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'Three's Company' actress Suzanne Somers dies at 76_我的网站
一 | Suzanne Somers, the actress best known for her roles in TV comedies including "Three's Company" and "Step by Step," has died, her longtime publicist announced Sunday. She was 76 years old.“Suzanne Somers passed away peacefully at home in the early morning hours of October 15th," R. Couri Hay said in a statement. "She survived an aggressive form of breast cancer for over 23 years. Suzanne was surrounded by her loving husband Alan, her son Bruce, and her immediate family. Her family was gathered to celebrate her 77th birthday on October 16th. Instead, they will celebrate her extraordinary life, and want to thank her millions of fans and followers who loved her dearly."A private family burial will take place this week, Hay said, and a memorial will be held next month.Born Suzanne Marie Mahoney on Oct. 16, 1946, in San Bruno, California, Somers got her acting start in the late '60s and early '70s with small roles and bit parts in films like the 1968 Steve McQueen action classic "Bullitt," and Clint Eastwood's "Magnum Force" in 1973. That same year, she also had a brief but memorable appearance in the George Lucas-directed "American Graffiti," credited as "Blonde in T-Bird" who silently mouths the words "I love you" to star Richard Dreyfuss before driving away.Somers also appeared throughout the 1970s on hit TV shows including "The Rockford Files," "One Day at a Time," "The Six Million Dollar Man," "The Love Boat" and "Starsky & Hutch." However, her big break came when she was cast as the ditzy Chrissy Snow on the ABC sitcom "Three's Company" opposite Joyce DeWitt and the late John Ritter. The series, based on the British sitcom "Man About the House," revolved around the antics of three single roommates – Somers' Chrissy, Ritter's Jack Tripper and DeWitt's Janet Wood – living together platonically."Three's Company" was a hit, running for eight seasons between 1977 and 1984 and spawning several spinoff series. It also made Somers a sex symbol and household name. Before the show's fifth season, Somers famously demanded a raise from $30,000 an episode to $150,000, equal to what male co-star John Ritter reportedly was making then. When producers refused, Somers claimed health issues and declined to appear in two show episodes. Despite her popularity, her role was drastically reduced for the remainder of the season and she was fired when the season ended in 1981. Somers sued the show's producers for $2 million in response but received only a small fraction of what she asked.Widely criticized in the popular press for her "Three's Company" demands, Somers found it difficult for several years to secure acting, other than an occasional TV movie. She also starred on the short-lived, critically drubbed syndicated sitcom "She's the Sheriff" from 1987 to 1989. Somers also headlined a series of one-woman shows on the Las Vegas strip in the 1980s, which she reprised in 2015.To further help make ends meet, in 1990, Somers became the commercial spokesperson for the Thighmaster, a piece of personal exercise equipment meant to be squeezed between one's thighs to develop leg and hip strength. While the ubiquitous infomercials, featuring Somers in heels and a leotard, were widely lampooned, the product was a success, selling millions of units and earning Somers induction into the Direct Marketing Response Alliance Hall of Fame. Under her own business shingle, Somers ultimately began selling her own successful lines of personal products, including skin care, makeup, hair care and health products.Ten years after she was fired from "Three's Company," Somers scored her next big television role, when she was cast on ABC's "Step by Step" alongside "Dallas" alum Patrick Duffy. Similar to the plot of "The Brady Bunch," the sitcom starred Somers and Duffy as Frank and Carol, two single parents who married and blended their families, which consisted of three children each. Somers remained on this show, which was part of ABC's TGIF lineup until it changed networks for its final season, for its entire seven-season run, which ended in 1998.Somers worked sporadically in television in the years after "Step by Step" ended, including brief forays into talk. She gave Broadway a shot in 2005 with her one-woman show "The Blonde in the Thunderbird"– a reference to her cameo in "American Graffiti" more than 30 years earlier – featuring a collection of stories about her life and Hollywood career, but it closed after less than a week of performances due to poor ticket sales and bad notices. She also competed on season 20 of "Dancing with the Stars" in 2015 alongside her professional partner, Tony Dovolani, placing ninth.Somers battled breast cancer multiple times throughout her life. She was first diagnosed with the disease in 2000 during a routine mammogram and subsequently underwent a lumpectomy and radiation therapy for treatment, as well as seeking out alternative therapies. The actress opened up about additional bouts with breast cancer in 2023, telling ABC's "Good Morning America," "every now and then it pops up again, and I continue to bat it down.""This is not new territory for me. I know how to put on my battle gear and I'm a fighter," she continued at the time, adding that her husband had "been by my side every step of the way."Somers wrote numerous books, including memoirs, ones focused on health and wellness, cookbooks and even a collection of poetry. Her most recent was "Two's Company: A Fifty-Year Romance with Lessons Learned in Love, Life & Business," published in 2017.Somers was married twice. Her first marriage, to Bruce Somers, produced her only child, Bruce Jr., and ended in divorce in 1968 after three years. She met her future husband, Alan Hamel, in 1969 when she was a prize model on "Anniversary Game," the short-lived game show he was hosting. The two married in 1977 and remained together until her death.。 “Every role we take on simply expands the responsibility we already carry within.” The words felt inherent to the space… Ashish Shelar is a prominent Indian politician, lawyer, and one of Mumbai’s most recognisable public leaders. A senior figure in the Bharatiya Janata Party, he has served multiple terms as an MLA from Bandra West and held key organisational roles, including President of the Mumbai BJP. Known for his sharp legal mind and grassroots connections, Shelar has played a significant role in shaping Mumbai’s civic and developmental policies, championing issues related to education, urban infrastructure, and youth empowerment. He currently serves as the IT Minister and Cultural Minister of Maharashtra, roles in which he is driving digital growth, creative advancement, and cultural preservation across the state. Beyond politics, Shelar is deeply associated with sports and community initiatives. As former President of the Mumbai Cricket Association, he has supported major sports infrastructure and talent development. A Bandra boy at heart, Ashish Shelar remains an influential voice in Mumbai’s evolving public life. To understand Ashish Shelar is to recognise a figure shaped as much by Mumbai’s vibrant energy as by its quieter, inherited traditions. He is a man who has risen through the city’s layered terrain without severing himself from the places that first formed him. Years spent in a modest chawl did not merely define his beginnings; they created a lifelong grammar of community, discipline and instinctive empathy. His journey is not the familiar arc of a politician sculpted by circumstance, but that of a man who learned early that responsibility grows not from opportunity but from exposure to collective life. Those formative corridors shaped his sense of belonging long before public leadership entered his vocabulary. Even today, beneath the roles he carries, there remains the unmistakable presence of someone who has listened closely to the city’s heartbeat. He understands its festivals and its silences, its ambition and its anxieties, its need for celebration, and its longing for continuity. In Shelar’s public persona, there is a rare blend of assertiveness and accessibility, a combination that allows him to move with equal ease through the institutional corridors of government and the lived reality of people’s everyday concerns. He stands as part of a generation of leaders who have witnessed Mumbai reinvent itself repeatedly, and he carries those transformations within him with a sense of responsibility that feels both personal and civic. The door opened with the quiet certitude of a room designed for conversation rather than display. Inside sat Ashish Shelar, composed and unhurried, carrying the ease of someone who has grown from the same soil as the city he serves. Nothing about the setting felt performative. It had the atmosphere of a familiar Mumbai afternoon where stories drift into the air long before they were spoken aloud. As Rachana Shah and Rhythm Wagholikar took their seats, the room softened into a steady rhythm. Shelar seemed intent on speaking not as a political figure but as a man shaped by the everyday pulse of the city that raised him. What followed was an interaction that moved with an unforced grace. It was a conversation that did not rush to conclusions but allowed insights to surface with their own natural cadence. Memories blended with reflections, personal anecdotes mingled with convictions, and the portrait of a leader quietly deepened. By the time the discussion drew to a close, it felt less like an interview and more like a window into the making of a man who continues to carry Mumbai within him. The interview was warm, engaging, and revealing in its own gentle way, unfolding with the ease of a story that simply needed the right moment to be told. What follows are curated excerpts from a candid and wide-ranging interview with Ashish Shelar, conducted by Rachana Shah and Rhythm Wagholikar…. You grew up in a period that shaped Mumbai’s cultural and social identity. What part of that childhood shaped you? My childhood in a Mumbai chawl was my first schooling. Life unfolded in proximity. You heard your neighbour’s joys and anxieties; you witnessed their efforts and celebrations. You grew into every festival, every household, every shared courtyard. That instinct for coexistence shaped me long before I understood the words for it. It taught me informality, empathy, and a rhythm of belonging that no structured education can offer. Before public life found you, who were you as a young student or dreamer? I was a struggler. There was no early ambition for leadership or public life. I worked hard for better education, for opportunities that seemed modest at the time but mattered immensely. Circumstances kept illusions at a distance. Looking back, I now understand that destiny or perhaps the guidance of my Sadguru had placed the path long before I recognised it. Faith remains central to your life even with the pressures of public responsibility. What sustains that connection? I like being with people. Service has always felt natural to me, whether in development work, healthcare assistance or simple presence. Temple visits are an extension of the same instinct. They keep me aligned with the inner rhythm I rely on. Mumbai has reinvented itself many times. What is the soul of the city today?The soul of Mumbai lies in shared celebration. A society thrives when people come together. In my childhood, Navratri nights, Devikala Utsav, Vrinda Utsav and small school gatherings were part of our emotional landscape. I used to write the display boards for competitions. These details may appear small, but they created belonging. Keeping that spirit alive feels like an essential responsibility. Was there a turning point that shaped your entry into public life? When our chawl was demolished, we moved to Bandra. I was in class four. That move brought me to the RSS Shakha. I entered first to play but soon absorbed the discipline, the stories of Chhatrapati Shivaji Maharaj, the call of Vande Mataram and an early understanding of patriotism. Later came my years with ABVP as a full-time worker and then my journey through the BJP and Yuva Morcha. Each stage introduced its own discipline and widened my worldview. Among the cultural responsibilities you have held, which initiative remains closest to your heart? The UNESCO recognition of the twelve forts of Chhatrapati Shivaji Maharaj as a world heritage ensemble. Eleven forts in Maharashtra and one in Jinji, Tamil Nadu, were brought together under the understanding of the Maratha Military Landscape. For an entire cluster to receive recognition is rare. It has added significant value to our cultural and historical preservation, and this is one thing I hold closer to my heart. If you could highlight a lesser-known cultural treasure of Maharashtra, what would come to mind? There is no single answer,” he quietly smiled. “Our cultural depth stretches across languages, classical and semi-classical music, the energy of Lavani, the strength of theatre traditions, the devotion of the Varkari movement and the architecture of old temples and wells. Much of it has to be experienced rather than described.Politics can be emotionally demanding. How do you maintain balance? Sadhana. My connection with my guru. The guidance of Sai Baba. Daily discipline keeps the mind centred and prevents unnecessary restlessness. If you could pass on three cultural values to the next generation, what would they be? Humility, a mind free of ego and an alignment with nature. When you listen to your inner voice and stay close to nature, life aligns itself with you. Do sports, cinema and literature influence the modern Maharashtrian mindset? Human beings evolve through sensitivity. Films, music and theatre nurture emotional intelligence and expand imagination. They prepare individuals to be receptive and grounded. When your journey is written someday, which chapter would you hope stands out? I do not wish for any chapter to carry my name. Like for example, bringing back the historic sword of Chhatrapati Raghuji Raje Bhosale from London was meaningful, but it belongs to Maharashtra, not to any individual. Our life should be a dedication to humans and humanity. From grassroots worker to cultural minister, what essence defined the transition? Every stage widens your canvas. A ground worker thinks for the locality. A party worker thinks for the organisation. A representative thinks for the constituency. A minister thinks for the state. The thread that binds all stages is the ability to think for others. As the conversation drew to a natural close, the room remained exactly as it had been at the beginning, quiet and steady, untouched by the weight of the words that had passed through it. He carried the city’s shifts within him. He understood its silences, its speed, its contradictions, and its spirit. For Rachana Shah and Rhythm Wagholikar, the interaction became a portrait of a man shaped by Mumbai and now shaping it in return, with a clarity that felt both measured and unmistakably sincere. Also Read: Highlights From The 10th Filmfare Awards Marathi 2025。
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