putting

JERSEY Shore star Snooki has confessed that she’s putting off life-saving surgery because she’s scared.

At the start of the year, Nicole ‘Snooki’ Polizzi revealed her stage 1 cervical cancer diagnosis to the world.

The MTV reality star, 38, believes she could have avoided the diagnosis had she gone to her recommended follow up visits to the doctor.

But despite saying she had regrets over “just keep putting it off” about her prior appointments, she is now putting off life-saving surgery.

Her doctor recommends that Nicole should undergo a hysterectomy to avoid the possibility of the cancer’s return.

“No, we’re not putting off any more appointments,” Nicole said.

SCARY NEWS

Jersey Shore’s Snooki reveals cervical cancer diagnosis and issues plea to fans

But she later added: “They’re already yelling at me to schedule the hysterectomy, which I didn’t. I’m traveling.”

Lara then pressed: “I know but this is your life,” adding how she is a mom to three beautiful kids.

“Well, I’m not going to lie, I’m scared,” the reality star added.

“I know, and I understand that. But you know what’s going to be more scary? If you don’t do it,” Lara urged.

“If you get this hysterectomy, do the doctors feel like you will be way ahead of the curve?” Lara asked.

Snooki replied: “Yes.”

Nicole recently underwent a PET scan where the results thankfully showed the cancer has not spread, though the surgery is highly encouraged to ensure the cancer does not return.

Elsewhere in the interview, Snooki opened up about the moment she found out about her devastating diagnosis.

“I was terrified. I was terribly crying in my car. Like, what am I going to do?” she recalled.

“I have three kids. I got to do my will. I haven’t done my will yet.”

Snooki first told fans about her health scare in an emotional video posted online in January.

At the time, she urged her followers to take their gynecological health seriously, and get all the necessary appointments done.

She noted that she was trying to get caught up on all hers, adding that several recent pap smears came back irregular in recent years.

Nicole said this raised concern with her doctors, who urged her to undergo a colposcopy to retrieve samples from her cervix for biopsy.

“That hurt. It wasn’t a great experience,” she said.

She then shared that the results of the colposcopy were “not great,” adding that her doctor “found cancerous cells on the top of my cervix.”

He urged her to get a biopsy to see if the cancerous cells spread, telling her the results of that would determine the next steps.

Nicole admitted at the time that she had avoided visiting the doctor because she did not want to deal with “pain” or “stress” caused by different procedures.

She admitted, however, that doctors visits are necessary, and encouraged her followers to take it seriously.

Snooki got emotional in the clip as the reality hit her.

“Obviously, I’m done having kids,” Nicole said through tears.

“But like as a woman, the thought of getting a hysterectomy is just sad, and it’s scary…the thought of getting the hysterectomy and then not being able to have kids, I think that’s what’s killing me,” she confessed.

JODIE Marsh has been charged with assault after allegedly confronting her neighbour in a row over her animals.

The ex-glamour model, 47, said she “lost it” and “put her hands on his neck” after he carried out what she called a “campaign of harassment”.

Marsh claims the neighbour filmed her animals and doctored clips to make them look “skeletal” after trespassing on her land.

Describing the clash, she said: “I put my hand on his neck because I leaned in to whisper to him.

“I can’t even remember what I said because I was so upset. It lasted around 30 seconds.

“I’m scared to sleep in my own house. I’m scared to go out.”

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The former lads’ mag star turned her back on fame to run Fripps Farm rescue centre in Lindsell, Essex.

Marsh is due to appear at Chelmsford Magistrates’ Court tomorrow.

She is charged with common assault, specifically the use of “threatening / abusive / insulting words / behaviour with intent to cause fear or provoke unlawful violence”.

Common assault carries a maximum sentence of six months in prison.

But speaking to The Sun, Jodie insisted she did not hurt her neighbour, adding: “I didn’t actually injure him in any way.”

An Essex Police spokesman said: “At around 12.40pm on Friday 16 January officers were called to an address in Lindsell to reports of a woman behaving aggressively towards a man and assaulting him.

“It was further reported that verbal threats were made.

“As a result of further enquiries, charges of common assault and using threatening / abusive / insulting words or behaviour have since been authorised against Jodie Marsh, 47, of Lindsell.

“She is due to appear at Chelmsford Magistrates’ Court on Friday 17 April.”

Fripps Farm is currently home to over 250 animals including alpacas, emus and reptiles, many of which have been saved from slaughter.

The reality star’s website reads: “Jodie gives a loving home to animals that are either unwanted or in danger of being put to sleep or slaughtered.”

It comes after a fire on her farm killed two of her beloved marmosets.

Fripps Farm hasn’t been without its controversies amid neighbour rows and court battles.

Marsh was left in tears of joy after winning a court battle to keep lemurs at the sanctuary.

She had appealed against a council’s decision to refuse her application for a wild animal licence.

Concerns had been raised about her taking a meerkat to the pub.

She said trolls were behind much of the criticism.

At a previous hearing, clips of screeching zoo lemurs were played to Chelmsford Magistrates’ Court.

But Judge Christopher Williams dismissed the council’s argument about the animals’ noise.

In 1994, then House Speaker Newt Gingrich promised to post all congressional proceedings on the Internet as a way of launching what he called a “civilizational upheaval” in which “regular people in little towns”–not well-moneyed lobbyists–would manage affairs in Washington. In 1996, the representative from Georgia, swayed by the futurism of writer Alvin Toffler, helped pass the Electronic Freedom of Information Act, which required federal agencies to grant Americans prompt access to any information in their databases that could help “ensure an informed citizenry.”

Three years later, Gingrich’s revolution, far from online, is nowhere in sight. Rather than complying with the 1996 law, most parts of the executive, legislative and judicial branches of the U.S. government stand in blatant violation of it.

While the Supreme Court of Mongolia has its own official Web site, the U.S. Supreme Court doesn’t, forcing Americans to search through unofficial Web sites in hope of finding its briefs and opinions. While the Congressional Research Service makes its reports on vital issues like HMO reform instantly available online to legislators, taxpayers, who fund those studies, can get them only through the mail from their members of Congress.

If you are a soldier who believes he was made ill by the military’s anthrax vaccine, for example, you might want to know what was said in Tuesday’s hearing of the House Committee on Government Reform, in which Rep. Henry A. Waxman (D-Los Angeles) and leading scientists discussed how the government should weigh a vaccine’s risks against its benefits. The full text of the hearing was available Tuesday to anyone who could afford a subscription to a private online data service.

Those hoping to access such supposedly public information on the Web, however, were out of luck. The House Government Reform Committee’s Web site lists transcripts from only a hodgepodge of committee hearings. The most recent transcript available at that site is from June.

Today, Sens. Patrick J. Leahy (D-Vt.) and John McCain (R-Ariz.) plan to hold a press conference in which they will release a study by two Washington public-interest groups on how federal agencies have failed to comply with the 1996 law. McCain and Leahy, along with David E. Price (D-N.C.) and Christopher Shays (R-Conn.) in the House, have introduced similar bills to require Congress to put Congressional Research Service documents online within 30 days. The measures currently are in the House and Senate rules committees.

Fundamental change won’t occur until national leaders like President Clinton, Senate Majority Leader Trent Lott (R-Miss.) and House Speaker J. Dennis Hastert (R-Ill.) call upon all government agencies to honor the letter and spirit of the 1996 law.

Reforming the Congressional Research Service is only a baby step toward the revolution that legislators promised so bombastically. But it’s as good a place as any to start.

To Take Action: Rep. David Dreier (R-San Dimas), chairman, House Committee on Rules, (202) 225-2305, www.house.gov/dreier, click on “Feedback”; Sen. Mitch McConnell (R-Ky.), chairman, Senate Committee on Rules and Administration, (202) 224-2541, e-mail, senator@mcconnell.senate.gov

A left-footed winger cutting in from the right flank? It just feels natural at Bayern Munich.

It was an Arjen Robben trademark – now it’s Michael Olise’s.

Bayern go into the second leg of their last-16 tie with Atalanta in the Champions League on Wednesday holding a 6-1 advantage.

That’s thanks to a dazzling performance from the 24-year-old in the first leg, when he scored twice and laid on an assist.

The display was in keeping with Olise’s remarkable form since he joined from Crystal Palace in the summer of 2024 – no one in Europe’s top five leagues has more than his 23 assists in all competitions this season, no winger can top his 38 goal involvements.

It’s no wonder he’s now being talked about as one of the best players on the planet.

“It’s nice to hear but there’s half of the season still to play, so I’m focused on the team and on team titles now,” said the typically relaxed Frenchman on a potential Ballon d’Or after his masterclass in Bergamo.

He may have a laid-back attitude and a languid playing style, but behind the calm exterior there is a steely determination.

“I don’t want to compare the players because they’re not the same but [he has] the mentality of [former Manchester City player] Kevin de Bruyne when I played with him,” said Bayern boss Vincent Kompany after the Atalanta game.

“I was lucky to watch him come through as a young player and become a superstar. I saw the whole process and it is that obsession with detail that Michael has.”

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.