EXCLUSIVE 70s soap legend shows off her famous red curls in rare outing on her 81st birthday... can you guess who?
The actress looked nearly unrecognizable minus her iconic Farrah Fawcett-inspired blowout and bombshell auburn red curls.
On Wednesday, July 9, she was seen picking up some takeout for a low-key 81st birthday celebration at home alongside a close collaborator on her show.
The actress is known for holding the longest run in soap opera history and playing the same character on the same show for over five decades.
The TV icon, who once joined the star-studded cast of Little House on the Prairie and made a brief appearance on the television adaptation, is also a Daytime Emmy winner for her famous soap opera portrayal.
She was also married to another famed actor from 1980 to 1982.
Can you guess who she is?
She's Suzanne Rogers! The award-winning TV star is known for her multi-decade career on the long-running series Days of Our Lives.
The vivacious beauty was spending time with the longtime costume designer for Days of Our Lives, Richard Bloore, on her birthday.
For her birthday look, Rogers was as glamorous as ever, looking half of her age as she strutted through the city in nude stiletto pumps.
She looked effortlessly chic as she paired a chocolate brown, boatneck top with a matching knit cardigan.
She paired the set with flowing, white pants covered in a brown, leaf-inspired pattern and a cream-colored camera bag.
She also modeled oversize, ombré-tinted sunglasses during her birthday outing in sunny Los Angeles.
She appeared to be sporting natural makeup for her day in the city as she stepped out from a BBQ restaurant and headed to her car.
She was previously married to silver screen star Sam Groom for two years in the early 80s before they ultimately separated and divorced.
The vivacious beauty was spending time with the longtime costume designer for Days of Our Lives, Richard Bloore, on her birthday
She also modeled oversize, ombré-tinted sunglasses during her birthday outing in sunny Los Angeles
The renowned actress, who boasts an award-winning, decades-spanning career on television, was last seen stepping out for a low-key shopping trip on another rare outing earlier this year back in March.
This comes after she recently celebrated the 51st anniversary of her continuous portrayal of her character Margaret 'Maggie' Horton Kiriakis (formerly Simmons) on Days of Our Lives last year.
For the same role, she previously won her first and only Daytime Emmy Award in 1979 for outstanding supporting actress in a drama series.
That March, the show's official Instagram account shared a video of the actress talking about her character.
She first portrayed the character in 1973 and has been making appearances in every season minus a short hiatus in 1984.
That year, the Virginia-born redhead revealed she was diagnosed with myasthenia gravis, a rare muscle disease that causes muscles under voluntary control to feel weak and get tired quickly, according to the Mayo Clinic.
For the same role, she previously won her first and only Daytime Emmy Award in 1979 for outstanding supporting actress in a drama series. She first portrayed the character in 1973 and has been making appearances in every season minus a short hiatus in 1984; pictured May 1979 at the Emmys
The disease greatly impacted how much she could work, but the actress reportedly underwent remission shortly thereafter.
Last year, on the anniversary of her first appearance, she said about portraying Maggie Horton over the years. 'My character has grown,' she explained. 'She knows who she is now. And she's not relying on anyone to make her whole.'
Rogers added, 'She is who she is, and I think that's important for all of us.'
Her character Maggie started out on the show as a disabled women that married a lawyer, later going on to become a widow, struggling with alcoholism, owning two restaurants and becoming the CEO of Titan — even once being 'killed off' and then her character being revived.
Rogers also appeared in other shows and acting in episodes of Knight Rider; Little House on the Prairie; Quincy, M.E.; and Love, American Style.
The former Rockette got her start at Radio City Music Hall as well as numerous Broadway productions.
The actress, who was born Suzanne Crumpler, once said her stage name was inspired by Ginger Rogers, whom she previously cited as her inspiration for pursuing a career in the entertainment industry.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
24 minutes ago
- Daily Mail
Moment Sharon Osbourne beats up reality star to protect Ozzy goes viral after his death
A fiery throwback clip of Sharon Osbourne fiercely defending her late husband Ozzy is going viral following the rock icon's death on Tuesday at age 76, with fans praising Sharon's jaw-dropping loyalty. The moment, pulled from a 2008 episode of Rock of Love: Charm School, shows Sharon unleashing on contestant Megan Hauserman — who struck a nerve when she insulted Ozzy. 'The only thing you've managed to do as a celebrity is to watch your husband's brain turn into a vegetable,' Hauserman sneered. Sharon quickly turned to the audience and said, 'I feel so sorry for her,' before standing up, calmly taking a sip from her cup — and then hurling the rest of the drink in Hauserman's face. Security scrambled onto the stage as the situation escalated, but Sharon held her ground. 'They can f*** with me… I don't give a sh** — but not my family,' she told the stunned crowd with defiant flair. Hauserman later sued Sharon for battery and distress, while Sharon countersued, saying the reality star had assumed the risk and broken their agreement by suing. The case quietly settled in 2011 for an undisclosed six-figure sum. Now, with the resurfaced clip making the rounds, social media users are praising Sharon's undying devotion. 'The way she loved Ozzy is something not common,' one fan commented. 'She really, REALLY loved her husband.' 'Ozzy was so blessed to have someone as loving as she was,' one fan wrote. Another declared, 'Ozzy was the king of metal, but she was the queen. Never attack royalty.' 'GO Sharon,' one posted, while another added, 'She doesn't play when it comes to her man.' 'Yeaaass Sharon. Always stood by your man,' a fan chimed in. 'Yes Sharon! So much respect for that,' someone else wrote. 'Sharon is a boss,' said another. 'Icon, legend, moment,' read one viral comment. And one fan summed it up: 'Love Sharon for this. She's sassy and don't stand for disrespect. She's a real one!' The viral clip comes as Sharon spoke out for the first time since the death of her husband Ozzy, replying to heartfelt messages from fans. English musician Gavin Rossdale took to Instagram shortly after the news broke to pay tribute to the heavy metal icon. He posted: 'RIP OZZY - a great man -a true legend - i met ozzy through jack just a few times but he was so warm and kind and funny and i love that memory .sending much love to his family at this difficult time. Rest in power.' Sharon replied to his post: 'Bless you.' View this post on Instagram A post shared by The Archbishop of Banterbury🇬🇧 (@thearchbishopofbanterbury) The Black Sabbath legend's death was announced by his family on Tuesday night n a statement that read: 'It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. 'He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time. Sharon, Jack, Kelly, Aimee and Louis.' Osbourne married Sharon, the daughter of the band's manager Don Arden, on July 4, 1982. After having daughter Aimee, now 38, in 1983, the couple went on to have Kelly, 37, in 1984, and Jack, 36, in 1985.
The Guardian
an hour ago
- The Guardian
Covid, social media, Black Lives Matter: Ari Aster's Eddington takes 2020 on and mostly succeeds
Eddington, writer-director Ari Aster's polarizing new black dramedy, opens with a troubling sight: an unhoused and clearly distressed man walking through the New Mexico desert, bleating an incoherent ramble of modern buzzwords. Troubling not for the man, but for the content of his ramble and the time: late May, 2020. TikTok. My immediate reaction was a derogatory 'oh no'. Aster has specialized in gut-twisting, unworldly horror, the kind of brain-searing, highly symbolic shocks that linger for weeks; I watched large stretches of his first two features, the demonic family parable Hereditary and Swedish solstice nightmare Midsommar – through my fingers. But in Eddington, he took on not one but two insidious bogeymen haunting our psyches: phones in movies and Covid. Nearly every character in Aster's black satire of Covid-era upheaval possesses a device essential to modern life but often incompatible with cinematic storytelling. People trawl Instagram for updates on their crush, sell crafts on Etsy, watch videos on the Bill Gates microchip conspiracy, receive updates via Pop Crave. Sheriff Joe Cross (Joaquin Phoenix), the walking ego bruise of a protagonist in Aster's vision of a small western town, announces his snap campaign for mayor against nemesis Ted Garcia (Pedro Pascal) on Facebook Live. In one of many blows to his tenuous dignity, he discovers message boards of pedophilia panic frequented by his wife, Louise (Emma Stone); he's awakened from a depressed, drug-tinged sleep binge by frantic iMessages from his two hapless deputies. Such verisimilitude to how most of the movie-going public live our lives – online, on screens, absorbing toxic dosages of information in our own private bubbles – usually spells disaster for a Hollywood project. Decades into the internet era, most movies and TV shows still cannot get the internet right. Second screens are inherently un-cinematic, and the tighter the internet's hyper-loops of viral attention coil, the harder it is to capture in cinematic projects that usually spans years from conception to audience. Something almost always feels off – the interface distracting, the tone askew, the liminality and speed incongruous with the story. I can probably count on two hands the films that have captured digital life in a way did not feel inaccurate, didactic or self-important, let alone seamlessly woven it into story – Eighth Grade, Sweat, Tár, Dìdi, Past Lives. I remember them because it's still so rare; it is difficult to incorporate the mundane minutiae of screen life, tie oneself to time-stamped events, or tap into the propulsion of social media and succeed. It is just as tricky to burrow into an identifiable cultural moment without coming off as horrifically smug – both the climate emergency satire Don't Look Up and billionaire-skewering Mountainhead were so politically self-satisfied as to be nearly unbearable. Much has and will be said about Eddington's portent precarious ambiguity, its mid-act tonal shift and descent into violence, about Aster's divisive transformation from horror wunderkind to high-minded auteur. (I personally found the shift dubious and the second, should-be thrilling half a tedious slog, though in the hands of cinematographer Darius Khondji, everything looks fantastic.) But on this front – the task of handling real events on a real timeline with a real sense of the vanishing boundary between online and off – Eddington is a success. Aster's film touches so many of the third rails of modern cinema – the internet, screenshots, Zoom, celebrities, political figures, bitcoin, 9/11 – and yet somehow survives. It does so by grounding this admittedly bloated satire of political and social turmoil in a hyper-specific moment in late May 2020. Whereas the winners in the digital culture film canon usually succeed by using the phone screen as a window into one character's psyche – think the surveilling Instagram Live that opens Tár, or the Instagram scroll montage in Eighth Grade – Eddington aims for a specific cultural moment; phone lock screens keep time during a week deep in US lockdown, as frustration, anger, fear and outrage fester into outright chaos. My particular brand of brain worms means that I remember, in crystal-clear chronological order, the concerned Atlantic articles, to NBA cancellation, to Tom Hanks coronavirus diagnosis death spiral, to New York completely shutting down on 11 March, as well as the beginning of the Black Lives Matter protests after the murder of George Floyd on 25 May. What I chose not to remember, at least until watching a scene in which the sheriff refuses to wear a mask in a grocery store, prompting a showdown with frazzled employees, was the lost etiquette of 2020 – standing 6ft apart, silently judging those who wore their masks on their chins and those who policed, constantly assessing others' propensity for a fight. Traversing fault lines everywhere. Eddington's characters implode and tangle and lose their minds against this chillingly familiar backdrop – half-masked high-schoolers gathering in clumps outside, mask mandates handed down from the governor, virtual town halls. Some tumble down internet rabbit holes into delusion. (A too-broad, conspiratorial wellness guru, played by a too-intense Austin Butler, makes an unfortunate IRL appearance in Eddington.) Others follow Instagram to the growing ranks of BLM protests across the nation. Neighbors doubt neighbors, and even the mention of Black lives exposes barely hidden racial tensions. Everywhere, at least for the film's superior first half, there's a feeling of trepidation – a familiar disorientation from the rapid blurring of right and wrong, a deluge of high-octane headlines and a potent confusion of sympathies that cannot be resolved. Aster is not always fair in his rendering, sometimes stacking its deck in favor of the needling center that is Sheriff Joe. But the internet is going to flatten everyone into statements and identities, and Eddington takes swipes in all directions. Tár is nimbler at skewering so-called 'social justice warriors', though at least Aster captures how some white leftist activists are primarily driven by ego, how much of the body politic is straight-up id. About a quarter of the way through the movie, Joe confronts an onslaught of national anger with his own projection; he dismisses concern from deputy Guy (a savvily cast Luke Grimes from Yellowstone) about the Black Lives Matter protesters (or 'looters') seen on TV with a blanket 'that's not a here problem'. Except, of course, it is. Five years on, we have only just reached some critical distance from the rupture that, judging by the lack of retrospectives this March, no one wants to remember. In Eddington, that upside-down, unreal reality begins to come into focus. There is no such thing as a 'here problem'. Everything is an everywhere problem. At any point, the worst parts of the internet – which is to say, the worst parts of people – can descend on your town at terrifying speed. To see that environment rendered believably on screen is, ironically, the most thrilling part of it all. Eddington is out now in US cinemas and in the UK on 22 August
Reuters
an hour ago
- Reuters
Hollywood executive Peter Rice named head of ceremonies for 2028 Olympics
LOS ANGELES, July 23 (Reuters) - Organisers of the 2028 Los Angeles Olympics have named TV and film executive Peter Rice as head of ceremonies and content, marking the first time a major Hollywood figure will oversee the creative production of the Olympic and Paralympic ceremonies. Rice, who has had senior leadership experience with 21st Century Fox and The Walt Disney Company, will serve as lead executive producer for both the Opening and Closing Ceremonies in Los Angeles. "Our ceremonies will capture the energy, innovation and creativity of Los Angeles as well as the emotion that exists at the heart of every Olympic Games," Rice told Reuters in an interview. "The challenge is to welcome the world in a way that's not only memorable, but truly representative of LA's unique spirit - a city that stands at the crossroads of creativity, sports, and art." The British American producer will shape the creative vision and oversee production of all four ceremonies at two iconic venues: the historic Los Angeles Memorial Coliseum and the newly built SoFi Stadium. He said his experience with global sporting events like the Super Bowl, World Series, and FIFA World Cup has prepared him for the task, and emphasized that assembling a world-class production team was his top priority. "We need people with deep Olympic experience who can also tap into LA's creativity and energy," he said, adding that the selection of a production company is expected by year's end. LA28 Chairperson Casey Wasserman expressed enthusiasm for Rice's appointment, citing their 25-year friendship and Rice's unique blend of business, technical, financial and creative skills. "I knew he was our number one draft pick," Wasserman said. Rice, whose projects have earned 51 Academy Award and 293 Emmy nominations, hopes the ceremonies reflect Southern California's spirit of optimism. "It's a place where people go to pursue their dreams, and the Olympics are all about people's dreams," he said. The LA Games open on July 14, 2028, with the Paralympic Games following in August. It will be the first time Los Angeles has hosted a Paralympics.
