Age: 48
male
Mark Jake Johnson Weinberger (born May 28, 1978) is an American actor. He starred as Nick Miller in the Fox sitcom New Girl (2011–2018), for which he was nominated for the Critics' Choice Television Award for Best Actor in a Comedy Series in 2013. He has also voiced a version of Spider-Man in the animated film Spider-Man: Into the Spider-Verse (2018) and its 2023 sequel. Johnson has also starred in Let's Be Cops (2014), and appeared in Paper Heart (2009), Safety Not Guaranteed (2012), 21 Jump Street (2012), Jurassic World (2015), The Mummy (2017), and Tag (2018). From 2022 to 2023, he starred in the comedy series Minx. In 2023, he made his directorial debut with Self Reliance. Description above from the Wikipedia article Jake Johnson, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Jake Johnson
Mario the Clown
for Mario the Clown in Coonskin
Suggested by demurelyhydrated
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.
