When Sarah welcomed a bouncing baby boy, she thought it would be the happiest day of her life. But an unexpected betrayal shattered her world, leaving her devastated and alone. She packed her bags and left with their newborn, forcing her husband to confront his priorities.
A few weeks ago, I gave birth to our beautiful baby boy, Luc. It was a tough pregnancy, filled with sleepless nights and constant worry, but it was all worth it the moment I held Luc in my arms.
The plan was simple: my husband, Tom, would pick us up from the hospital and we’d start our new life as a family. I imagined him cradling Luc, his eyes lighting up with joy. That image kept me going through the hardest days.
The day of our discharge arrived, and I was buzzing with anticipation. I had Luc wrapped in a cozy blanket, and every tiny sound he made filled my heart with warmth.
I kept glancing at the clock, each minute dragging longer than the last. Tom was supposed to be here by now. I checked my phone: no missed calls, no messages. My excitement began to twist into anxiety.
The nurse placed a comforting hand on my shoulder. “If you need anything, don’t hesitate to call the hospital,” she said softly.
“Thank you,” I whispered, my voice barely audible as I stepped inside, feeling more alone than ever.
I needed Tom to understand the gravity of what he had done. My heart pounded as I methodically packed a bag for me and Luc. Each item I placed in the suitcase felt like a nail in the coffin of my trust.
Tom truly was a changed man. He stepped up and became the supportive partner and loving father I knew he could be. He never missed an important moment again, whether it was a midnight feeding or a precious first smile. His priorities were in order, and he made sure we knew we were his world.
If you enjoyed this story, check out another dramatic tale: how a husband kicked his pregnant wife out of their home, only to be brought to his knees by her revenge. Click here to read the full story.
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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