Age: 65
male
Neil Richard Flynn (born November 13, 1960) is an American actor and comedian. He is best known for his roles as the Janitor in the medical comedy drama Scrubs (2001–2009) and Mike Heck in the ABC sitcom The Middle (2009–2018). After performing with numerous comedy troupes in the Chicago area during the 1980s, Flynn made his film debut in Major League (1989). During the 1990s, Flynn had supporting roles in the films Rookie of the Year (1993), The Fugitive (1993), and Magnolia (1999). He had a starring role in the comedy film Hoot (2006) and supporting roles in the films Mean Girls (2004) and Indiana Jones and the Kingdom of the Crystal Skull (2008). Other television roles include a starring voice role as XR on the ABC and UPN animated series Buzz Lightyear of Star Command (2000–2001) and a recurring role on Shrinking (2023–present).
Coonskin is a 1975 American adult animated satirical crime film written and directed by Ralph Bakshi. The film references the Uncle Remus folk tales and satirizes the blaxploitation film genre as well as Disney's racially controversial film Song of the South, also adapted from the Uncle Remus folk tales. The film's narrative concerns three anthropomorphic Uncle Remus characters, Br'er Rabbit (referred to as Brother Rabbit), Br'er Fox (referred to as Preacher Fox), and Br'er Bear (referred to as Brother Bear). They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. Originally produced under the titles Harlem Nights and Coonskin No More... at Paramount Pictures, Coonskin encountered controversy before its original theatrical release when the Congress of Racial Equality accused the film of being racist. When the film was released, Bryanston gave it limited distribution and it initially received mixed reviews. Later re-released under the titles Bustin' Out and Street Fight, Coonskin has since been re-appraised, recontextualizing the film as the condemnation of racism that the director intended, rather than a product of a racist imagination, as its detractors had claimed.
