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    Maid Marian's Memoirs

    John Ritter's widow gives UTHealth and her buxom boobs both their book due

    Caroline Gallay
    Dec 15, 2010 | 12:48 am
    • Amy Yasbeck

    Amy Yasbeck’s new memoir, With Love and Laughter, John Ritter is not all tears and tribute.

    Although it deals with her recovery following the sudden death of her husband, actor John Ritter, of an aortic dissection in 2003 on the fifth birthday of the couple’s daughter, Yasbeck’s humor — which is as fiery as her hair — abounds.

    I met with Yasbeck on her short stop in Houston to promote her book at Brazos Bookstore, and chatted at the Texas Medical Center about her writing process, her health advocacy and getting in with Mel Brooks.

    Of her audition for Brook's Robin Hood: Men in Tights, the actress recalls that the casting call demanded a twentysomething blonde, buxom, virginal actress with a British accent.

    "Let's just say I was 30 and none of the above," Yasbeck says. Ritter went over every line with her, morphing into Maid Marian as they reviewed.

    "He was flitting around the house pretending to have a bird on his finger," Yasbeck says, and she used the three or so things she could make believable and took them into the audition. As we all know, she got the part.

    As for the "buxom" mandate, Yasbeck admits that she "stuffed everything in my shirt that came in pairs," and remembers the incredulous look she got from a lingerie saleswoman when she purchased a 38DD bra for the role.

    Yasbeck surmises that the other infamous piece of her iconic Maid Marian costume — the hulking chastity belt — is being used as a planter somewhere. We joke that it was the original Spanx.

    But Houston readers of Yasbeck's tome will find more than insight into her acting career and relationship with Ritter. The book delves deep into Yasbeck and the Ritter family's work with UTHealth to raise awareness of aortic disease, with a chapter late in the book devoted to Dr. Dianna Milewicz's work in genetics.

    Yasbeck first reached out to Milewicz in 2005 after reading a series on aortic aneurysms in the Wall Street Journal that featured her work — a series that ultimately won the Pulitzer Prize.

    She brought Ritter’s brother Tommy to Houston along with Ritter’s children to be screened for genes that Milewicz had linked to aortic aneurysm — a potentially fatal bulge that results from a weakened wall in the aorta. Tommy ultimately also suffered an aortic aneurysm and had surgery to have his aortic arch replaced. Milewicz, who has since formed a close bond with Yasbeck and the Ritter family, says he likely would have died without screening.

    “What we're learning is that the same things that cause aortic problems cause problems in the whole vascular system. The Ritter’s father, Tex Ritter, also died suddenly of what now appears to be aortic disease, and it appears there is something familial,” Milewicz says.

    With Love and Laughter was years in the making. Yasbeck says she rejected the notion of using a ghostwriter, instead hunting for a talented editor to move around and repackage her seemingly endless material.

    "For years, since John died, I had been writing notes on napkins," Yasbeck says. "I would tell people to remember something like 'fish and chips' until I had pages of these couple-of-word expressions, and each one was a story I could tell you that turned into a paragraph, that turned into a chapter."

    Yasbeck says that though the book is something of a tribute to her late husband, her publisher, Simon & Schuster, encouraged her to explore herself and who she was before coming into the relationship.

    As a result, bookstores have a hard time deciding where to file it. "Some have it in grief and bereavement, some have it with the celebrity memoirs and some have it in the health section," Yasbeck says.

    Six hundred families are now enrolled in the John Ritter research program at UTHealth, including Ritter's four children. Five genes have been connected to the congenital heart defect that killed him, and the study is ongoing.

    Yasbeck's passion is persuasive. It's impossible to speak with her (she sounds as informed as any doctor) and not come away with a sense of the imperative. It's imperative that people stop being misdiagnosed and that their conditions stop being miscategorized as "cardiac events."

    Equally imperative as personal screenings is the knowledge base of first-responders. If a person suffering from an aortic dissection is treated for a heart attack with blood thinners, for example, it poses problems for surgery. The importance of correct first response is especially dear to Yasbeck — Ritter was being treated for a heart attack when he died.

    "The medical community has embraced the genetic risk of breast cancer," Yasbeck says. "This is just as important, and as much, if not more, of a genetic disposition."

    Although clearly impassioned, Yasbeck says it was difficult at times allowing Ritter's name and her face become the champions of awareness.

    "There was the pre-John Ritter awareness and the post-John Ritter awareness," Yasbeck says.

    She writes in her book about the scales of tragedy — how based on its pertinence to you, a devastating tsunami can seem distant and manageable while your own bathtub overflowing can seem like a personal tragedy.

    "With John, the scales of tragedy were blurred, because people felt like they knew him," Yasbeck says. "It's this kid you grew up with. And the public reaction was like, 'we can't let this happen to anyone else in our family.' "

    And with the continued work of UTHealth and Dr. Milewicz — who Yasbeck praises as an M.D. as well as a scientist, a person who sees both the person and the bigger picture — it won't.

    Editor's note: Don't miss Caroline Gallay's earlier story on Diana Milewicz's quest to fight sudden death and isolate the genes that killed John Ritter.

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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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