EXCLUSIVE: Cue the “Nobody cares, Sean” memes — Scott Foley is coming back to Scrubs. He will reprise his fan-favorite character Sean Kelly on the upcoming second season of the ABC revival.

Foley’s return is being announced today at D23’s “Scrubs: Scrubbing Back” panel moderated by Foley and featuring series stars/executive producers Zach Braff (John “J.D.” Dorian), Donald Faison (Christopher Turk) and Sarah Chalke (Elliot Reid), along with showrunner/executive producer Aseem Batra.

Deadline can reveal that Foley will be recurring and, in a full-circle moment, Sean will go back to where his journey on the show started, dating Elliot (Chalke).

The duo will be rekindling their romance just as J.D. is embarking on a relationship with Charlie (Rachel Bilson), who was introduced in the Season 1 finale.

“Scott Foley’s back to be love interest for Sarah, and Rachel has been mine; the dynamic with us all together is just hilarious, and we’re having so much fun,” Braff told Deadline.

Added Chalke, “The writers were like, how do we bring back Elliot’s neurosis, and they thought that Scott would be a good way to do that.”

Foley made his Scrubs debut at the end of Season 1, when Sean, a marine biologist and animal trainer at SeaWorld, was admitted to Sacred Heart with Elliot as his doctor. The two had a brief fling before she dumped him.

Sean and Elliot reconnected again in Season 3 and dated for awhile, taking their relationship long-distance when Sean went to New Zealand. Elliot broke things off shortly after Sean returned as her romance with J.D. started to heat up, news Sean did not take well. He eventually moved on with J.D.’s baby mama Kim Briggs (Elizabeth Banks).

Foley had been on Scrubs creator Bill Lawrence’s wish list for the revival for awhile.

“I really want to have Scott Foley back, I want to have him back on the show just so Zach can say ‘Nobody cares, Sean,’” Lawrence said at PaleyFest in April, referring to the famous dismissive line J.D. uses in conversations with Sean on the original show. The catchphrase took on a life of its own and, two decades later, it continues to haunt Foley, with fans using it to respond to any post he puts up on social media.

In a January interview, Foley revealed that Braff had asked him to return in Season 1 of the new Scrubs and that he had been scheduled for an episode but the schedule could not be worked out.

“I’m sure we’ll find the time,” Foley said at the time as he was promoting his Prime Video series It’s Not Like That. The streamer ended up canceling the well received family drama after one season, and Foley’s two-season arc on Will Trent came to an end in May, rendering the Felicity and Scandal alum available.

In Season 2 of Scrubs, J.D., Turk and Elliot have leveled up from interns to icons at Sacred Heart. Now, the respected doctors inspire the next generation while balancing the ups and downs of working in a hospital. Together with characters new and old, they are navigating this next chapter with laughter, heart and some surprises along the way. Foley’s return certainly qualifies as one of the surprises.

In addition to Braff, Faison and Chalke, the Season 2 series regular cast includes Ava Bunn as intern Sam Tosh.

The original series’ creator Bill Lawrence serves as executive producer on the revival via his Doozer Productions alongside the company’s Jeff Ingold and Liza Katzer as well as showrunner Aseem Batra and stars Braff, Faison and Chalke. Scrubs is produced by 20th Television, a part of Disney Television Studios. The series will return to ABC Sept. 30 with a two-episode premiere, airing Wednesday and streaming next day on Hulu.

In addition to Scrubs, Foley has done three other Bill Lawrence series, Cougar Town, Undateable and Whiskey Cavalier. His upcoming movies include Keep Coming Back and August. He is repped by Gersh and Atlas Artists.

Written and directed by Michael Russell Gunn (“Designated Survivor,” “Billions”), “The Brink of War” tells a story less powerful because of its subject matter than the deeper truths — sociopolitical, but more importantly, humanistic — that it illustrates. Jeff Daniels stars as Ronald Reagan opposite Jared Harris as Mikhail Gorbachev in a dramatization of the Reykjavik Summit of 1986, where the world’s greatest superpowers first began to initiate the end of the Cold War. While the two actors make a meal out of the historic clash between the two leaders, Gunn’s lacking aptitude as a first-time feature director limits the drama that can be wrung out of two men — even these two men — bickering in a room with one another over the fate of humanity.

The film opens as Reagan frets to Secretary of State George Shultz (J.K. Simmons) that he has “failed,” after being unable to come to an accord with Gorbachev over the de-escalation of the Cold War. Seventy-two hours earlier, the world leaders had met at Gorbachev’s request and discussed winding down the nuclear arms race between the United States and the Soviet Union that, at that point, had resulted in a reported 70,000 missiles pointed at each other and world populations poised with dread. Reagan’s plan is to provoke Soviet leadership by preempting the main topic of conversation, instead leading with a request that Gorbachev allow the sister of famed classical musician and conductor Mstislav Rostropovich, who defected from Russia in the 1970s, to visit the U.S. for his own birthday. Reagan’s power play gets quickly undercut after Gorbachev proposes a shocking and unexpected reduction in arms — to 50 percent of the current numbers.

Quoting a Russian proverb doveryai, no proveryai — “trust, but verify” — Reagan embraces the proposal, and encourages both countries go even further with a “double-zero” plan, which would result in total nuclear disarmament over a ten-year period. But when Gorbachev questions the need for the U.S.’s in-development space militarization Strategic Defense Initiative, tempers flare and talks stall. In the meantime, Gorbachev’s wife Raisa (Branka Katić) uses the summit to generate good PR, staging a series of frivolous photo opportunities in Reykjavik for a group of international reporters (Aya Cash, Guy Burnet). Meanwhile, the First Lady (Hope Davis) remains back in the U.S., trying to quell mounting criticism for not joining her husband abroad.

In the context of moviegoing, 40 years doesn’t seem like that much time; but in the firehose of history, it’s practically an eternity. There have been multiple generations of audiences who now barely know what the Cold War was, much less felt its oppressive effects. As with Anthony Maras’ D-Day drama “Pressure,” released earlier this summer, our collective cultural amnesia over the events in “The Brink of War” practically makes the film an historical document. Also like “Pressure,” it chronicles granular or, less generously, not always especially thrilling machinations, pivotal though they may have been.

The film is skillfully cast. Even though neither Daniels nor Harris look much like the real-life people they’re playing, both possess plenty of actorly gravitas to convince audiences. But Gunn’s script treats the motivations behind Gorbachev, and especially Reagan, like mysteries to be solved, leaving it to his stars to elevate that structural sleight of hand into a meaty tete-a-tete on-screen.

The film is distributed by Angel Studios, the Utah-based distributor which emerged as a significant theatrical player with its blockbuster release of the dubiously factual sex trafficking drama “Sound of Freedom” (its success attributed, in part, to a “pay it forward” ticket-buying system that encouraged viewers to participate via QR code during the closing credits, replicated here with a post-credits message from Daniels). Consequently, it may not come as a surprise to learn that Reagan’s frequent, ego-driven monologues about American values in “The Brink of War” are invariably presented in hushed, sober tones of indisputable truth, as opposed to dramaturgical counterpoint to Gorbachev’s.

Gunn is no readier to factor even potential fallibility into his portrait of Reagan compared to the legions of modern conservatives who treat the president like their patron saint. Those politics dilute what could be a much more compelling discussion on screen about Western values, then and now, by effectively positioning the Americans not just as good guys, but “right” long before either leader sits down in Iceland. As opposed to a more shaded evaluation of Reagan, the film instead aims for sitcom vulnerability by emphasizing the president’s PTSD from his 1981 assassination attempt. For better or worse, the device gives his clenched fist a dual meaning, as the leader’s lingering anxiety calcifies into tenacious resolve.

The film’s other portraits of U.S.-Soviet conflict are even less sophisticated, from the public relations battle between Raisa Gorbacheva and Nancy Reagan to the literal line of white tape that separates the CIA and the KGB in the basement of Iceland’s Höfði house. Katić and Davis deliver sturdy performances that emphasize their characters’ stature as stateswomen who are as crafty as their husbands. (In the spirit of the FCC’s equal-time rule, Davis should portray Hillary Clinton in a different film or TV series; she looks exactly like her here, not Reagan.) In the roles of journalists whose reporting facilitates the First Lady face-off, Cash and Burnet offer an altogether contemporary read of political gamesmanship (especially its silliness), but add little dimension to the central conflict that unfolds away from the eyes of the public.

Simmons’ performance as Shultz, the political altruist frantically trying to broker an agreement between the two headstrong leaders, injects much-needed humanity into this showdown between two 800-pound geopolitical gorillas. But for a movie whose seeming purpose (much less marketing campaign) is to “keep the conversation going” as rejoinder to the tribalism that’s keeping our current political system gridlocked, Gunn ultimately proves too conciliatory to America’s perspective by the time Reagan and Gorbachev part ways. It should be noted that the depicted negotiations did not materially accomplish anything in real life.

“The Brink of War” is not without its virtues, but Gunn’s debut would likely be better served by premiering on a streaming service a la Daniels’ miniseries “The Comey Rule,” not least of which because its chief visual asset is some stunning Iceland photography. Certainly we’re in an era where anything that encourages deeper political conversation is a good, perhaps even necessary thing. But if you’re advocating that as a filmmaker, your material should be a little less certain from the outset which side of the debate is correct.

After reports of Sid Wilson‘s departure from Slipknot, the band has confirmed he is no longer part of the lineup.

In a statement that briefly appeared on the band’s website, they announced they would “no longer be associated” with the DJ and keyboardist, who joined the metal group in 1998 before they released their self-titled debut album the following year.

“Effective immediately, Slipknot will no longer be associated with Sid Wilson,” said the band in a statement, which was captured by Stereogum. “We wish him the best in his future endeavors.”

The announcement comes after TMZ reported in late July that Wilson had been kicked out of the band.

One of the original nine members of the band, Wilson’s exit comes after the departures of Craig Jones in 2023 and Chris Fehn in 2019, as well as the deaths of Joey Jordison in 2021 and Paul Gray in 2010.