Kelly Rizzo shows incredible strength in the face of grief

Kelly Rizzo announced her new relationship to the world during a 2024 Grammy Awards viewing party. She has now made her relationship with actor Breckin Meyer official on Instagram.

On Tuesday, the widow of comedian Bob Saget wished her partner a happy birthday on social media, which was their first joint message in the public domain. “Grateful for your birthday! Rizzo, 44, wrote on social media, “To the man who is kind, sweet, silly, thoughtful, completely hilarious, handsome, understanding, charming, forever curious, compassionate, witty, warm & wonderful.” “Today should be spent celebrating you forever!🎂❤️🎉,” she continued.

Actress Jana Kramer replied, “I love this so much,” and actress Caitlin Crosby wrote, “Oh it’s instagram offish!!! 🥰🥰🥰.”

 Regarding her new partnership, Rizzo told E! that it took her “a while” to “get to the point where” she felt at ease dating once more. She remarked, “It means so much to me that he always asks questions about him and keeps him in the conversation.”

Even though Rizzo didn’t require Bob’s daughters’ approval, it was important to her to have their blessing because it fit her perception of what was right in that circumstance.

The journalist remarked, “It would be wonderful to think that Bob would want me to be happy too, but to hear it from them is just a totally different level.” Simply hearing, “Hey, we trust you,” meant the world to me. We cherish you. We want you to be happy and we believe you’ll do what’s right.

Saget and Rizzo were wed for four years before he passed away in 2022.

About Rizzo’s new partner, Breckin Meyer, he is most recognized for the cult favorite Clueless from the 1990s.In addition, Meyer has produced and written; she was the brains behind Men At Work.

Deborah Kaplan, a filmmaker, and Meyer were previously wed from 2001 to 2014. The couple has two daughters together.

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Child star Mara Wilson, 37, left Hollywood after ‘Matilda’ as she was ‘not cute anymore’

The world first fell in love with the endearing Mara Wilson in the early 1990s. She was a child actor best remembered for her roles as the bright young girl in beloved family films like Miracle on 34th Street and Mrs. Doubtfire.

The rising actress, who turned 37 on July 24, looked like she was ready for big things, but as she got older, she lost her “cute” factor and vanished from the big screen.

She continues, “If you’re not cute anymore, if you’re not beautiful, then you are worthless. Hollywood was burned out on me.”

To find out what happened to Wilson, continue reading!

When five-year-old Mara Wilson played Robin Williams’ youngest kid in Mrs. Doubtfire in 1993, she won over millions of fans’ hearts.

When the California native was invited to feature in one of the highest-grossing comedies in Hollywood history, she had already made appearances in advertisements.

“My parents grounded me even though they were proud of me.” My mother would always tell me that I’m just an actor if I ever stated something like, “I’m the greatest!” Wilson, who is now 37, remarked, “You’re just a kid.”

Following her big screen premiere, she was cast in 1994’s Miracle on 34th Street as Susan Walker, the same character Natalie Wood had performed in 1947.

Wilson describes her audition as follows: “I read my lines for the production team and told them I didn’t believe in Santa Claus” in an essay for the Guardian. “But I did believe in the tooth fairy and had named mine after Sally Field,” she writes, referring to the Oscar-winning performer who portrayed her mother in Mrs. Doubtfire.

“Very unhappy”

Next, Wilson starred with Danny DeVito and his real-life wife Rhea Perlman in the 1996 film Matilda as the magical girl.

Additionally, Suzie, her mother, lost her fight against breast cancer in that same year.

“I wasn’t really sure of my identity.I was two different people before and after that. Regarding her profound grief following her mother’s passing, Wilson explains, “She was like this omnipresent thing in my life.””I found it kind of overwhelming,” she continues. I mostly just wanted to be a typical child, especially in the wake of my mother’s passing.

The young girl claims that she was “the most unhappy” and that she was fatigued when she became “very famous.”

She reluctantly took on her final significant role in the 2000 fantasy adventure movie Thomas and the Magic Railroad at the age of 11. “The characters had too little age. I reacted viscerally to [the] writing at 11 years old.I thought, ugh. I love it, she says to the Guardian.

“Destroyed”

Her decision to leave Hollywood wasn’t the only one, though.

Wilson was going through puberty and growing out of the “cute” position as a young teenager, so the roles weren’t coming in for him.

“Just another weird, nerdy, loud girl with bad hair and teeth, whose bra strap was always showing,” was how she was described.

“When I was thirteen, no one had complimented me on my appearance or called me cute—at least not in a flattering way.”

Wilson had to cope with the demands of celebrity and the difficulties of becoming an adult in the public glare. It had a great influence on her, her shifting image.

“I had this Hollywood notion that you are worthless if you are not attractive or cute anymore. Because I connected that directly to my career’s downfall. Rejection still hurts, even if I was kind of burned out on it and Hollywood was burned out on me.

Mara in the role of author

Wilson wrote her first book, “Where Am I Now?,” before becoming a writer. “Ancidental Fame and True Tales of Childhood,” published in 2016.

The book explores “her journey from accidental fame to relative (but happy) obscurity, covering everything from what she learned about sex on the set of Melrose Place, to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood.”

In addition, she penned the memoir “Good Girls Don’t,” which explores her experiences living up to expectations as a young performer.

In her Guardian column, she states, “Being cute just made me miserable.” It was always my expectation that I would give up acting, not the other way around.

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