đ„At 73, Agnes Moorehead UNLEASHED Her Fury: The 5 Actors She Secretly HATEDâAnd One Was a TV Icon!
By the time Agnes Moorehead turned 73, she had lived through Hollywoodâs most glamorous and vicious eras.
With a career spanning radio, film, stage, and television, she had seenâand enduredâit all.
But what no one expected was the firestorm of honesty that came pouring out in her later years.
According to biographer Charles Tranburg and long-time friends, Moorehead had a âprivate enemies listâ that she discussed only with her closest confidants.
These werenât petty grudgesâthey were deep-seated resentments that stemmed from betrayal, disrespect, and clashing egos.
Topping that list? Dick York, the original Darrin Stephens on Bewitched.
Though their on-screen interactions were limited, sources say Moorehead couldnât stand Yorkâs âlack of discipline and constant health excuses.
â According to a show insider, Moorehead once stormed off set after York botched a scene for the third time, muttering, âIâve worked with dying war veterans who had more stamina.
â She reportedly saw him as unprofessional and weak, and never forgave him for dragging down the showâs shooting schedule.
Even after he left the series due to chronic back issues, Moorehead allegedly said, âGood riddance.
The show might finally run on time.
Next on the hit list was a co-star from her Citizen Kane days: Joseph Cotten.
Though they shared the screen in one of the most acclaimed films of all time, Moorehead found Cotten âarrogant, insufferably smug, and dismissive toward women.
â During an afterparty, he allegedly belittled Mooreheadâs radio work, calling it âa warm-up act for real acting.
â Moorehead, who was fiercely proud of her radio roots and Orson Wellesâ Mercury Theatre, never forgot the slight.
She is quoted in a letter as saying, âCotten thinks charm excuses mediocrity.
It doesnât.
Heâs as deep as a martini glass.
Third on the list? None other than Charlton Heston.
The two appeared together in multiple Hollywood social circles and shared several dramatic readings for radio and stage in the 1950s.
But according to Mooreheadâs correspondence, she found Heston âcold, self-important, and emotionally unavailable.
â She allegedly clashed with him during a radio performance in 1954, accusing him of ignoring direction and refusing to rehearse.
One friend claimed she described Heston as âa granite statue trying to emoteâwithout success.
â She added, âHe can lift a chariot, but he canât lift a scene.
But things got even more personal with Elizabeth Montgomery, her co-star and on-screen daughter Samantha in Bewitched.
While fans adored the snarky chemistry between Endora and Samantha, Moorehead apparently resented Montgomery off-camera.
The rift reportedly began when Moorehead suspected Montgomery of siding with producers to tone down Endoraâs role in later seasons.
Tensions escalated when Montgomery allegedly showed up late to set one too many times, leading Moorehead to remark, âSheâs riding the show like a broomstick, and she thinks the sky belongs to her.
â Though they maintained a civil relationship in public, insiders claim Moorehead called her a âshallow divaâ in private.
And finally, in a twist that stunned even her closest followers, Moorehead allegedly saved her harshest words for Orson Welles himselfâthe very man who gave her one of her first major film roles.
Their working relationship was electric, but Mooreheadâs letters reveal years of resentment that built up after Welles consistently failed to give her due credit in interviews and appearances.
In one scathing note to a friend, Moorehead wrote, âHe loved to create greatness around himself, but not beside him.
I was his puppet until I wasnât needed.
He never said thank you, not once.
â She saw his genius, yesâbut also his ego, which she described as âbig enough to eclipse the sun.
â
What makes Mooreheadâs confessions so shocking isnât just the namesâbut the timing.
These were reflections she kept close to the chest for decades, only to be unveiled through private letters and audio diaries recorded in her final years.
She had nothing to gain by naming these namesâonly the catharsis of saying out loud what she had endured behind the stage lights and studio walls.
And to be clear, Agnes Moorehead wasnât known as a petty woman.
She was deeply respected in the industry, revered for her professionalism, range, and dedication to the craft.
But she was also a no-nonsense, iron-willed actress who refused to suffer foolsâand in her view, these five men had crossed the line between colleague and liability.
Biographers now believe these revelations help paint a fuller portrait of Mooreheadânot just as a performer, but as a woman fighting to be respected in a male-dominated industry where talent was too often overshadowed by egos.
âShe was brilliant, complex, and unapologetically sharp,â says historian Rachel Sterling.
âIf she hated someone, there was usually a damn good reason.
â
Though Moorehead died in 1974, her final reflections continue to spark conversations today.
As audiences revisit her work in Bewitched, Citizen Kane, and beyond, theyâll now see more than just a performerâtheyâll see a woman who endured the slings and arrows of Hollywood, and never forgot the names of those who made the journey harder.
In an era where celebrities are still pressured to âplay nice,â Agnes Mooreheadâs posthumous honesty is a bombshell reminder: even icons have limits.
And when those limits were crossed, she didnât just rememberâshe made sure everyone else would, too.
Â
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