Cindy Adams, veteran gossip columnist, has expressed frustration with what she perceives as the media’s disproportionate focus on deceased celebrities. In a recent commentary, Adams criticized outlets for dedicating extensive coverage and commemorations to well-known figures who have passed away, while comparatively little attention is given to living artists and personalities.

Adams referenced several current and past media portrayals, including the CBS television series “Elsbeth,” which features a central character reportedly inspired by her. She took issue with the show’s depiction of the gossip columnist as unsympathetic, defending her own reputation by highlighting her kindness toward family members, her husband, and even her colorist.

Turning to print media, Adams noted a recent edition of People magazine that prominently highlighted members of prominent families such as the Windsors and Kennedys, along with tributes to Princess Diana, Carolyn Bessette Kennedy, and Queen Elizabeth II—all deceased. She contrasted this with the relatively sparse coverage given to artists like Willem de Kooning, whom she remarked had only limited recognition despite his significance.

Adams also observed that other publications, such as The New York Times, have run features on the late David Hockney and Mike Nichols, as well as retrospectives on historic artists like Vincent van Gogh and Hieronymus Bosch. While acknowledging the importance of these retrospectives, she questioned the extensive focus on artists long gone, drawing attention to recent full-page spreads on Martha Graham, the pioneering choreographer who died decades ago.

Highlighting her personal connection to Graham, Adams recalled receiving mementos from the choreographer’s devoted assistant for years after Graham’s death. Eventually, she asked for such deliveries to stop, citing space limitations for her own materials. She noted that the centennial of Martha Graham’s dance company recently prompted considerable media coverage, including multiple full-page features in major New York newspapers.

Adams’ critique underscores a broader conversation about how media outlets allocate their resources and attention between celebrating legacies of the deceased and supporting the work and visibility of contemporary figures. While memorializing influential historical and cultural icons remains a significant journalistic practice, Adams challenges the balance, advocating for recognition that includes those still contributing to the cultural landscape.