Latest news with #UnbreakableKimmySchmidt
Express Tribune
6 days ago
- Entertainment
- Express Tribune
Ellie Kemper ditches strict parenting structure for a relaxed summer with her sons
Ellie Kemper is ready to trade structure for spontaneity this summer. The 45-year-old actress and mom of two told Parents magazine that she's letting go of rigid parenting rules in favor of a more relaxed approach with her sons James, 8, and Matthew, 5. "I'm looking forward to having not as much structure," said The Office alum, acknowledging that while experts often stress the importance of routine, she believes summer offers a natural break. 'I think it's also nice to let some of the structure slide.' Kemper, who shares her children with husband and comedy writer Michael Koman, described her parenting style as 'constantly evolving.' She admitted that while their home has rules and boundaries, she's learning to adapt and ease up when necessary. Known for her cheerful roles on Unbreakable Kimmy Schmidt and The Office, Kemper has also been candid about her real-life parenting moments. On The Ellen DeGeneres Show in 2021, she shared how her son Matthew's first phrase was a polite 'No thanks,' joking that she deserved a medal for raising such a courteous toddler. She also spoke fondly about her older son, James, who is both respectful and independent. 'He'll say, 'Mom, you don't have to help me—I know you don't have a lot of patience left,'' Kemper recalled with a laugh. With summer here, Kemper seems ready to embrace more play, flexibility, and the joy of less structure—something many parents may find relatable.
Yahoo
12-06-2025
- Entertainment
- Yahoo
Harris Yulin, Actor in ‘Scarface,' ‘Training Day' and ‘Ozark,' Dies at 87
Harris Yulin, the ever-present Emmy-nominated actor who appeared in such films as Scarface, Clear and Present Danger and Training Day and on television in Frasier, Unbreakable Kimmy Schmidt and Ozark, has died. He was 87. Yulin died Tuesday of cardiac arrest in New York City, his family and manager, Sue Leibman, announced. More from The Hollywood Reporter John Cusack, Nancy Sinatra, Ronnie Wood and More Celebs Pay Tribute to Brian Wilson Brian Wilson, Heart and Soul of The Beach Boys, Dies at 82 Chris Robinson, '12 O'Clock High,' 'General Hospital' and 'Bold and the Beautiful' Actor, Dies at 86 Although he never found a starring role that made him a household name, Yulin was a familiar face who worked constantly during a career that spanned more than 50 years. 'I'm not that high-profile,' he admitted in a 2010 interview with The Irish Times. 'I just do the next thing that comes along.' On Broadway, the character actor performed in 1980's Watch on the Rhine, 1992's The Visit, 1997's The Diary of Anne Frank, 1999's The Price and 2001's Hedda Gabler. He also helmed off-Broadway productions of Baba Goya in 1989, This Lime Tree Bower in 1999 and The Trip to Bountiful in 2005 as well as a 1970 production of Candida at Canada's Shaw Festival and a 1995 staging of Don Juan in Hell for London's Riverside Studios. Yulin stood out as the corrupt Miami detective who tries to extort money from Al Pacino's Tony Montana in Scarface (1983), as the manipulative national security adviser who matches wits with Harrison Ford's Jack Ryan in Clear and Present Danger (1994) and as the corrupt cop Rosselli in Antoine Fuqua's Training Day (2001). On the lighter side, he played the judge whose courtroom is decimated by spirits in Ghostbusters II (1989) and the goofy scientist who creates four versions of Michael Keaton's Doug Kinney in Multiplicity (1996). Yulin more recently appeared on two Netflix series as Orson, the father of David Cross' character, on Unbreakable Kimmy Schmidt and as Buddy Dieker, an eccentric old man with a criminal past, on Ozark. Viewers might also recognize Yulin as Quentin Travers, head of the Watchers' Council, on Buffy the Vampire Slayer or as NSA director Roger Stanton on 24. He received his guest-star Emmy nomination in 1996 for playing a wiseguy with a girlfriend who presses Dr. Crane (Kelsey Grammer) for help on Frasier. Harris Yulin was born in Los Angeles on Nov. 5, 1937. He was abandoned as an infant and left on the steps of an orphanage. Yulin was adopted when he was 4 months old and raised in a Jewish household by a Russian family who gave him his last name. He said the 'life-changing' inspiration to become an actor came during his bar mitzvah. 'I enjoyed it so much,' Yulin said. 'Most of my friends had said that they didn't enjoy it, that it was a horrible thing to have to be up there before all those people, saying whatever they were saying, and I found the opposite to be so.' Yulin attended UCLA to study acting before heading to New York to hopefully establish a career in the theater. He made it to the stage in 1963 opposite James Earl Jones and Estelle Parsons in the James Saunders play Next Time I'll Sing to You, then appeared in Shakespeare's A Midsummer Night's Dream in 1964, Richard III in 1966 and King John in 1967. In 1970, Yulin debuted on the big screen opposite Stacy Keach in the offbeat comedy/drama End of the Road. The following year, he earned accolades for playing Wyatt Earp in the revisionist Western Doc alongside Keach as Doc Holliday. 'Its greatest strength is in the acting,' Roger Ebert wrote in his 1971 review of the film. 'Stacy Keach and Harris Yulin … have such a quiet way of projecting the willingness to do violence that you realize, after a while, that most Western actors are overactors.' 'There's a kind of private club of actors who have conspired to make Westerns: John Wayne, of course, and Lancaster, Eastwood, Douglas, Widmark, Mitchum and the rest. But they've made so many, many Westerns with each other, in different combinations, that they've established a kind of acting tone that you expect in ALL Westerns. Keach and Yulin are outside the club, are new to the Western and create Doc Holliday and Wyatt Earp out of new cloth.' Yulin later portrayed J. Edgar Hoover in the 1974 CBS telefilm The F.B.I. Story: The FBI Versus Alvin Karpis, Public Enemy Number One and Sen. Joseph McCarthy in the 1985 CBS miniseries Robert Kennedy and His Times. And on the Steve Allen PBS series Meeting of Minds, he was Leonardo da Vinci in one 1979 episode and Shakespeare in another. Yulin played a news anchor on a struggling TV station on the 1990-91 CBS drama WIOU and through the years appeared on many other shows, including Kojak, Ironside, Cagney & Lacey, Star Trek: Deep Space Nine, La Femme Nikita, The X-Files, Entourage, The Blacklist, Veep, Murphy Brown and Billions. Among Yulin's notable films were Night Moves (1975), St. Ives (1976), Another Woman (1988), Narrow Margin (1990), Murder at 1600 (1997), Bean (1997), Cradle Will Rock (1999), Chelsea Walls (2001), Rush Hour 2 (2001) and Norman (2016). Harris was prepping to start production this week with a role in the Michael Hoffman-directed MGM+ series American Classic, starring Kevin Kline and Laura Linney. Said Hoffman, 'Harris Yulin was very simply one of the greatest artists I have ever encountered.' Yulin was married to actress Gwen Welles (Nashville) from 1975 until her death in 1993 at age 42 from cancer. He married actress Kristen Lowman (Picket Fences) in September 2005, and she survives him, as does son-in-law Ted, nephew Martin and godchildren Marco and Lara. His also was predeceased by his daughter, actress Claire Lucido. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
New York Post
12-06-2025
- Entertainment
- New York Post
Harris Yulin, ‘Scarface' and ‘Ghostbusters II' actor, dead at 87
Harris Yulin, the stage and screen actor who was best known for his roles in the films 'Scarface' and 'Ghostbusters II,' has died. He was 87. Yulin died of cardiac arrest on Tuesday in New York City, his family and his manager, Sue Leibman, confirmed to The Post. 'Yulin was part of the vanguard of a generation who cared passionately about the craft of acting,' the statement read. 'This deep, lifelong dedication led to extraordinary, resonant performances that were a gift to audiences, the actors he worked with, and the art of acting itself.' Advertisement 10 Harris Yulin attends 'The Emperor's Club' premiere in Beverly Hills in Nov. 2002. Getty Images Yulin was born on November 5, 1937 in Los Angeles. He made his New York stage debut in 1963 in 'Next Time I'll Sing to You,' before making his Broadway debut in 1980 in the revival of 'Watch on the Rhine.' His next Broadway shows included 'The Price,' 'The Visit,' 'The Diary of Anne Frank,' 'Hedda Gabler' and more. He also directed many plays such as 'The Glass Menagerie,' 'The Trip to Bountiful' and ' The Man Who Came to Dinner.' Advertisement 10 Harris Yulin attends 'Our Lady Of Kibeho' opening night on Broadway in 2014. WireImage Yulin's first movie was the 1970 satirical black comedy drama 'End of the Road' starring James Earl Jones and Stacy Keach. He went on to appear in 'Scarface' (1983), 'Ghostbusters II' (1989), 'Clear and Present Danger' (1994), 'Bean' (1997), 'Rush Hour 2' (2001), 'Training Day' (2001), 'The Place Beyond the Pines' (2012) and more. 10 Harris Yulin, Bill Murray, Harold Ramis, Rick Moranis, Dan Aykroyd in 'Ghostbusters II.' ©Columbia Pictures/Courtesy Everett Collection Advertisement 10 Harris Yulin, Al Pacino, Steven Bauer in 'Scarface.' Moviestore/Shutterstock On television, Yulin was nominated for a Primetime Emmy Award for his guest role on 'Frasier' in 1996. He had a major arc on Netflix's 'Ozark,' as well as stints on 'Buffy the Vampire Slayer,' '24,' 'Veep,' 'Unbreakable Kimmy Schmidt' and 'Billions.' In a 2010 interview with The Irish Times, Yulin described himself as 'not that high-profile.' 10 Josh Charles and Harris Yulin in 'Unbreakable Kimmy Schmidt.' NBCU Photo Bank/NBCUniversal via Getty Images Advertisement 10 Harris Yulin, Jane Leeves, Kelsey Grammer, John Mahoney, David Hyde Pierce in 'Frasier.' NBCUniversal via Getty Images 10 Harris Yulin in the ABC tv movie 'Victory at Entebbe.' ABC 'I just do the next thing that comes along,' he said of his career. 'Whatever comes along that I want to do or that I feel I need to do. Oftentimes the things one does you don't think of doing or you have no idea that you're going to do.' According to his family, Yulin was working on the Michael Hoffman-directed MGM+ series 'American Classic' co-starring Kevin Kline, Laura Linney and Jon Tenney before his death. Yulin and Hoffman, 68, previously collaborated on the 2005 film 'Game 6.' 10 Harris Yulin in Canada in 1970. Toronto Star via Getty Images 'Harris Yulin was very simply one of the greatest artists I have ever encountered,' Hoffman said in a statement. 'His marriage of immense technique with an always fresh sense of discovery, gave his work an immediacy and vitality and purity I've experienced no where else.' 'And what he was as an actor, he was as a man, the grace, the humility, the generosity,' the director continued. 'All of us at 'American Classic' have been blessed by our experience with him. He will always remain the beating heart of our show.' 10 Harris Yulin with his wife Kristen Lowman at the 2016 Signature Theatre Gala. WireImage Advertisement 10 Harris Yulin at the 'A Bright New Boise' premiere in NYC in Feb. 2023. Getty Images for Signature Theatre Yulin notably dated Faye Dunaway from 1971 to 1972. They were co-stars in the 1971 Western film 'Doc.' He was married to actress Gwen Welles from 1975 until her death in 1993. Yulin is survived by his second wife, actress Kristen Lowman, son-in-law Ted Mineo, nephew Martin Crane, and godchildren Marco and Lara Greenberg. He was predeceased by his daughter, actress Claire Lucido.
Geek Tyrant
30-05-2025
- Entertainment
- Geek Tyrant
Tracy Morgan and Daniel Radcliffe's New Comedy Series From the 30 ROCK Crew Ordered by NBC — GeekTyrant
NBC is officially all in on The Fall and Rise of Reggie Dinkins , a new comedy series starring Tracy Morgan and Daniel Radcliffe. It seems like an unexpected pairing, but it sounds like it'll be a great show. The network has handed the project a full series order after announcing a pilot back in March. According to NBC's logline, the show follows 'a disgraced former football player (Morgan) on a mission to rehabilitate his image.' Radcliffe's role hasn't been detailed yet, but with his track record of offbeat and inspired choices ( Miracle Workers, Swiss Army Man, Weird: The Al Yankovic Story ), we're betting he'll bring something fun to the mix. Also joining the cast are Erika Alexander ( Living Single ), Bobby Moynihan ( SNL ), Precious Way, and Jalyn Hall. This marks a big 30 Rock reunion. Robert Carlock and Sam Means, the duo behind Unbreakable Kimmy Schmidt , are writing and executive producing. Tina Fey is also executive producing, alongside Eric Gurian from her Little Stranger banner, SNL vet Rhys Thomas (who's directing the pilot), and David Miner of 3 Arts. Universal Television is producing. Tracy Morgan, of course, played the iconic Tracy Jordan for all seven seasons of 30 Rock , even earning an Emmy nomination in 2009. As for Radcliffe, this isn't his first time working with this creative team. He previously appeared in Netflix's Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend interactive special. Are you excited to see Tracy Morgan and Daniel Radcliffe team up for this new comedy?
The Herald Scotland
15-05-2025
- Entertainment
- The Herald Scotland
Thanks to Netflix, you will never watch this Black Mirror ever again
Bandersnatch gave the viewer the choice of what story beats would play out through numerous choices. It was not just a simple forked path but innovatively tracked the viewer across multiple watches, contained secret scenes to unlock depending on what choices were made, and displayed alternate endings depending on the user's own Netflix history. It was, at once, active and reactive. A well-thought-out execution for such an overt gimmick. Read more: Netflix and the films no one is actually watching The deletion is prompted by the streaming giant removing its Branch Manager engine, tech built to host and contain the interactive elements from outside the capabilities of Netflix's usual interface. But the bespoke nature of this tech and the little care Netflix has towards preservation mean that experiencing these works as they were intended becomes impossible. Archivists can scrape scenes and approximate how the title should be viewed, but the genuine article now sits in a locked vault of code somewhere in the basement of Netflix HQ. It's not just Black Mirror: Bandersnatch that finds itself being erased from time and space altogether – it is any title on the platform that uses the interactivity features Netflix was once so gung ho on experimenting with. Also seeing the chop is Unbreakable Kimmy Schmidt: Kimmy vs the Reverend, Minecraft: Story Mode, and Carmen Sandiego: To Steal or Not to Steal, among others. Whatever is available on Netflix comes and goes, dependent on ever-changing licensing rights and the tedious process of expiry and renewal, but these interactive titles are owned and distributed by Netflix. It has long been assumed that such in-house titles are a permanent addition to their library, yet the recent decision to completely remove them betrays such confidence and conventional wisdom. Read more: Trump film tariff proves Scottish film cannot afford to sell out to Hollywood This raises some questions about digital preservation in the streaming era. Unlike traditional films or television, which can be archived properly and redistributed without much fuss if available, these interactive titles rely on specialised software to function and, without it, are lost entirely. How do we preserve such things in an environment that is so ephemeral and so unconsidered by its own makers? The crux lies in the impermanent nature of digital media. Even titles produced and owned by major platforms are no longer guaranteed to remain accessible. For fans of Bandersnatch, this means that unless Netflix reverses course or releases the title in a different format, its unique narrative vanishes without a trace. The move may also signal a shift in Netflix's strategy. Interactive storytelling, once seen as an innovative experiment, appears to have been deprioritised. While Bandersnatch was a critical and commercial success, later interactive titles failed to generate the same buzz. By sunsetting the Branch Manager engine, Netflix is definitively closing the book on this chapter of its history. There is a stark difference between the Netflix that once greenlit Bandersnatch and what arose after. Bandersnatch was produced in a streaming environment where money was thrown at the wall to see what would stick, where experimentation was encouraged, where notable auteurs like Martin Scorsese and David Fincher were given endless pots of money to make what they wanted, and where the platform was eager to differentiate itself from traditional television. Mindhunter, David Fincher's psychological serial killer series, was cancelled by Netflix due to financial issues (Image: Netflix) Netflix has now peaked in popularity, and its user base has declined for the first time in recent years. Focus on proven hits like Stranger Things, and the illusion of an endless stream of content to retain subscribers, regardless of quality, is now a safer and more financially sound direction for the waning giant. Film preservationists have long worked to rescue decaying reels collecting dust in warehouses and obscure forgotten releases from the abyss of history. Digital media has fixed a lot of the traditional problems associated with archival practices, but as seen here, it also presents new and unaccounted-for challenges. Some argue that piracy becomes a form of preservation in these cases. If corporations won't maintain access to their own works, fans and archivists must take matters into their own hands. But do archivists have to break the law to do what is for the greater good? For now, viewers hoping to revisit Bandersnatch or similar titles are left with few options – unofficial recordings, fan archives, or the slim chance of a future re-release. Bandersnatch remains a ghost in Netflix's servers – a relic of a time when the future of entertainment had the door open to more possibilities. Its removal is a reminder that in the digital age, nothing is guaranteed to last. Here today, gone tomorrow.
