Madison Avenue turned decidedly pink Thursday night as Alice + Olivia founder Stacey Bendet brought together fashion, cocktails, music and a little retail temptation for something considerably more important than another fashionable New York soirée: the opening of Breast Cancer Awareness Month and a monthlong initiative benefiting the Breast Cancer Research Foundation.

Stacey Bendet, Emily Rockefeller Photo BFA

Bendet hosted the evening at Alice + Olivia’s Madison Avenue flagship alongside Emily Rockefeller and Dr. Elizabeth Comen, with Jenny Mollen, BCRF’s Donna McKay, Jennifer Rubio, Julie Macklowe, Sofia Karvela, Natalie Mackey, Dani Stahl, Ebony Wiggins, Carolyn Angel and Aqua Parios among those joining the celebration. Cancer survivor, philanthropist and advocate Quiana Parks supplied the music, giving the evening a particularly personal connection to the cause.

Stacey Bendet Photo BFA

Because philanthropy needn’t be dreary, there was plenty to play with. Guests could customize purchases with embroidery, head to the charm bar to create pink phone charms, sip Bricoleur Vineyards Isla Rose Brut Rosé, LALO Tequila cocktails and The Macklowe Pink Manhattans, and indulge in appropriately pink sweets. If Breast Cancer Awareness Month has an official color, Bendet clearly saw no reason not to run with it.

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The evening was more than pink for pink’s sake. Fifteen percent of net proceeds benefited BCRF and its work supporting breast cancer research, while the party launched Alice + Olivia’s larger October campaign. Through October 31, customers who donate to BCRF at an Alice + Olivia boutique or online will receive 15 percent off a purchase.

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Bendet has also given two Alice + Olivia favorites a limited-edition pink treatment for the campaign. The signature Willa Blouse arrives in blush silk crepe de chine with vivid hot-pink detailing, while the Dollie Cardigan also gets its own pink moment. Twenty dollars from the sale of each piece will benefit BCRF. The Willa, priced at $395, is particularly clever: polished enough to survive long after October, while still making its point.

Eleanor Chromy Photo BFA

New York is only the beginning. The initiative heads next to Chicago with Giuliana Rancic before moving west, where Bendet will be joined by Paris Hilton and Kathy Hilton for the Los Angeles celebration. For the Hiltons, the partnership carries an especially personal meaning: Kathy Hilton’s mother, Kathleen Richards, died from breast cancer in 2002.

Stacey Bendet, Julie Macklowe Photo BFA

There is always a danger during Breast Cancer Awareness Month that the pink ribbon becomes so familiar we stop seeing what it represents. That is where an evening like this works best. The fashion gets people through the door, the cocktails keep things festive and the shopping makes participation easy—but the money goes toward research into a disease that continues to alter families everywhere.

Eleanor Chromy, Jennifer Rubio, Johanna Stitt Photo BFA

On Thursday night, however, there was no reason purpose couldn’t arrive wearing fabulous clothes.

Shop pink. Give back. And if you’re going to make a statement, Madison Avenue isn’t a bad place to make it.

Clear aligners have changed how many people think about straightening teeth, yet they are not a universal answer. Invisalign can work well for mild crowding, small gaps, and many bite concerns, but success depends on tooth position, bone support, gum health, and patient follow-through. Before choosing any orthodontic option, a person needs a careful exam, a realistic treatment plan, and clear expectations about daily wear.

A qualified dentist can assess spacing, bite depth, jaw relationship, and tooth rotation before recommending invisalign treatment in Las Vegas as a possible option. This step matters because clear trays move teeth through planned pressure, and some smiles need attachments, refinements, or a different orthodontic method for stable results.

What Invisalign Can Usually Correct

Invisalign is often effective for mild to moderate crowding. Crowding happens when teeth compete for limited space, which can make brushing and flossing harder. Aligners can create controlled movement over time, helping teeth sit in a cleaner, more balanced position.

Small gaps may also respond well. Spaces can appear because of tooth size, gum changes, habits, or natural growth patterns. A digital treatment plan helps show whether closing those spaces will also protect the bite.

Many bite issues can see an improvement with aligners. Overbites, underbites, crossbites, and open bites vary in severity. Some respond predictably, while others need extra planning because jaw position affects more than tooth alignment.

Where Invisalign May Have Limits

Some smiles need more force or control than clear trays can provide alone. Severe rotations, large vertical movements, and major bite changes may be harder to manage. In those cases, braces or combined treatment may offer better control.

Gum and bone health also matter. Teeth move through bone, so active gum disease must be treated first. If support is weak, movement may need to be slower, limited, or avoided.

Restorations can affect planning. Crowns, bridges, implants, and veneers do not move the same way natural teeth do. A dentist must account for those details before approving aligner therapy.

Daily Wear Makes a Major Difference

Clear aligners are removable, which is useful for meals and cleaning. That benefit also creates responsibility. Most plans require trays to stay in for 20 to 22 hours each day. Wearing them less can slow progress or affect the final position.

Consistency matters more than many people expect. Teeth need steady pressure to move predictably. Skipping hours, leaving trays out during social events, or changing sets too early can disrupt the plan.

Cleaning habits are part of the process. Aligners should be removed for food and most drinks other than water. Brushing before reinserting trays helps reduce staining, odor, and plaque buildup.

Age Is Rarely the Main Factor

Adults can often use Invisalign if their gums, teeth, and bone are healthy. While there is no strict upper age limit, the better question is whether the mouth can handle this movement safely.

Teenagers may also be suitable candidates, but discipline matters. A teen who keeps trays in as directed may do well. One who often forgets them may get poor results, even with a good plan.

Younger children usually need a growth and development exam first. Some may require early orthodontic care before aligners become practical later.

Comfort, Speech, and Lifestyle

Most people feel pressure when starting a new set of trays. That sensation usually fades after the teeth begin adapting. Sharp pain, sores, or trays that do not seat properly should be checked.

Speech may sound slightly different at first. A mild lisp can occur while the tongue adjusts to the plastic. Practice and regular wear usually help speech return to normal.

Diet changes are limited because trays come out during meals. Still, frequent snacking can become inconvenient because teeth should be cleaned before aligners go back in.

How Dentists Decide Candidacy

A proper screening includes photographs, digital scans, dental X-rays, bite evaluation, and gum assessment. These records help determine whether aligners can move teeth safely and predictably.

The dentist also reviews goals. A person who wants a small cosmetic change may have a shorter plan. Someone with bite problems may need more stages and refinements.

Cost and timeline should be discussed early. Treatment length often depends on case difficulty, tray wear, and how teeth respond. Clear estimates help patients make informed choices.

Invisalign can be a strong fit for many smiles, but it is not right for every case. The best candidates have healthy gums, realistic goals, and the discipline to wear trays as directed. More complex movement may require another orthodontic approach or added steps. 

A complete dental evaluation is the most reliable way to match the treatment to the smile, protect oral health, and support a stable result.

Every year, thousands of people turn to spinal cord stimulators hoping for relief from pain that has taken over their daily lives, only to face new complications instead. As of July 2025, at least 24 federal lawsuits tied to Boston Scientific’s spinal cord stimulator devices were pending across nine districts nationwide, now centralized under MDL No. 3181 in the Central District of California before Judge Josephine L. Staton. Families in St. Louis, MO, and beyond have reported injuries ranging from lead migration and unexpected shocks to infections, nerve damage, and the need for revision surgery, each carrying its own physical, emotional, and financial toll.

For residents weighing their legal options, understanding how a Boston Scientific spinal cord stimulator lawsuit fits into this growing litigation is crucial. These claims touch on several forms of personal injury, from device malfunction and “failure to warn” to long-term disability and diminished quality of life. As the MDL moves through its early stages, let’s take a closer look at the key issues shaping these cases.

What MDL 3181 Covers

People researching Boston Scientific spinal cord stimulator lawsuits may encounter references to MDL 3181. This federal proceeding concerns product liability allegations involving spinal stimulation systems. On June 5, 2026, the Judicial Panel on Multidistrict Litigation transferred qualifying cases to the Central District of California before Judge Josephine L. Staton. Each action remains separate for damages, settlement, or trial.

Why Centralization Matters

Multidistrict litigation places cases with shared factual questions before one court for pretrial management. That arrangement can limit duplicated discovery and conflicting rulings. Counsel may examine engineering files, warning materials, adverse event reports, and expert opinions through coordinated procedures. Centralization does not create a class action. Every patient keeps an individual claim, personal evidence, and separate damage calculation.

Product Identification Is Essential

A claimant must establish which implanted system was used. Operative notes may identify the pulse generator, leads, model number, serial code, implantation date, or removal date. Hospital records, billing files, physician notes, and patient implant cards can fill missing details. If product identity remains uncertain, proving a connection between the device and injury becomes more difficult.

• Common Device Allegations

Reported problems may include lead migration, fractured components, lost stimulation, unexpected shocks, burning sensations, charging failures, or limited pain relief. Some patients undergo revision surgery, treatment for infection, or explantation after symptoms worsen. Each allegation depends on the device, procedure, and the patient’s medical history. Evidence must connect the claimed harm to a defect, inadequate warning, or recognized legal theory.

The Main Liability Questions

Several questions may shape a product claim. 

• Did a manufacturing error affect the implanted component? 
• Did the design create an unreasonable risk? 
• Were physicians and patients given adequate safety information? 
• Did company records reveal earlier reports of failure? 

Answers may depend on testing data, internal communications, adverse event submissions, physician testimony, and technical evidence.

Medical Proof Can Drive the Case

Medical records should show the patient’s condition before implantation, during treatment, and after symptoms developed. Physicians may need to separate device-related harm from the underlying illness that prompted stimulation therapy. Imaging studies, diagnostic tests, surgical notes, medication changes, and removal records can establish timing. A consistent sequence strengthens causation evidence. Missing records may provide grounds for a defense challenge.

Shared Evidence and Individual Evidence

The coordinated proceeding may address common proof concerning product development, testing, warnings, and reported malfunctions. Individual evidence remains equally important. Patients may have varying symptom severity, surgical history, employment impact, care requirements, and recovery outlook. Hence, two people with similar implants may still face different damages because their health conditions and financial losses are not the same.

Possible Damages

A successful claim may seek compensation for medical bills, future treatment, lost wages, reduced earning capacity, physical pain, emotional distress, and diminished daily activities. Additional surgery or long-term care may increase documented losses. Recovery amounts depend on evidence and applicable state law. No uniform payment applies to every claimant, and the litigation has not established liability or guaranteed compensation.

Steps for Potential Claimants

Patients should preserve implant cards, operative reports, imaging results, billing statements, prescription records, and provider communications. A dated personal timeline can record symptoms, programming changes, emergency visits, failed therapy, and later procedures. Only qualified clinicians should make treatment decisions. Filing periods typically differ by state, injury type, and discovery date, making prompt legal review important when protecting available rights.

Litigation Status

MDL 3181 remains active. The June 2026 transfer order established a federal structure for coordinated pretrial proceedings involving spinal stimulation product claims. The court has not found the manufacturer liable, and allegations remain contested. New filings, court orders, expert disclosures, and settlement discussions may alter future procedures. 

MDL 3181 provides a shared process for examining evidence linked to spinal cord stimulation systems. Each patient must still prove injury, a product connection, a legal basis, and a measurable loss. Complete records can clarify device identity, symptom timing, treatment needs, and financial consequences. Patients considering legal action may benefit from preserving documents and consulting counsel familiar with medical device claims, clinical evidence, and applicable filing deadlines.

Presley Gerber was beautiful. Almost startlingly so. He had the genetics of two models, the face of his famous mother, Cindy Crawford, and an entrance into a world most people spend their lives trying to reach. He was born into money, fame, access and extraordinary privilege. He became a model himself, working for major fashion houses.

Kaia and Presley Walker Gerber

His sister, Kaia Gerber, became one of the most recognizable models of her generation. From the outside, the Gerber family seemed to possess the kind of life our culture continually tells us is the prize.

Rande Gerber, Cindy, Kaia and Presley Gerber

Presley Gerber died Sunday at 27 years old. According to the Los Angeles County Medical Examiner, he died at a rehabilitation facility. His family has confirmed his death and asked for privacy during what their representative described as a “very difficult and painful time.” As of this writing, no cause of death has been determined.

Rande Gerber, Cindy, Kaia and Presley Gerber

That last fact matters. We do not know what killed Presley Gerber, and his death should not become an invitation for strangers to diagnose him after the fact. What we do know is what he chose to tell us while he was alive.Presley had spoken publicly about depression and his struggles with mental health. He created “Mental Health Mondays,” using his social-media platform to discuss those struggles and try to help other people experiencing their own. Years earlier, he tattooed the word “misunderstood” across his face, later explaining that he chose it because that was how he had felt throughout his life.

In December 2025, his disclosures became considerably more troubling. He spoke publicly about panic attacks, loss and the medications he was taking. He also expressed fear about medication withdrawal and frustration that, after seeing numerous psychiatrists, he felt he needed more direction in managing what he had been prescribed. He told followers that he was speaking because he hoped someone listening would realize that they were not alone.

There is something heartbreaking about that now.

We live in a culture that is very good at measuring what somebody has and remarkably bad at understanding what somebody carries. Presley Gerber had beauty. He had famous parents. He had money. He had access. He had opportunities most aspiring models could only dream about. None of those things tells us what it felt like to wake up inside his mind every morning.

That may be the hardest thing for people to understand about suffering. Pain does not conduct a financial background check before entering the room.

Money can buy excellent doctors. It can buy treatment, privacy, beautiful surroundings and opportunities unavailable to millions of other people. Those advantages are real and should not be romanticized away. But money cannot guarantee peace. Beauty cannot guarantee self-worth. Fame cannot guarantee that somebody feels seen. Loving parents cannot climb inside an adult child’s mind and repair everything hurting there. Sometimes the people who appear to have been handed the entire world are fighting battles invisible to everyone looking at them.

Presley’s life also reminds us how little a photograph tells us. We look at beautiful people standing on red carpets and unconsciously complete the rest of the story ourselves. Beautiful means happy. Wealthy means safe. Famous means fulfilled. Successful means whole. None of those equations is reliable.

Perhaps that is why the word Presley once chose to put on his face feels so haunting today: misunderstood. We cannot know everything he meant by it, and we shouldn’t pretend that we do. But we know that a young man surrounded by enormous privilege nevertheless felt misunderstood strongly enough to write the word across the face the world considered so beautiful. There is an uncomfortable lesson in that.

We spend enormous amounts of our lives chasing the things we imagine will finally make us safe from unhappiness. More money. A better body. A beautiful face. Recognition. Connections. The right family. The right address. The right career. We look at people who possess those things and think they have somehow crossed an invisible border into a life where ordinary human suffering cannot reach them. There is no such border.

Presley Gerber was someone’s son. He was someone’s brother. He was a young man who struggled, talked publicly about those struggles and tried to turn some of what he had experienced into something that might help another person. Whatever the medical examiner ultimately determines about how he died, that deserves to be remembered alongside the photographs, the famous surname and the headlines.

Twenty-seven is terribly young. And somewhere tonight, behind all the celebrity attached to this story, there is a mother and father who have lost their son and a sister who has lost her brother. Fame does not protect them from that grief either.

You can be gorgeous. You can be famous. You can be born into money, prestige and opportunity. You can seemingly have the world waiting at your feet. And you can still hurt.

Perhaps Presley Gerber’s life asks us to stop assuming we know who has everything.

Sometimes everything we can see has absolutely nothing to do with what is happening inside.

There are family secrets we inherit, family stories we repeat and family wounds we spend a lifetime trying to understand. In Crazy Mama: A True Story of Love and Madness, playwright Sharon Scott Williams turns her own family history into a theatrical examination of what happens when a child grows up loving someone she cannot save.

Rubicon Theatre Company will bring the Off-Broadway premiere of Williams’ autobiographical play to 59E59 Theaters this fall, with Linda Purl taking on an extraordinary 16 characters under the direction of Anson Williams. Will Huse joins her as The Blues Man.

For television audiences, the director Anson Williams remains instantly associated with Warren “Potsie” Weber on the iconic series Happy Days, but his career behind the camera has been extensive, directing hundreds of hours of television. There is also a delightful bit of Happy Days symmetry in his collaboration with Purl: she played Ashley Pfister, Fonzie’s girlfriend, during the series’ tenth season. Decades later, the two are reunited on considerably darker territory, with Williams directing Purl through a story in which comedy and heartbreak live uncomfortably close together.

The story begins just days after Sharon’s eighth birthday. Racing home from school to beat her teenage brother, Spikey, to the final piece of birthday cake, she walks into the kitchen and finds her mother holding a knife. The sheriff takes her mother away, and a deputy gives the little girl an explanation both brutally simple and wholly inadequate: her mama is “not right in the head.”

What follows is not simply a story about mental illness. It is the story of a daughter who spends decades believing that if she loves fiercely enough, tries hard enough or somehow finds the right answer, she can rescue her mother.

That distinction gives Crazy Mama its emotional center. Mental illness affects the person living with it, but its reach rarely stops there. It changes marriages, childhoods, siblings and entire families. Williams writes from the perspective of someone who knew both the love and the fear inside that experience.

“Mental illness affects one in four people, but all-too-often individuals and families don’t speak of their experience and hide their pain,” Williams says. “I was lucky. I had my family to help me through it, but there were times we were afraid to talk about it. Crazy Mama is a story that helps lift that stigma.”

Rather than treating its subject with unrelenting solemnity, the play is laced with humor as well as pathos. That matters. Families living through extraordinary circumstances still laugh, fight over birthday cake, irritate one another and get through Tuesday. Resilience isn’t always heroic. Sometimes it is simply continuing to love someone when love cannot fix what is wrong.

For Purl, whose career has moved easily between stage, film and television, Crazy Mama presents a formidable theatrical challenge. Sixteen characters pass through a single performer, requiring not merely vocal or physical transformation but the creation of an entire family and world around one woman’s memory.

The production arrives in New York following its world premiere at Rubicon Theatre Company in Ventura, California, in March 2025. Rubicon Producing Artistic Directors Karyl Lynn Burns and Jonathan Drahos now bring the work east for its Off-Broadway debut.

The creative team includes Brian Gale, who provides lighting and projection design, and Lindsay Jones on sound design. Alexandrea Hess Rodriguez serves as production stage manager, with Stephanie Coltrin as associate producer.

At its heart, Crazy Mama asks a difficult question: What happens when the person you desperately want to save is someone you do not have the power to save?

Williams lived that question. Now Linda Purl will become the 16 people who helped her tell the story.

Performances begin September 16, with opening night set for September 22. The limited engagement runs through October 18 in Theater C.

Crazy Mama runs two hours and five minutes, including intermission, with performances Tuesday through Friday at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m., and Sundays at 2:30 p.m. Tickets are $42, including the $2 fee, through 59E59 Theaters, by phone at 646-892-7999, or at the box office at 59 East 59th Street.