
Gary Sinise Opens Up About Leaving Hollywood, Son's Legacy, and His Mission to Serve Veterans
Gary Sinise, known for playing Lieutenant Dan in 'Forrest Gump,' shifted his focus from Hollywood to family and service almost exclusively following his son's cancer diagnosis six years ago. In a recent EpochTV 'American Thought Leaders'
Stepping Away From Acting to Focus on Family
Sinise's decision to step away from acting was driven by personal hardship. In late 2019, as his son Mac's health declined due to a rare spinal cancer, Sinise wrapped up his last acting jobs, including roles in 'Joe Bell,' 'I Still Believe,' and the series '13 Reasons Why.'
'Leaving home was getting harder and harder as Mac was getting more and more challenged with things,' Sinise said. By December 2019, he finished his acting commitments and began focusing entirely on his family and the Gary Sinise Foundation.
Mac, a talented musician and foundation staffer, battled chordoma for nearly six years. Despite his condition, he completed an album, 'Resurrection & Revival,' in 2023.
'He celebrated his 33rd birthday in the recording studio, recording an album in 2023 that he envisioned doing, and he was very disabled by this awful, rare cancer that took his life,' Sinise said. Mac's music continues to support the foundation's mission, with proceeds from album sales benefiting veterans and first responders.
Sinise's wife, Moira, also faced health challenges, undergoing multiple surgeries for stage 3 breast cancer.
'A month before Mac was diagnosed with cancer, she was diagnosed with stage 3 breast cancer. That was a hard summer—the 2018 summer. I had two cancer patients, you know, to care for, and that was tough,' Sinise recalled.
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Moira is now cancer-free, but the experience deepened Sinise's resolve to prioritize family and service.
A Life of Service Inspired by Family and History
Sinise's commitment to veterans began decades before his Hollywood fame. Influenced by Vietnam veterans in his wife's family and his own relatives who served in earlier wars, Sinise became aware of the challenges faced by veterans returning home.
'I started to feel very guilty and badly for what happened to them, you know, when they served in Vietnam and came home. So I wanted to try to do something back in the early 80s and in Chicago,' Sinise said.
This led to his involvement in the play 'Tracers,' written and performed by Vietnam veterans. The experience opened his eyes to the struggles of veterans and inspired his ongoing support.
Playing Lieutenant Dan in 'Forrest Gump' further deepened his connection to the veteran community.
'There's no question it played a greater role in my life than just a part in a movie,' he said. 'I very much wanted to honor our Vietnam veterans by doing a good job, you know, just playing a Vietnam veteran and in a way that they would feel was honorable and true and truthful.'
The Gary Sinise Foundation: Supporting Veterans and First Responders
Founded in 2011, the Gary Sinise Foundation supports veterans, first responders, and their families through a range of programs.
'We are here to support all those who serve and defend us on the military side—our veterans, our families that serve alongside them, our first responders, the families that serve alongside them, families of our fallen heroes and first responders—we have a role to play in supporting there,' Sinise said.
Key initiatives include:
Lieutenant Dan Band: Sinise's band has performed nearly 600 free concerts at military bases and hospitals worldwide over the last 20 years.
RISE Program: Builds specially adapted smart homes for severely wounded veterans. 'We just gave away our 95th house since I've been involved in this,' Sinise said.
First Responder Outreach: Provides support for first responders, including vehicles for those in need and memorials like the Brooklyn Wall of Remembrance, honoring those lost on Sept. 11.
Snowball Express: Brings children and surviving spouses of fallen military and first responder heroes to Disney World for healing and community. 'Every year, we take over 1,000 kids and the surviving spouse of military heroes to Disney World,' Sinise said. 'And then a couple of years ago, we started adding families of fallen first responders.'
A Philosophy of Service and Healing
Sinise believes that service is a powerful way to heal personal pain and strengthen communities.
'Service. I always say this is a great healer for a broken heart, and it helped me a lot through our fight for our son and the difficulties and the challenges of fighting for him and then losing him,' he said, adding that he didn't stop doing service work during that time. 'It was the thing that was helping me with our own battle at home,' he said.
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The Hill
11 minutes ago
- The Hill
Taylor Mac's ‘Prosperous Fools' skewers wealthy philanthropists in a biting satire
NEW YORK (AP) — Taylor Mac does not set out to bite the hand that feeds in a new play satirizing cultural philanthropy. The MacArthur 'genius grant' recipient claims to be 'just trying to get some lipstick on it.' Set at a not-for-profit dance company's gala, 'Prosperous Fools' invites questions about the moral value of philanthropy in a society denounced by the comedy as 'feudal.' A boorish patron goes mad trying vainly to wield his lacking creative capital and thus confirms the choreographer's fears of selling out to a sleazy oligarch who represents everything his art opposes. The show, written by Mac and directed by Darko Tresnjak, runs through June 29 at Brooklyn's Polonsky Shakespeare Center. 'I'm not trying to hurt anybody. I'm trying to get people to think differently about the world,' said Mac, whose gender pronoun is 'judy.' 'I just wish that all of the great philanthropists of America, and the world, would lead with, 'This is a temporary solution until we can figure out how to make a government of the people, for the people, by the people,'' Mac added. 'Instead of, 'This is the solution: I should have all the money and then I get to decide how the world works.'' Don't let present day parallels distract you. The fundraiser's honored donor enters atop a fire-breathing bald eagle in a black graphic tee, blazer and cap much like Elon Musk's signature White House getup. He later dons the long red tie popular in MAGA world. But the resemblance doesn't mean Mac is meditating solely on recent events such as President Donald Trump's billionaire-filled administration and tightening grip over cultural pillars including the Kennedy Center. The script reflects personal frustrations with philanthropy's uneven power dynamics navigated throughout a 30-year career spent in what Mac described as 'a million handshaking ceremonies,' first as a cater-waiter and eventually as one of the celebrated honorees who donates performances to help fundraise. Mac's desperate portrayal of the artist at the center of 'Prosperous Fools' only sharpens its skewering of wealthy philanthropists who take more than they give away. When the artist cries 'But why couldn't I have a good oligarch?' and bemoans that 'I should have stayed in the artistic integrity of obscurity,' it feels like a case of art imitating life. Mainstream success came last decade for Mac. 'A 24-Decade History of Popular Music' was a Pulitzer Prize finalist in 2017 and Mac's Broadway debut play 'Gary: A Sequel to Titus Andronicus' racked up seven Tony nominations in 2019. 'Prosperous Fools,' however, was written 12 years ago before much of the critical acclaim. Mac said 'someone with power' commissioned a translation of French playwright Molière's 'Le Bourgeois Gentilhomme,' which mocks a status-obsessed middle class social climber. Mac isn't surprised the original commissioner didn't want the final product. Molière is hardly present. And the play essentially advocates for an end to the perpetuation of culture that only the affluent deem worthy of funding. Mac is also unsurprised it took over a decade to land another interested producer. The initial 40-person ballet troupe had to be shrunk to a more affordable ensemble of four dancers. Plus, its style, in Mac's judgment, is still rather 'queer' for a 'heteronormative' theater industry. 'And then the other reason is because I insult donors,' Mac said. 'I don't think I insult donors,' Mac added. 'I ask donors to consider. And the theater is entrenched in making sure their donors feel good about themselves — not that their donors are in collaboration with us for us all to get to a place of better consciousness.' The show's slapstick humor helps break down its fairly cerebral subject matter. In one of several moments of hilarity, the patron and his 'philanthropoid' — the ballet's artistic director, whose primary concern is securing donations — sway around the stage oinking like pigs. Mac's artist delivers scathing and highbrow critiques while pretending to be 'The Princess Bride' actor Wallace Shawn in a puppet costume. The gala's other honoree — a star singer called the 'patron saint of philanthropy' who wears a gown adorned with impoverished children's faces — makes no bones about her lust for Shawn. But, as Mac knows, nonstop humor can have the effect of softening its target. 'Prosperous Fools' foregoes the actors' bows that typically end a play in favor of an epilogue, delivered by the artist in rhyming couplets, that serves as the show's final blow to 'philanthrocapitalism.' 'I want to be a tender heart in this too tough world trying to figure out how to maintain my tenderness and how to create revolution with tenderness. And I'm at a loss for it right now,' Mac said. 'Part of what the play is doing is saying, 'I'm at a loss. Are you? Do you have a solution for me?'' By skipping the curtain call, Mac practically demands that the crowd wrestle immediately with whether charity absolves wealth hoarders' greed — a question boldly put forth at the close of a Theatre for a New Audience season sponsored by Deloitte and Bloomberg Philanthropies. But whether the show's heavy-handed message has reached those financial backers remains to be seen. 'No one's spoken to me,' Mac said. Neither responded to requests for comment. ___ Associated Press coverage of philanthropy and nonprofits receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP's philanthropy coverage, visit


San Francisco Chronicle
3 hours ago
- San Francisco Chronicle
A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding
NEW YORK (AP) — Taylor Mac does not set out to bite the hand that feeds in a new play satirizing cultural philanthropy. The MacArthur 'genius grant' recipient claims to be 'just trying to get some lipstick on it." Set at a not-for-profit dance company's gala, "Prosperous Fools" invites questions about the moral value of philanthropy in a society denounced by the comedy as 'feudal.' A boorish patron goes mad trying vainly to wield his lacking creative capital and thus confirms the choreographer's fears of selling out to a sleazy oligarch who represents everything his art opposes. The show, written by Mac and directed by Darko Tresnjak, runs through June 29 at Brooklyn's Polonsky Shakespeare Center. 'I'm not trying to hurt anybody. I'm trying to get people to think differently about the world,' said Mac, whose gender pronoun is 'judy.' 'I just wish that all of the great philanthropists of America, and the world, would lead with, 'This is a temporary solution until we can figure out how to make a government of the people, for the people, by the people,'" Mac added. "Instead of, 'This is the solution: I should have all the money and then I get to decide how the world works.'' Don't let present day parallels distract you. The fundraiser's honored donor enters atop a fire-breathing bald eagle in a black graphic tee, blazer and cap much like Elon Musk's signature White House getup. He later dons the long red tie popular in MAGA world. But the resemblance doesn't mean Mac is meditating solely on recent events such as President Donald Trump's billionaire-filled administration and tightening grip over cultural pillars including the Kennedy Center. The script reflects personal frustrations with philanthropy's uneven power dynamics navigated throughout a 30-year career spent in what Mac described as 'a million handshaking ceremonies," first as a cater-waiter and eventually as one of the celebrated honorees who donates performances to help fundraise. Mac's desperate portrayal of the artist at the center of 'Prosperous Fools' only sharpens its skewering of wealthy philanthropists who take more than they give away. When the artist cries 'But why couldn't I have a good oligarch?' and bemoans that 'I should have stayed in the artistic integrity of obscurity,' it feels like a case of art imitating life. Mainstream success came last decade for Mac. 'A 24-Decade History of Popular Music' was a Pulitzer Prize finalist in 2017 and Mac's Broadway debut play 'Gary: A Sequel to Titus Andronicus' racked up seven Tony nominations in 2019. 'Prosperous Fools,' however, was written 12 years ago before much of the critical acclaim. Mac said 'someone with power' commissioned a translation of French playwright Molière's 'Le Bourgeois Gentilhomme,' which mocks a status-obsessed middle class social climber. Mac isn't surprised the original commissioner didn't want the final product. Molière is hardly present. And the play essentially advocates for an end to the perpetuation of culture that only the affluent deem worthy of funding. Mac is also unsurprised it took over a decade to land another interested producer. The initial 40-person ballet troupe had to be shrunk to a more affordable ensemble of four dancers. Plus, its style, in Mac's judgment, is still rather 'queer' for a 'heteronormative' theater industry. 'And then the other reason is because I insult donors," Mac said. 'I don't think I insult donors," Mac added. "I ask donors to consider. And the theater is entrenched in making sure their donors feel good about themselves — not that their donors are in collaboration with us for us all to get to a place of better consciousness.' The show's slapstick humor helps break down its fairly cerebral subject matter. In one of several moments of hilarity, the patron and his 'philanthropoid' — the ballet's artistic director, whose primary concern is securing donations — sway around the stage oinking like pigs. Mac's artist delivers scathing and highbrow critiques while pretending to be 'The Princess Bride' actor Wallace Shawn in a puppet costume. The gala's other honoree — a star singer called the 'patron saint of philanthropy" who wears a gown adorned with impoverished children's faces — makes no bones about her lust for Shawn. But, as Mac knows, nonstop humor can have the effect of softening its target. 'Prosperous Fools' foregoes the actors' bows that typically end a play in favor of an epilogue, delivered by the artist in rhyming couplets, that serves as the show's final blow to 'philanthrocapitalism.' 'I want to be a tender heart in this too tough world trying to figure out how to maintain my tenderness and how to create revolution with tenderness. And I'm at a loss for it right now," Mac said. "Part of what the play is doing is saying, 'I'm at a loss. Are you? Do you have a solution for me?'' By skipping the curtain call, Mac practically demands that the crowd wrestle immediately with whether charity absolves wealth hoarders' greed — a question boldly put forth at the close of a Theatre for a New Audience season sponsored by Deloitte and Bloomberg Philanthropies. ___
Yahoo
21 hours ago
- Yahoo
Scrubs Revival: Everything We Know About the Potential ABC Sequel Series
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The in-the-works Scrubs revival has locked in its leading man: TVLine reported on May 21 that Zach Braff closed his deal to reprise Dr. John Dorian (aka JD) in Season 10, which is still awaiting an official green light at the network. Attention now turns to closing deals with fellow legacy cast members Donald Faison (Turk) and Sarah Chalke (Elliot), who, along with Braff, are expected to return as series regulars. Additionally, TVLine hears that talks are underway with a number of OG Scrubs supporting players — Judy Reyes (Nurse Carla Espinosa) and John C. McGinley (Dr. Perry Cox), among them — to recur. 'My hope would be that we establish where everybody from [the original show] is,' series creator Bill Lawrence previously told TVLine, 'whether they're still with us at the hospital or not.' That also includes Neil Flynn (The Janitor) and Ken Jenkins (Dr. Bob Kelso): 'I hope Ken [who is now 84] is able to come play with us a little bit. He's a little older, but we love him so much.' 'The only bummer [about doing the revival], obviously, is that Sam Lloyd [who played hospital lawyer Ted Buckland] was such a huge part of the show, and he passed on [in 2020],' Lawrence has said. But other than Lloyd, you can expect to see all your favorites back. Lawrence has even said that, unlike Roseanne and Will & Grace, which found clever ways to erase their divisive finales from series canon once they were revived, Scrubs Season 10 will stay true to the developments of Season 9, which shifted gears (and locations) and focused on a quartet of newbies, including Kerry Bishé (Lucky Bennett), Michael Mosley (Drew Suffin), Dave Franco (Cole Aaronson) and Season 8 holdover Eliza Coupe (Denise Mahoney). That means the door is open for any (or all) of them to make guest appearances. 'I'm not against seeing those people, and I think it would be fun to have one of them zip by,' the EP said in December. 'But that [season], if you remember, was supposed to be a med school, and those people that were going through it would then go off into the world and land as physicians in places here, there, everywhere. What I think we will really be focusing on is a place where some of our core regulars' — AKA the legacy cast. There will, however, be a major change behind the scenes: Although Lawrence, who is under an overall agreement with Warner Bros., struck a deal that allows him to shepherd the 20th Television-produced revival, he will not serve as showrunner if Season 10 moves forward. Braff has said that the Scrubs revival will aim to capture the same humor and heart as the original run, but showcase a version of JD who has been 'beaten down by the system' over the last 15 years — an idea that Lawrence also expressed during a recent interview with TVLine: 'The hardest part is that Zach and Donald have aged,' the EP said with a laugh. 'People still have that affinity, and love, for that goofy youthfulness — it's why the T-Mobile commercials work so well. But if I saw two guys in their late 40s/early 50s doing 'World's Most Giant Doctor,' and carrying each other around all the time, I would go, 'What the f–k is going on,' you know? To see what that [friendship] looks like at their age, and [take] a comedic look at what medicine has become since those kids started out as interns, and see how our people would look at it, deal with it, and try to remain optimistic,' is their main objective. 'I will tell you that the people I based the original characters on, like the real JD [Dr. Jonathan Doris], is still the medical advisor on the show, and still a cardiologist and a heart surgeon in L.A.,' Lawrence revealed. 'But the real Elliot [Doris' wife, Dr. Dolly Klock] is no longer in medicine because it got to be too much for her, and she wanted to do other things that are equally as philanthropic. 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