Age: 56
male
Simon Baker (born 30 July 1969, height 5' 9¾" (1,77 m)) is an Australian actor and director. In his television acting career, he is best known for his lead role in the CBS television series The Mentalist as Patrick Jane and as Nicholas Fallin in The Guardian. In his film acting career, he is best known for the lead role of Riley Denbo in Land of the Dead and Christian Thompson in the film adaptation of The Devil Wears Prada, based on the 2003 novel of the same name. Simon Baker was born to a high school English teacher, Elizabeth Labberton, and a groundskeeper/mechanic, Barry Baker, on 30 July 1969, in Launceston, Tasmania. He was raised as a Roman Catholic. His parents divorced while he was still young. His mother later married Tom Denny, a butcher. Simon Baker also has a sister, currently a doctor in Australia, and three younger half brothers. By 1972, the family had moved from Launceston to Ballina, New South Wales, where Baker's parents hoped to secure better paying jobs. In 1986, he graduated from Ballina High School as Simon Baker-Denny, after completing his primary school education at St. Francis Xavier Catholic Primary School, also in Ballina.
In the shadowy recesses of a seemingly ordinary world, the Mandela Catalogue unfurls a tale of dread, where reality becomes a hunting ground for malevolent beings known as Alternates. These entities are shapeshifters, mimicking their human victims with unnerving precision, but beneath their facade lies pure malevolence. As people vanish or meet gruesome fates, the Alternates weave their insidious presence into everyday life, turning familiar faces into vessels of terror. The ordinary becomes a maze of suspicion and dread, where trust is a relic of the past, and every encounter could herald the end of one's sanity or life. The story spirals deeper into horror as the protagonists, ordinary individuals trying to comprehend the incomprehensible, face relentless psychological torment. They uncover cryptic broadcasts and messages revealing the Alternates’ invasion, each revelation chipping away at their sanity. The eerie soundscapes and visuals, distorted and fragmented, reflect the shattering of reality itself. The terror escalates as the protagonists realize the true horror lies not in the physical manifestations of the Alternates, but in understanding that these entities feed on fear, manipulating reality. Every shadow, every flicker of doubt, every whisper in the night could be the Alternates, making the safety of the known world a distant memory, replaced by an endless night of paranoia and existential dread.
