Age: 82
male
Wallace Michael Shawn (born November 12, 1943) is an American actor, essayist, playwright, and screenwriter. He is known for playing Vizzini in The Princess Bride (1987), Mr. Hall in Clueless (1995), Dr. John Sturgis in Young Sheldon (2017–2024), and voicing Rex in the Toy Story franchise (1995–present). Shawn also appeared in The Bostonians (1984), Prick Up Your Ears (1987), Scenes from the Class Struggle in Beverly Hills (1989), Vanya on 42nd Street (1994), My Favorite Martian (1999), The Double (2013), Maggie's Plan (2015), and Marriage Story (2019). He appeared in six Woody Allen films including Manhattan (1979), Radio Days (1987), and Rifkin's Festival (2020). His television work includes recurring roles as Jeff Engels in The Cosby Show (1987–1991), Grand Nagus Zek in Star Trek: Deep Space Nine (1993–1999), Cyrus Rose in Gossip Girl (2008–2012), and Father Frank Ignatius in Evil (2022–2024). Shawn is also a playwright; his plays include the Obie Award–winning Aunt Dan and Lemon (1985), The Designated Mourner (1996) and Grasses of a Thousand Colors (2008). He wrote and starred, with Andre Gregory, in the 1981 avant-garde drama My Dinner with Andre, and played the title role in A Master Builder (2013), a film adaptation of Henrik Ibsen's play. Haymarket Books published his books Essays (2009) and Night Thoughts (2017). Description above from the Wikipedia article Wallace Shawn, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Wallace Shawn
Captain Cecil Wainwright
for Captain Cecil Wainwright in Great Big Beautiful Life
Suggested by vzzzzzzz
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
