imagery that reflected their humble Tennessee roots. 

The funeral was intentionally intimate despite Parton’s global fame. Family members honored her request that there be no large public memorial, and instead encouraged fans to celebrate her life through donations to the Imagination Library, the literacy program that became one of her proudest achievements. 

Dolly Parton’s Niece Leads Emotional Grand Ole Opry Tribute

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While Parton’s family gathered privately to mourn, Nashville’s most iconic stage hosted a public celebration of her extraordinary legacy. 

The day after the funeral, the Grand Ole Opry dedicated an emotional evening to the country legend, bringing together family members and some of country music’s biggest names to honor the woman whose connection to the Opry spanned more than six decades. 

According to PEOPLE, one of the night’s most memorable moments came from Parton’s niece, Jada Star, who took the stage to perform “The Orchard,” a song she previously recorded with her famous aunt for the 2024 family album “Smoky Mountain DNA: Family, Faith and Fables.” 

After singing, the star addressed relatives in attendance, telling them, “Thank you. I love you, cousins. We’re all going to be alright. I promise.” 

The tribute concert featured appearances from Carly Pearce, Kathy Mattea, Ketch Secor, Molly Tuttle, and Channing Wilson, while Jelly Roll made a surprise appearance during a group rendition of “9 to 5.” 

The evening concluded with footage of Parton herself performing “I Will Always Love You,” allowing the country icon to have the final word. In the video, she thanked fans for standing by her throughout her career and said, “This song kind of sums up how I feel about you. Thank you so much, and I will always love you.”