Dennis Quaid is seeking to officially end his child support obligations to ex-wife Kimberly Buffington now that their twin children have reached adulthood and completed high school. According to court filings submitted in Los Angeles, the 72-year-old actor has requested the termination of the $13,750 monthly child support payments he has been making for twins Thomas and Zoe. The request is based on the terms outlined in Quaid and Buffington’s 2018 divorce agreement, which reportedly stated that child support payments would conclude once the children completed 12th grade.

Their daughter Zoe graduated on May 23, while son Thomas is expected to graduate on June 3.

In addition to ending the monthly payments, Quaid is also asking the court to prorate a separate annual support provision included in the divorce settlement. Under that agreement, Buffington is entitled to receive additional compensation if Quaid earns more than $1.3 million in a given year.

The actor argues that any bonus payment should only be calculated through the twins’ graduation dates rather than based on his full annual income.

Quaid and Buffington were married for 14 years and had one of Hollywood’s more complicated divorce journeys, filing for divorce multiple times before permanently separating in 2016. Their divorce was finalized two years later, with both parents agreeing to joint legal and physical custody of the twins, who were born via surrogate in 2007.

This is not the first time child support has become a point of legal contention between the former couple.

In 2020, Quaid sought to reduce his support payments, arguing that he spent significant time caring for the children and covered many of their expenses directly. The dispute was eventually resolved, with Quaid agreeing to continue paying support based on what both parties considered the reasonable needs of their children.

Now that Thomas and Zoe have reached adulthood, the latest filing appears to be more procedural than contentious, as it follows the timeline already established in their divorce agreement.

Quaid has often spoken publicly about family and relationships. In addition to Thomas and Zoe, he is also the father of actor Jack Quaid, whom he shares with actress Meg Ryan.

Since 2020, Quaid has been married to Laura Savoie. Despite frequent attention on their 39-year age difference, the actor has repeatedly described the relationship as the happiest and closest partnership of his life.

With the twins now graduating and beginning the next chapter of their lives, Quaid’s latest court filing marks the end of a long-running financial obligation that has been in place since their childhood.

Emilia Clarke is looking back on one of the most extraordinary and challenging decades of her life with a new perspective. In a candid interview with Variety, the actress reflected on her rise to global fame as Daenerys Targaryen in Game of Thrones, the pressure of navigating blockbuster franchises, surviving two life-threatening brain hemorrhages, and ultimately learning to redefine what success means to her.

Clarke revealed that one of her lowest professional moments came after the 2019 Emmy Awards. Despite earning her first Lead Actress nomination for Game of Thrones, she lost the award to Jodie Comer and admitted the disappointment affected her deeply.

Looking back, Clarke says she realized she had tied her sense of achievement too closely to awards and external validation. The experience pushed her to rethink her priorities and focus on projects she genuinely enjoys rather than chasing prestige or public approval.

The actress also spoke openly about the devastating health challenges she faced during the height of Game of Thrones’ success. Shortly after filming the first season, Clarke suffered a brain hemorrhage that required emergency surgery. She later experienced a second hemorrhage after Season 3.

For years, she kept her condition private while continuing to work on one of television’s biggest shows. She explained that surviving those experiences left her struggling with survivor’s guilt and a lingering fear that death was somehow “coming back” for her.

In 2019, Clarke publicly shared her story and launched SameYou, a charity focused on improving recovery and aftercare for people living with brain injuries.

The actress also addressed the mixed reception to some of her post-Game of Thrones projects, including Terminator Genisys, Solo: A Star Wars Story, and Marvel’s Secret Invasion. Rather than viewing those outcomes as personal failures, Clarke says she has learned to separate her own experience making a project from how audiences ultimately respond to it.

Today, Clarke says she feels grateful rather than trapped by the legacy of Game of Thrones. While she was famously unhappy with Daenerys’ controversial ending, she now views the series as a life-changing opportunity that shaped her career and personal growth.

With new projects including Ponies, Criminal, and the upcoming indie film Next Life, Clarke says she is finally in a place where success is no longer defined by awards, ratings, or public opinion.

Instead, she measures it by the quality of the experience itself and the people she meets along the way.

Seven years after one of the biggest controversies in modern music, Scooter Braun says he still doesn’t fully understand why Taylor Swift was so upset when he acquired her former record label and, with it, the master recordings of her first six albums. In a recent podcast interview, Braun claimed he barely knew Swift, saying they had only met a handful of times and never had a substantial relationship.

“I legitimately don’t know her,” Braun said, adding that he was surprised by the backlash that followed his 2019 acquisition of Big Machine Records.

But for many fans and industry observers, the source of the conflict was never about whether the two personally knew each other.

The controversy began when Braun purchased Big Machine Records in a deal reportedly worth around $300 million. The acquisition included ownership of the master recordings for Taylor Swift’s first six albums, music she had spent over a decade creating.

At the time, Swift publicly stated that she had not been given a fair opportunity to purchase her masters herself and described the sale as one of the worst-case scenarios she had feared. She also accused Braun of being associated with years of behavior she viewed as hostile and dismissive toward her.

For Swift, the issue was never simply personal. It was about ownership.

Artists spend years building their careers, writing songs, recording albums and developing their identities. The idea that someone else could ultimately control those recordings became a major talking point across the music industry.

That is why many people find Braun’s recent comments difficult to reconcile with what happened.

Years later, saying “I didn’t really know Taylor Swift” does not address the core issue. Critics argue that whether they had a personal relationship is largely irrelevant. The controversy centered on the acquisition of her life’s work and her belief that she had lost control over music she created.

Many fans also point out that Braun went ahead with the acquisition despite knowing Swift had publicly expressed a desire to own her masters. From their perspective, the fallout was never mysterious. The disagreement was about control of an artist’s work, not a personal misunderstanding.

The situation ultimately led Swift to embark on one of the most ambitious projects in music history, rerecording her catalog through the massively successful Taylor’s Version releases.

What began as a business dispute evolved into a movement about artist ownership and creative control.

The controversy also fueled broader discussions about Braun’s relationships within the music industry. Over the years, several high-profile artists who were once associated with him, including Justin Bieber, Ariana Grande, Demi Lovato, J Balvin and others, eventually moved on from his management company.

While departures from management teams are common in entertainment, critics often point to the long list of exits when discussing Braun’s legacy and influence within the industry. Many argue that when so many major artists choose to leave, questions are naturally raised about why.

To be fair, none of those departures automatically prove wrongdoing, and several artists have spoken positively about Braun at different points throughout their careers. However, the pattern has frequently been cited by those who believe the Taylor Swift dispute was not an isolated controversy.

In the end, Swift emerged with ownership of her catalog after successfully buying back her masters in 2025, bringing a years-long battle to a close.

For her fans, that outcome is what matters most.

And for many observers, the feud was never complicated. It was never about whether Scooter Braun personally knew Taylor Swift.

It was about who controlled the music.