Rosie O’Donnell returns for night two of guest hosting and talks about Trump bringing her back into the spotlight, her crush on Broadway actor Sydney James Harcourt from “Cats: The Jellicle Ball,” a new professional women’s baseball league called the WPBL, Trump waking up bright and early to name the Strait of Hormuz as a U.S. Territory, her 13-year-old Clay being diagnosed with Autism at a young age, and an adorable 3-year-old girl named Leona performs "Let It Go" from Frozen.
The death of Hayden Panettiere at just 36 years old is heartbreaking on its own. But as details of her final hours emerge, so too has renewed attention on something Panettiere herself spent years trying to tell the world: growing up in Hollywood came at an enormous price.
Panettiere was found unresponsive Sunday afternoon, August 16, at the Judson Mill Lofts in Greenville, South Carolina. Police and EMS were dispatched at approximately 1:51 p.m., and first responders attempted CPR. She was pronounced dead at 2:32 p.m. Authorities have said there were no preliminary indications of foul play.
The newly released emergency dispatch audio adds a disturbing detail. Responders can be heard discussing a possible “overdose” while reporting that CPR was underway. An acquaintance reportedly made the 911 call. But the word used by dispatchers should not be confused with an official finding about what killed Panettiere. The Greenville County Coroner’s Office completed an autopsy Monday and reported no visible injuries or trauma. Coroner Mike Ellis said the official cause and manner of death remain pending additional testing.
That distinction is crucial. Panettiere had publicly acknowledged a history of alcohol and opioid addiction, but as of Monday night, authorities had not determined that drugs caused her death. Toxicology and other testing could take time, and speculation should not be presented as fact.
Whatever the ultimate cause of her death proves to be, Panettiere’s struggles with addiction did not occur in a vacuum.
She had been working practically from infancy. Her mother put her into acting when she was only eight months old. In her memoir, This Is Me: A Reckoning, released just three months before her death, Panettiere described a childhood in which performing, pleasing adults and producing emotion on command became part of everyday life. She wrote about learning as a little girl to summon tears by imagining horrific things happening to people and animals she loved — a technique she later believed affected the way her brain processed fear and anxiety.
As an adult looking back on that childhood, Panettiere used an especially unsettling word to describe what the entertainment business had done to her: “groomed.” She said she had been conditioned to obey adults and perform what was demanded of her, even during dangerous situations on set.
Then came drugs.
Panettiere revealed years ago that when she was only 15, someone on her professional team began giving her what she called “happy pills” before red-carpet appearances so she would appear energetic during interviews. She said she didn’t understand at the time how inappropriate that was or what door it could open. Her substance use eventually expanded to alcohol and opioids as her fame increased.
That revelation alone raises a deeply uncomfortable question: Where were the adults whose job was supposed to be protecting this child?
Instead, a teenager whose livelihood depended upon being charming, attractive, available and energetic was allegedly being chemically helped to perform that role.
And Panettiere’s memoir suggests the dangers surrounding her were not limited to drugs.
Among the most disturbing revelations in This Is Me: A Reckoning were Panettiere’s descriptions of encounters with powerful and famous men.
At 19, she said she attended a gathering where an unnamed, highly respected Oscar-winning actor and directorapproached her as she prepared to leave. According to Panettiere, the man directed her attention toward his pants — and when she looked down, she discovered that he had exposed his genitals to her. She did not publicly identify him.
Another episode was even more frightening.
At 18, Panettiere said a woman she trusted brought her aboard a boat and ultimately put her into a bed with an undressed, famous man. Panettiere described him in her memoir as a famous British singer-songwriter in his 30s. She said she felt as though her body no longer belonged to her and eventually fled the room and tried to get off the boat.
She later explained why she did not identify the famous men in her book. Panettiere said she was concerned about legal consequences and about continuing to work in an industry populated by the very people she might be naming. She wanted to tell her own story without opening herself to lawsuits from powerful figures. (InStyle)
That fear says something larger about the imbalance of power in Hollywood. A famous actress with hit television shows, major movies and international recognition could still believe that identifying a powerful man who allegedly mistreated her might jeopardize her career.
There were other warning signs. Panettiere wrote that while she was 19, an unnamed NBC executive kissed her at a party. Her then-boyfriend Milo Ventimiglia wanted to confront the executive, but Panettiere asked him not to.
Individually, these incidents are disturbing. Together, they paint a picture of a very young woman moving through rooms filled with older, wealthier and more powerful adults while repeatedly being expected to navigate situations she should never have been placed in.
Panettiere later endured a documented abusive relationship with Brian Hickerson. Hickerson faced multiple domestic-violence charges involving Panettiere and ultimately pleaded no contest to two felony counts of injuring a spouse or girlfriend. He served jail time, received probation and was ordered to complete domestic-violence classes.
Panettiere eventually publicly acknowledged the abuse, saying in 2020 that she hoped speaking out would empower other people trapped in abusive relationships to seek help. Yet she continued struggling with addiction, trauma and the consequences of a life that had given her fame long before it gave her the emotional tools to deal with it.
Her addiction eventually became severe. She spoke openly about dependence on opioids and alcohol, treatment, relapse and trauma therapy. She also suffered postpartum depression after the birth of her daughter Kaya. At one point, her struggles became serious enough that she relinquished custody of her daughter to Kaya’s father, Wladimir Klitschko — one of the most painful episodes Panettiere later described publicly. (Vanity Fair)
It would be too simplistic to say that “Hollywood caused Hayden Panettiere’s addiction.” Addiction is complicated, and Panettiere herself took responsibility for choices she made.
But it would be equally dishonest to ignore the environment in which those choices developed.
She was a working performer before she could speak. She was taught to manufacture traumatic emotions as a child. She said someone working around her gave her pills at 15. She endured intense scrutiny over her appearance as a teenager. She described sexual misconduct by powerful men while barely out of childhood. She survived domestic violence. And all the while, an enormous industry continued making money from her talent.
The machinery kept moving.
Perhaps the cruelest part of Panettiere’s death is that she had finally begun putting all of this into words.
This Is Me: A Reckoning wasn’t simply a celebrity memoir. It was Panettiere taking ownership of a story that tabloids, producers, executives and strangers had been telling about her since adolescence.
“I get to tell people the truth,” she told Entertainment Weekly before the book’s publication. She said she hoped that sharing what she had survived might help other people realize they weren’t alone.
Only three months later, she was dead.
We still don’t know why.
The dispatch recording tells us that emergency personnel were responding to what was initially described as a possible overdose and that CPR was underway. The coroner tells us there were no visible traumatic injuries. Police say there is currently no indication of foul play. The autopsy has been completed, but the official cause and manner of death remain pending further testing.
Those are the facts we have tonight. Anything beyond them remains speculation.
But there is another question that doesn’t require toxicology results to ask.
How does a child become one of Hollywood’s most recognizable young stars, spend decades surrounded by agents, managers, producers, executives and other powerful adults, openly describe addiction, exploitation, harassment and abuse — and still end up feeling that she had to protect herself from the consequences of naming some of the people who allegedly harmed her?
Hollywood will undoubtedly celebrate Hayden Panettiere now. There will be tributes to Claire Bennet in Heroes, Juliette Barnes in Nashville, Kirby Reed in Scream, and the enormously talented child actor audiences watched grow up on screen.
Those tributes are deserved.
But if the entertainment industry truly wants to honor Hayden Panettiere, remembering her performances isn’t enough.
It should also listen to what she spent the final years of her life trying to tell us about what happened when the cameras weren’t rolling.
The first teaser for American Horror Story: 13 has arrived, and after more than a decade of largely self-contained nightmares, Ryan Murphy appears ready to bring his horror universe together on a scale the series has never attempted before.
Rather than introducing another completely new story, Season 13 is shaping up as an enormous crossover event, bringing back some of the most beloved — and terrifying — characters from American Horror Story’s past. According to Murphy, characters from multiple seasons are being drawn together to confront what he has described as an “ultimate evil.” Even more ominously, he has suggested that the threat could exist on a level beyond the Antichrist himself.
The newly released teaser gives audiences their first real taste of that concept. Jessica Lange is back as Murder House’sConstance Langdon, Evan Peters appears as Cult villain Kai Anderson, and several of the most recognizable figures from Coven make their long-awaited return. The teaser also resurrects John Carroll Lynch’s horrifying Twisty the Clown and the franchise’s original masked nightmare, Rubber Man.
But perhaps the most exciting news for longtime fans is the return of the witches.
Sarah Paulson is once again playing Cordelia Goode, Emma Roberts returns as Madison Montgomery, Gabourey Sidibe is back as Queenie, Frances Conroy returns as the unforgettable Myrtle Snow, and Angela Bassett once again embodies the legendary Voodoo Queen Marie Laveau. Billie Lourd is also returning as Mallory, while Leslie Grossman is back as Coco St. Pierre Vanderbilt — reconnecting the story not only to Coven but to the events of Apocalypse.
That distinction is important because Murphy has made clear that Season 13 isn’t simply Coven 3.
Although Miss Robichaux’s Academy and its witches appear to be central to the story, Murphy has said the new season reaches across the entire history of American Horror Story. The concept effectively transforms the anthology into a shared universe, allowing characters who once existed in separate stories — or only crossed paths occasionally — to inhabit the same nightmare.
That also explains why some of the returning actors won’t be playing just one character.
Jessica Lange’s return is particularly extraordinary. Murphy has revealed that Lange will reprise all four of her major AHS characters: Constance Langdon from Murder House, Sister Jude Martin from Asylum, Fiona Goode from Covenand Elsa Mars from Freak Show. It represents Lange’s biggest involvement with the franchise since she departed as a regular after Freak Show.
Fiona’s return could be especially important. As the former Supreme and Cordelia’s mother, her presence immediately raises enormous questions about the state of the Coven and how characters who have previously died are being brought back into the story.
Evan Peters is getting a similarly ambitious showcase. Murphy has said Peters will portray multiple previous characters, with confirmed returning identities including Tate Langdon, James Patrick March and Kai Anderson. Murphy has even discussed scenes requiring Peters to interact with different versions of himself.
Sarah Paulson will likewise inhabit several familiar roles during the season in addition to Cordelia, further suggesting that Season 13 won’t merely feature cameos. The boundaries between previous AHS stories appear to be collapsing.
And the returning faces go well beyond Coven and Murder House. Mat Fraser is returning as Paul the Illustrated Seal from Freak Show, Mena Suvari returns as Elizabeth Short — the Black Dahlia — and John Carroll Lynch is once again Twisty. Jamie Brewer is also returning as Adelaide Langdon.
Kathy Bates is part of the returning ensemble as well, adding another major AHS veteran to a cast already overflowing with familiar faces.
There will also be newcomers. John Waters, Madelaine Petsch, Joey Pollari and Paul Anthony Kelly are among the new additions to the AHS universe, with Murphy indicating that some of the new characters will play important roles in the central mystery. Ariana Grande had originally been announced for the season but subsequently withdrew because of scheduling conflicts with her Eternal Sunshine tour.
What remains deliberately hidden is exactly what could possibly be powerful enough to require all of these characters to come together.
The AHS universe has already faced witches, ghosts, demons, serial killers, vampires, aliens and Satan himself. Apocalypse went as far as pitting Cordelia’s Coven against Michael Langdon, the Antichrist, in a battle that literally determined the fate of humanity.
Season 13 apparently intends to raise those stakes again.
Murphy has remained secretive about the identity of the “ultimate evil,” but his comments strongly suggest that the returning characters aren’t simply being assembled for nostalgia. Something is bringing these different corners of the franchise together, and the witches may once again represent humanity’s best supernatural defense against it.
That makes the return of Coven particularly fitting. The witches have gradually become the connective tissue of the AHS mythology. Apocalypse established that characters and mythology from different seasons could directly collide, while Cordelia, Madison, Queenie, Myrtle, Marie Laveau and Mallory have already demonstrated that death itself isn’t necessarily permanent when sufficiently powerful magic is involved.
Season 13 now appears ready to take that idea much further.
Murphy has characterized the project as a kind of “greatest hits” celebration of American Horror Story, but everything revealed so far suggests something more ambitious than a parade of cameos. The concept seems designed to turn 15 years of disconnected horrors into pieces of one enormous supernatural story.
The number 13 is being embraced throughout the production as well. American Horror Story: 13 will consist of 13 half-hour episodes, an unusual shift from the longer episodes traditionally associated with the series. The season premieres Thursday, September 24, 2026, at 9 p.m. on FX, with streaming availability through Hulu.
And for fans who have spent years hoping to see Jessica Lange, Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Frances Conroy and other veterans together again, the teaser makes one thing clear:
American Horror Story isn’t simply returning for another season.
For its lucky number 13, the whole nightmare is coming together.
Actress Hayden Panettiere, the former child star who grew into one of television’s most recognizable actresses through acclaimed roles in Heroes and Nashville and later became a fan favorite of the Scream franchise, died Sunday, August 16, 2026, at the age of 36. Her representative confirmed her death to ABC News, which was among the first major news organizations to report the news Sunday evening. At this early stage, a cause of death has not been announced, and her representatives have not disclosed the circumstances surrounding her death. ABC reported that further details were not immediately available.
Born Hayden Lesley Panettiere on August 21, 1989, in Palisades, New York, Panettiere spent virtually her entire life in front of cameras. She began appearing in commercials as a baby and moved into television while still a young child, including roles on the soap operas One Life to Live and Guiding Light. Her early film career included memorable appearances in Remember the Titans (2000), in which she played the football-loving daughter of coach Bill Yoast, and the 2004 family drama Raising Helen. She also appeared in films including Racing Stripes, Ice Princess and I Love You, Beth Cooper, establishing herself as one of the relatively small group of child performers who successfully transitioned into an adult acting career.
Her breakthrough came in 2006 with NBC’s Heroes. As Claire Bennet, the seemingly ordinary high-school cheerleader who discovers that she possesses extraordinary regenerative powers, Panettiere became one of the faces of the enormously popular science-fiction series. Claire’s ability to survive otherwise fatal injuries was central to the mythology of the show, and the phrase associated with her character — “Save the cheerleader, save the world” — became one of the defining pop-culture catchphrases of the series. Heroes transformed Panettiere into an international star while she was still a teenager and remains one of the roles with which audiences most strongly associate her.
Panettiere demonstrated another side of her talent beginning in 2012, when she was cast as country-music star Juliette Barnes in ABC’s Nashville. Playing an ambitious young singer navigating fame, relationships, family problems and personal turmoil, Panettiere received some of the strongest reviews of her career. The role also allowed her to showcase her singing ability, with Panettiere performing numerous songs for the series and its soundtracks. Her performance earned her two consecutive Golden Globe nominations, in 2013 and 2014, for Best Supporting Actress in a television series. She remained one of Nashville’s central characters throughout its six-season run.
For horror fans, however, Panettiere became equally beloved as Kirby Reed in Wes Craven’s Scream 4 (2011). Kirby — witty, fiercely independent and exceptionally knowledgeable about horror movies — quickly became one of the film’s most popular new characters. For years, fans debated whether Kirby had actually survived the film’s Ghostface attacks. More than a decade later, Panettiere returned to the role in Scream VI (2023), confirming Kirby’s survival and reintroducing the character as an FBI agent investigating Ghostface killings. Her return was particularly significant because it marked Panettiere’s return to acting after several years away from Hollywood.
Away from the screen, Panettiere’s life included periods of profound personal difficulty that she eventually chose to discuss publicly. She spoke candidly about her struggle with alcoholism and substance abuse, as well as depression and the pressures she experienced after growing up in the entertainment industry. In her 2026 memoir, This Is Me: A Reckoning, Panettiere revealed that at one stage her alcoholism had become so severe that a doctor warned her she could be dead within five years if she continued drinking. She underwent extensive treatment and later spoke openly about recovery, describing both the physical consequences of addiction and her efforts to rebuild her life. Her memoir, released only months before her death, offered an unusually personal account of fame, addiction, motherhood, relationships and survival. There is currently no evidence connecting her previous problems with alcohol to her death, and with no cause of death announced, it would be inappropriate to speculate about such a connection.
Panettiere also endured a devastating family tragedy when her younger brother, actor and artist Jansen Panettiere, died unexpectedly in February 2023 at just 28 years old. His family later said he died from complications related to an enlarged heart, or cardiomegaly, and an aortic-valve condition. Hayden subsequently described losing Jansen as feeling as though she had lost “half of my soul,” and she continued to publicly honor his memory in the years following his death. In her memoir, she recounted receiving the call informing her that her brother had died and the overwhelming grief that followed.
Panettiere was also a mother. She welcomed daughter Kaya in 2014 with former fiancé and Ukrainian heavyweight boxing champion Wladimir Klitschko. Panettiere later spoke candidly about the painful decision for Kaya to live primarily with her father while Panettiere sought treatment. In interviews surrounding the release of her memoir, she stressed how deeply she loved her daughter and described living apart from her as one of the most difficult experiences of her life.
Beyond acting, Panettiere supported environmental and animal-welfare causes, particularly efforts to protect whales and other marine life, and served as an international spokesperson for the Whaleman Foundation.
Panettiere leaves behind a career spanning more than three decades despite a life cut extraordinarily short. To one generation she will forever be Claire Bennet, the indestructible cheerleader at the center of Heroes; to another she is the complicated and talented Juliette Barnes of Nashville; and to horror audiences she remains Kirby Reed, one of the most memorable survivors of the Scream franchise. Her career was remarkable not simply because of how young it began, but because she repeatedly reinvented herself — moving from child actor to television star, singer, dramatic performer and horror favorite.
Hayden Panettiere was 36. She would have celebrated her 37th birthday on August 21, just five days after her death.
Sandra Bullock and Nicole Kidman return as the beloved Owens sisters in a spellbinding new chapter filled with moonlit magic, family secrets, and supernatural adventure.
This time, the Owens family must face the dark ancestral curse that has haunted them for generations in what promises to be an unforgettable journey of magic, mystery, and mayhem.
Joining Bullock and Kidman is an incredible cast including Joey King, Lee Pace, Maisie Williams, Xolo Maridueña, Solly McLeod, Dianne Wiest, and Stockard Channing. Directed by Susanne Bier and based on Alice Hoffman’s novel The Book of Magic, this long-awaited sequel looks every bit as enchanting as fans hoped.
🧙♀️ Practical Magic 2 flies exclusively into theaters beginning September 11, 2026.
Who else got chills watching the trailer? 🌙
Trump claims a peace deal with Iran is coming any second, but he's been saying that for months. Jon Stewart takes a look at Trump's unimpressive track record as a negotiator, despite being the self-proclaimed best negotiator in the world, and pulls back the curtain on the president's "Art of the Deal" as merely the art of trolling. Plus, the Freedom 250 concert is falling apart as more and more headliners pull out, and TDS News Team alum Olivia Munn stops by to offer Jon Stewart a heartfelt tribute that was definitely not meant for Stephen Colbert.
A recent segment from Forx 32 has drawn attention after discussing controversial new claims involving unidentified flying objects and alleged extraterrestrial remains. The report highlighted statements from UFO researcher Jon Stewart, who discussed claims that government agencies may have recovered biological remains connected to four different alleged alien species. The discussion reflects the growing public fascination with UFO disclosure and unexplained aerial phenomena.
The claims are part of a larger wave of interest that has developed in recent years following congressional hearings, declassified military footage, and statements from former government officials regarding unidentified anomalous phenomena (UAPs). Supporters of disclosure argue that governments may possess information that has not been fully released to the public, while skeptics maintain that extraordinary claims require extraordinary evidence.
One of the most controversial aspects of the discussion involves allegations that recovered biological materials from multiple non-human species exist in government custody. These claims have circulated for years within UFO research communities but have not been independently verified through publicly available scientific evidence. The FOX 32 segment explored why such assertions continue to generate intense public interest and debate. ;
The topic has gained additional visibility as governments around the world have become more open about investigating unexplained aerial sightings. Military encounters with unidentified objects, including several well-publicized cases involving U.S. pilots, have led to increased calls for transparency. However, officials have generally stopped short of confirming any extraterrestrial origin for these phenomena.
Whether these latest claims ultimately prove credible or not, they demonstrate how the UFO subject has moved from the fringes of popular culture into mainstream news discussions. As public curiosity continues to grow, many researchers, journalists, and citizens are calling for more documentation, scientific analysis, and government transparency to determine what is fact, what is speculation, and what remains unexplained.
The first trailer for Practical Magic 2 is finally here, and it’s already stirring up excitement among fans of the original. If you haven’t seen it yet, it’s absolutely worth sharing—the tone looks beautifully nostalgic while still bringing a fresh, darker, and more magical edge. The visuals lean into that cozy, witchy atmosphere people loved the first time around, with hints of humor, sisterhood, and a deeper continuation of the Owens family story. It feels like one of those rare sequels that actually respects the original while expanding the world.
As for how this sequel came together, it’s been a long time coming. For years, there were rumors and fan demand, but getting the original cast aligned and the right script in place took time. The project finally gained momentum when key returning cast members showed interest in revisiting their roles, alongside a new generation of characters to carry the story forward. While details are still emerging, the film is expected to bring back core original stars while introducing new faces to expand the legacy. The official release date hasn’t been firmly confirmed yet, but it’s expected to arrive sometime in the near future—making now the perfect time to build hype and share the trailer while anticipation is high.
Today, several major international news agencies cited unnamed Israeli and U.S. sources saying the body of Iran’s Supreme Leader Ayatollah Ali Khamenei has been located and that his death has been confirmed by those officials following a targeted military operation. Reuters reported that an Israeli official claimed the body was found in Tehran after strikes hit leadership sites, and photographs of the body were reportedly shown to Israeli Prime Minister Benjamin Netanyahu and former U.S. President Donald Trump.
U.S. and Israeli government messaging framed the strikes as part of a broader offensive aimed at dismantling what they described as Iran’s capacity to threaten regional stability, including its missile and nuclear infrastructure.
However, Iranian officials have strongly denied these claims, with state media describing the reporting as psychological warfare and insisting Khamenei remains alive and commanding forces. There is no independent official confirmation yet from Tehran.
Ayatollah Ali Khamenei had ruled Iran since 1989, after the death of Ayatollah Ruhollah Khomeini, becoming one of the most enduring and powerful authoritarian leaders in the Middle East. As Supreme Leader, he wielded ultimate authority over Iran’s military, judiciary, and foreign policy, shaping Iranian power projection through support for proxy groups like Hezbollah and policies opposing U.S. and Israeli interests.
Under his leadership, Iran’s domestic politics were characterized by strict control over dissent and periodic mass protests, including large demonstrations in 2022 and again in 2026 that were met with deadly crackdowns. His tenure also saw regional conflicts expand, with Iranian influence in Iraq, Syria, Yemen, and Lebanon deepening despite international sanctions.
If confirmed, his death would mark a historic turning point for Iran. The Supreme Leader is not just a political figure but a central pillar of the Islamic Republic’s theocratic system. A successor would need to be chosen by the Assembly of Experts — a clerical body largely aligned with conservative factions — but there is no clear designated heir, raising questions about potential power struggles within Iran’s elite.
Internally, decades of centralized authority mean that removing the top leader could embolden both reformist and hardline factions. Some analysts see the moment as a possible catalyst for broader political transformation, while others warn the existing security apparatus — especially the Islamic Revolutionary Guard Corps — may absorb power and maintain continuity of the regime’s hardline orientation.
Externally, the event would reverberate across the Middle East and beyond. Regional rivals and allies alike have been closely watching U.S.–Iran tensions escalate over the past year. A confirmed power vacuum could trigger instability, shifts in alliances, and renewed conflicts given Iran’s role in proxy networks throughout the region.
Multiple reports describe the strikes that allegedly killed Khamenei as part of a coordinated military campaign by the United States and Israel, sometimes referred to in media as Operation Epic Fury or similar operational codenames. These attacks reportedly involved precision airstrikes targeting multiple Iranian leadership, military, and infrastructure sites across Tehran and other strategic locations.
U.S. leadership publicly acknowledged its role in planning and intelligence support for the offensive, framing the mission as a response to what they describe as existential threats posed by Iran’s missile programs and regional interventions. Israeli officials also took credit for targeting Khamenei’s compound directly.
Iranian government spokespeople, for their part, rejected foreign claims and described state media reports as misinformation, saying Khamenei was safe and in control of military operations. They have denounced the strikes as illegitimate assaults on Iranian sovereignty.
On February 20, 2026, the U.S. Supreme Court ruled 6–3 that Trump’s “emergency” tariffs imposed under the International Emergency Economic Powers Act (IEEPA) were not authorized by that law, and therefore were illegal. The core holding is simple: Congress writes tariff law, and IEEPA—an emergency sanctions statute—doesn’t clearly delegate a power as sweeping as across-the-board tariffs.
What the decision means legally is bigger than tariffs: it’s a major boundary on presidential power. The Court treated these tariffs as a “vast economic significance” move that requires clear congressional authorization, and it applied the Court’s modern approach that agencies/presidents can’t claim enormous new powers from vague statutory wording. In other words, the Court is signaling: if you want a president to have this kind of tariff power, Congress has to say so plainly—especially where the Constitution assigns taxing and trade powers primarily to Congress.
Practically, tariffs collected under the struck-down IEEPA theory should stop being assessed going forward, because the legal foundation has been vacated/invalidated. The messy part is what happens to money already collected: the ruling opens the door to very large refund claims, but it may not automatically mail checks—refund mechanics typically require claims processes, agency guidance (Customs/CBP), and potentially more litigation about timing and eligibility.
You’ll likely see a surge of follow-on legal fights in the Court of International Trade and related courts over how refunds are processed, whether interest is owed, and (3) how far back claims can go (deadlines/protests/administrative steps). Businesses that paid the duties will push for fast refunds; the government may argue for structured, slower processes or narrower eligibility depending on how the tariffs were paid and challenged.
Politically and economically, this ruling reduces the president’s ability to impose sweeping tariffs by simply declaring an “emergency.” But it does not end tariffs as a policy tool. The executive branch still has other, more traditional tariff routes (for example, trade statutes that explicitly contemplate tariffs and investigations), though they usually require procedures, findings, timelines, and are easier to challenge if shortcuts are taken.
What happens next is likely a mix of (1) administrative guidance on stopping collections and handling refunds, court-driven refund litigation unless Congress steps in with a clean refund mechanism, and “Plan B” tariff strategies using other statutes that have clearer tariff language. Net effect: the decision is a real check on emergency-power governance—it pushes tariff-making back toward Congress and structured trade-law channels, and it creates a near-term period of uncertainty while the refund and replacement-policy questions get resolved.
