WEBVTT 00:00:00.000 --> 00:00:02.580 Okay, let's unpack this. We are about to dive 00:00:02.580 --> 00:00:07.940 into the truly astonishing seven -decade -long 00:00:07.940 --> 00:00:10.359 career of an actress. I mean, her filmography 00:00:10.359 --> 00:00:13.060 is just a masterclass in professional contradiction. 00:00:13.460 --> 00:00:15.439 It really is. She started out looking like she'd 00:00:15.439 --> 00:00:18.100 be this, you know, serious, prestige, dramatic 00:00:18.100 --> 00:00:20.539 star. She got an Oscar nomination before she 00:00:20.539 --> 00:00:23.179 could even legally rent a car. Right. Only to 00:00:23.179 --> 00:00:25.719 then kind of intentionally pivot into becoming 00:00:25.719 --> 00:00:28.600 one of the most beloved and frankly... instantly 00:00:28.600 --> 00:00:31.760 recognizable comedic character actors in modern 00:00:31.760 --> 00:00:33.359 history. Yeah, we're talking about Carolyn Laurie 00:00:33.359 --> 00:00:35.380 Kane, or Carol Kane as we know her professionally. 00:00:35.659 --> 00:00:38.020 And when you look at her sources, that trajectory, 00:00:38.280 --> 00:00:40.579 it seems almost illogical, doesn't it? Totally. 00:00:40.719 --> 00:00:43.100 But maybe strategically brilliant. So our mission 00:00:43.100 --> 00:00:45.960 today is really to trace that jagged line of 00:00:45.960 --> 00:00:49.100 success from the really raw, gritty drama of 00:00:49.100 --> 00:00:53.259 1970s film through her Emmy -winning comedy reign 00:00:53.259 --> 00:00:55.920 on Taxi and right up to her current renaissance. 00:00:56.509 --> 00:00:58.030 You know, where she's holding court as this eccentric 00:00:58.030 --> 00:01:00.869 New York landlord and now unbelievably serving 00:01:00.869 --> 00:01:03.090 as Starfleet's chief engineer. That's the whole 00:01:03.090 --> 00:01:04.790 arc we're trying to chart here. We've pulled 00:01:04.790 --> 00:01:07.489 together her biography, her detailed filmography, 00:01:07.650 --> 00:01:09.909 basically everything we could find to understand 00:01:09.909 --> 00:01:13.049 how she built this really singular, unique persona. 00:01:13.900 --> 00:01:15.920 Yeah. We need to dissect those pivotal moments. 00:01:16.060 --> 00:01:18.359 You know, how did she move from those intense, 00:01:18.480 --> 00:01:20.700 dramatic roles? Why did that taxi pivot actually 00:01:20.700 --> 00:01:23.640 work? Right. And crucially, how did her signature 00:01:23.640 --> 00:01:25.879 characteristics, that voice, you know, the physical 00:01:25.879 --> 00:01:29.180 presence become her superpower? Especially when 00:01:29.180 --> 00:01:31.239 we know from the sources she personally kind 00:01:31.239 --> 00:01:33.519 of wrestled with those exact things. It's really 00:01:33.519 --> 00:01:36.200 a deep dive into longevity, isn't it? How does 00:01:36.200 --> 00:01:40.540 an actor survive? the industry's need to just 00:01:40.540 --> 00:01:43.040 categorize you, especially after a major award 00:01:43.040 --> 00:01:46.140 for high drama. Exactly. Well, Kane sort of solved 00:01:46.140 --> 00:01:48.200 that problem, didn't she? She basically created 00:01:48.200 --> 00:01:51.640 a new category entirely. One defined by maybe 00:01:51.640 --> 00:01:54.579 authenticity and a complete refusal to just settle 00:01:54.579 --> 00:01:57.650 into one single genre. Okay, so to really get 00:01:57.650 --> 00:01:59.569 the dramatic heights she hit so early, we have 00:01:59.569 --> 00:02:02.250 to start at the beginning. Carol Kane, born June 00:02:02.250 --> 00:02:07.189 18th, 1952, Cleveland, Ohio. Jewish family, roots 00:02:07.189 --> 00:02:10.430 across Russia, Austria, Poland. But her childhood 00:02:10.430 --> 00:02:13.610 seems less defined by one place, more by creative 00:02:13.610 --> 00:02:16.590 energy and just constant movement. Yeah, it sounds 00:02:16.590 --> 00:02:19.330 like an extremely mobile and, you know, intellectually 00:02:19.330 --> 00:02:22.699 stimulating upbringing. Yeah. probably prepared 00:02:22.699 --> 00:02:24.740 her perfectly for a flexible acting career, right? 00:02:24.800 --> 00:02:28.159 Her mother, Joy, was apparently this huge creative 00:02:28.159 --> 00:02:30.960 force, a jazz singer, teacher, dancer, and pianist. 00:02:30.960 --> 00:02:33.580 Wow. And her father, Michael Caine, he was an 00:02:33.580 --> 00:02:36.080 architect. And because of his job, she moved 00:02:36.080 --> 00:02:38.659 around a lot, gained exposure that... Honestly, 00:02:38.740 --> 00:02:40.800 few American kids back then would have had. Yeah. 00:02:40.919 --> 00:02:42.759 The sources mentioned living briefly in Paris 00:02:42.759 --> 00:02:44.580 when she was only eight, started learning French 00:02:44.580 --> 00:02:47.039 there, and then Haiti at age 10. Right. That 00:02:47.039 --> 00:02:49.360 kind of international experience, so young, it 00:02:49.360 --> 00:02:51.960 must have fed into the cultural sort of acuity 00:02:51.960 --> 00:02:53.860 and the linguistic skills she showed later in 00:02:53.860 --> 00:02:56.099 her roles. Absolutely. Adaptability was just 00:02:56.099 --> 00:02:58.479 built in. Then her parents divorced when she 00:02:58.479 --> 00:03:01.259 was 12. She was sent to Cherry Lawn School, a 00:03:01.259 --> 00:03:04.780 boarding school in Connecticut, until 65. But 00:03:04.780 --> 00:03:07.500 the creative training kept going. She was studying 00:03:07.500 --> 00:03:09.900 theater at HB Studio, attending the professional 00:03:09.900 --> 00:03:12.340 children's school in New York City. So very focused 00:03:12.340 --> 00:03:14.340 early on. And here's where it gets kind of remarkable 00:03:14.340 --> 00:03:17.400 how early the professional rigor kicks in. This 00:03:17.400 --> 00:03:21.460 wasn't some slow build. By 14. She already had 00:03:21.460 --> 00:03:24.400 her SAG card and her actor's equity card. Incredible. 00:03:24.580 --> 00:03:26.580 That says so much about her precociousness, the 00:03:26.580 --> 00:03:29.340 intensity of her early training. Her professional 00:03:29.340 --> 00:03:33.020 stage debut was 1966 in The Prime of Miss Jean 00:03:33.020 --> 00:03:35.240 Brody. Just think about that tagline for a second. 00:03:35.580 --> 00:03:39.039 Professional career starts in 66. She's basically 00:03:39.039 --> 00:03:41.960 a child, but operating at a fully professional 00:03:41.960 --> 00:03:44.719 level. Yeah. And that foundation, you know, in 00:03:44.719 --> 00:03:47.159 stage rigor, understanding the long -term demands 00:03:47.159 --> 00:03:49.159 of performance, that's going to be key to her 00:03:49.159 --> 00:03:51.300 durability. later. Yeah. Especially when we talk 00:03:51.300 --> 00:03:53.979 about her decade in Wicked. Definitely. So when 00:03:53.979 --> 00:03:56.560 she moves into film, it's like immediate immersion 00:03:56.560 --> 00:04:00.039 in really intense, heavy hitting drama. Such 00:04:00.039 --> 00:04:02.620 a stark contrast to the persona we mostly know 00:04:02.620 --> 00:04:05.419 today. Right. Started with minor roles in 71, 00:04:05.639 --> 00:04:08.360 like desperate characters. Mike Nichols is carnal 00:04:08.360 --> 00:04:10.759 knowledge. And that carnal knowledge role apparently 00:04:10.759 --> 00:04:14.099 is how she first befriended Jack Nicholson. And 00:04:14.099 --> 00:04:17.290 she immediately seemed drawn to complex. often 00:04:17.290 --> 00:04:21.050 quite raw characters her first leading role 1972 00:04:21.050 --> 00:04:25.449 was in a canadian film wedding in white she played 00:04:25.449 --> 00:04:28.110 a teenage rape victim forced into marriage wow 00:04:28.110 --> 00:04:31.709 heavy stuff yeah not like material at all Then 00:04:31.709 --> 00:04:33.670 she worked with Nicholson again in Hal Ashby's 00:04:33.670 --> 00:04:36.250 73 classic, The Last Detail, playing a young 00:04:36.250 --> 00:04:37.949 sex worker. And the Al Pacino connection starts 00:04:37.949 --> 00:04:39.269 early, too. They knew each other from the New 00:04:39.269 --> 00:04:41.829 York theater scene. Exactly. And she gets cast 00:04:41.829 --> 00:04:45.170 as Jenny, the bank teller, in Sidney Lumet's 00:04:45.170 --> 00:04:49.470 explosive 1975 crime drama, Dog Day Afternoon. 00:04:49.949 --> 00:04:52.170 She was just building this incredibly rapid -fire 00:04:52.170 --> 00:04:55.129 filmography alongside the absolute giants of 00:04:55.129 --> 00:04:57.449 the new American cinema. And all of this really 00:04:57.449 --> 00:04:59.569 set the stage for the role that kind of cemented 00:04:59.569 --> 00:05:02.389 her early reputation. Joan McClendon Silver's 00:05:02.389 --> 00:05:06.189 1975 film Hester Street. Ah, yes. She starred 00:05:06.189 --> 00:05:09.430 as Gittle, a young Russian Jewish immigrant arriving 00:05:09.430 --> 00:05:12.350 in late 19th century New York, struggling desperately 00:05:12.350 --> 00:05:14.990 against her husband's drive to just, you know, 00:05:14.990 --> 00:05:17.750 rapidly assimilate. And the role required her 00:05:17.750 --> 00:05:20.120 to speak. partly in Yiddish, relied entirely 00:05:20.120 --> 00:05:23.199 on her conveying that desperation, cultural displacement, 00:05:23.540 --> 00:05:26.560 emotional resilience. The critical reception 00:05:26.560 --> 00:05:29.779 was just deafening. Her performance as Gittel 00:05:29.779 --> 00:05:32.339 earned her an Academy Award nomination for Best 00:05:32.339 --> 00:05:35.660 Actress at the 48th Academy Awards. She was incredibly 00:05:35.660 --> 00:05:39.000 young, what, barely 23, standing alongside acting 00:05:39.000 --> 00:05:41.819 legends, and it's still her only Oscar nomination. 00:05:42.259 --> 00:05:45.279 And the sources also tell us Hester Street holds 00:05:45.279 --> 00:05:47.079 a really special place for her. She's called 00:05:47.079 --> 00:05:49.980 it her... Favorite role ever. It's the absolute 00:05:49.980 --> 00:05:52.800 pinnacle of early career recognition. But the 00:05:52.800 --> 00:05:54.899 irony here, the real turning point in her whole 00:05:54.899 --> 00:05:58.160 story, is what happened next. Right. Kane herself 00:05:58.160 --> 00:06:00.699 recounted waiting about a year, a whole year, 00:06:00.819 --> 00:06:03.500 for her next significant role. She theorized 00:06:03.500 --> 00:06:05.459 the industry just didn't know what to do with 00:06:05.459 --> 00:06:08.300 her. Now she was this critically validated, serious, 00:06:08.519 --> 00:06:16.920 dramatic star. So she was basically frozen out 00:06:16.920 --> 00:06:19.379 by her own success. Kind of, yeah. That's how 00:06:19.379 --> 00:06:21.399 she seemed to feel about it. So that year -long 00:06:21.399 --> 00:06:24.199 pause, that fear of being stuck in high -stakes 00:06:24.199 --> 00:06:27.720 drama forever, that's exactly what drove the 00:06:27.720 --> 00:06:30.379 single most strategic, defining pivot of her 00:06:30.379 --> 00:06:33.639 whole career. The full -on embrace of comedy. 00:06:33.899 --> 00:06:35.740 Yeah, it really looks like it. She seemed to 00:06:35.740 --> 00:06:39.339 choose actively to dismantle the dramatic star 00:06:39.339 --> 00:06:41.360 image she'd just built. It feels like a conscious 00:06:41.360 --> 00:06:43.500 choice, right, to find a different way forward. 00:06:43.879 --> 00:06:46.879 She actually credits Gene Wilder's 1977 film 00:06:46.879 --> 00:06:49.319 The World's Greatest Lover with helping her discover 00:06:49.319 --> 00:06:52.420 and realize that her unique cadence, her physical 00:06:52.420 --> 00:06:55.259 presence, it translated perfectly into comedy. 00:06:55.560 --> 00:06:57.779 She realized she could use that same intense 00:06:57.779 --> 00:07:00.959 focus she brought to drama, but just... Channel 00:07:00.959 --> 00:07:03.480 it into humor instead. And the comedic filmography 00:07:03.480 --> 00:07:06.519 starts almost immediately and successfully. She 00:07:06.519 --> 00:07:09.240 was in Woody Allen's iconic 77 film Annie Hall. 00:07:09.500 --> 00:07:12.300 Right, playing Alison Porchnik, Alvy Singer's 00:07:12.300 --> 00:07:15.079 intense, kind of demanding first wife. Yeah. 00:07:15.500 --> 00:07:17.759 She quickly cemented her place in that sort of 00:07:17.759 --> 00:07:20.680 emerging wave of quirky, character -driven comedy. 00:07:20.899 --> 00:07:23.000 It is worth noting, though, there was that brief 00:07:23.000 --> 00:07:26.699 detour into genre film, which, ironically, relied 00:07:26.699 --> 00:07:29.439 on her dramatic intensity. Before she became 00:07:29.439 --> 00:07:32.240 known almost exclusively for comedy, she was 00:07:32.240 --> 00:07:34.860 in a couple of horror films, including The Mafu 00:07:34.860 --> 00:07:38.550 Cage in 78 and... much more famously, When a 00:07:38.550 --> 00:07:41.250 Stranger Calls in 1979. Oh yeah, the call is 00:07:41.250 --> 00:07:43.629 coming from inside the house. She played Jill 00:07:43.629 --> 00:07:46.089 Johnson, the protagonist, right? Plagued by those 00:07:46.089 --> 00:07:49.009 infamous phone calls. That's the one. And the 00:07:49.009 --> 00:07:51.069 fascinating bit of trivia here, which really 00:07:51.069 --> 00:07:52.850 speaks to the intensity of that early dramatic 00:07:52.850 --> 00:07:57.029 work, is that she is apparently profoundly averse 00:07:57.029 --> 00:07:59.410 to horror films. She admitted she could never 00:07:59.410 --> 00:08:02.069 bring herself to actually watch When a Stranger 00:08:02.069 --> 00:08:05.170 Calls after starring in it. No way. Yeah. She 00:08:05.170 --> 00:08:07.730 could convincingly portray that sheer, like, 00:08:07.750 --> 00:08:10.370 existential terror, but couldn't process the 00:08:10.370 --> 00:08:12.970 finished product herself. That's wild. But the 00:08:12.970 --> 00:08:14.709 real transformation, the thing that made her 00:08:14.709 --> 00:08:16.990 a household name and really cemented the shift, 00:08:17.149 --> 00:08:20.189 that was Taxi. Absolutely Taxi. Yeah. Running 00:08:20.189 --> 00:08:23.829 from 1980 to 1983, she joined the cast to play 00:08:23.829 --> 00:08:27.060 Simca Doblitz -Gravus. the wife of Andy Kaufman's 00:08:27.060 --> 00:08:29.800 character, Latka Grau. And Simca was just a masterpiece 00:08:29.800 --> 00:08:32.519 of characterization. She spoke this fictional, 00:08:32.600 --> 00:08:35.820 invented language, but with a really distinct 00:08:35.820 --> 00:08:39.000 sort of vaguely Eastern European or Slavic accent 00:08:39.000 --> 00:08:41.519 and cadence. And this brings us right back to 00:08:41.519 --> 00:08:44.100 Hester Street, doesn't it? Exactly. The sources 00:08:44.100 --> 00:08:47.539 suggest she herself theorized that her meticulous 00:08:47.539 --> 00:08:49.919 work speaking Yiddish in Hester Street was a 00:08:49.919 --> 00:08:52.379 direct factor in her getting cast as Simca. Ah. 00:08:53.100 --> 00:08:55.259 Makes sense. The producers knew she had the technical 00:08:55.259 --> 00:08:58.000 skill to master difficult linguistic inflections, 00:08:58.019 --> 00:09:00.299 whether they were real or completely made up. 00:09:00.919 --> 00:09:03.460 Simca's character needed incredible focus and 00:09:03.460 --> 00:09:06.059 commitment to a non -existent dialect. She was 00:09:06.059 --> 00:09:08.139 leveraging the same theater -trained rigor she 00:09:08.139 --> 00:09:10.500 applied to Yiddish. And that on -screen dynamic 00:09:10.500 --> 00:09:13.000 with Andy Kaufman was just electric. We know 00:09:13.000 --> 00:09:16.279 Kaufman was, well, notoriously unconventional 00:09:16.279 --> 00:09:19.279 in his methods. How did their different work 00:09:19.279 --> 00:09:22.080 styles actually mesh to create such believable 00:09:22.080 --> 00:09:25.059 chemistry? She actually offered a really insightful 00:09:25.059 --> 00:09:28.580 take on their dynamic. Kane, you know, the theater 00:09:28.580 --> 00:09:31.139 purist, loved rehearsal, believed preparation 00:09:31.139 --> 00:09:33.919 created freedom. Okay. Kaufman, coming from stand 00:09:33.919 --> 00:09:36.299 -up and improv, famously disliked structured 00:09:36.299 --> 00:09:38.840 rehearsal, often seemed to lose until the final 00:09:38.840 --> 00:09:41.559 take. Right. Kane believed this difference in 00:09:41.559 --> 00:09:43.879 process actually enhanced their believability 00:09:43.879 --> 00:09:46.620 as a married couple. They were perfectly mismatched. 00:09:46.960 --> 00:09:49.840 You know, her intensity, his chaotic genius kind 00:09:49.840 --> 00:09:52.340 of balancing each other out. And crucially, she 00:09:52.340 --> 00:09:55.059 always emphasized their loving professional relationship 00:09:55.059 --> 00:09:58.919 on set, which clearly translated into Simca and 00:09:58.919 --> 00:10:01.879 Latka's deep. if very quirky, affection. And 00:10:01.879 --> 00:10:03.980 the result was just indisputable proof that her 00:10:03.980 --> 00:10:06.100 comedic pivot worked. She didn't just survive 00:10:06.100 --> 00:10:09.059 the genre shift. She totally dominated it. She 00:10:09.059 --> 00:10:12.259 won two Emmy Awards for Taxi, Outstanding Lead 00:10:12.259 --> 00:10:15.360 Actress in a Comedy Series in 82, and then the 00:10:15.360 --> 00:10:17.559 next year, Outstanding Supporting Actress in 00:10:17.559 --> 00:10:20.440 a Comedy Variety or Music Series in 83. Those 00:10:20.440 --> 00:10:23.039 awards didn't just recognize the role. They pretty 00:10:23.039 --> 00:10:25.960 much permanently redefined her career as specializing 00:10:25.960 --> 00:10:28.220 in comedy. And with that foundation laid, the 00:10:28.220 --> 00:10:31.240 1980s just saw her become the go -to character 00:10:31.240 --> 00:10:34.600 actor for any role needing a touch of the fantastical 00:10:34.600 --> 00:10:37.720 or the, you know, eccentric. Yeah. In 87, she 00:10:37.720 --> 00:10:40.440 appeared in that infamous Warren Beatty and Dustin 00:10:40.440 --> 00:10:43.879 Hoffman flop Ishtar. Oh, Ishtar. Right. She played 00:10:43.879 --> 00:10:46.500 Hoffman's frustrated girlfriend. Which kind of 00:10:46.500 --> 00:10:49.019 shows that even in a critical misfire, she was 00:10:49.019 --> 00:10:51.720 sought after for her unique comedic voice. But 00:10:51.720 --> 00:10:54.419 the truly enduring role of that decade, maybe 00:10:54.419 --> 00:10:56.559 second only to Simca, has to be the Princess 00:10:56.559 --> 00:10:58.940 Bride in 1987. Oh, absolutely. Valerie. Playing 00:10:58.940 --> 00:11:01.620 Valerie, the nagging but somehow loving wife 00:11:01.620 --> 00:11:03.980 of Miracle Max, played by Billy Crystal. That 00:11:03.980 --> 00:11:06.860 one role is just pure cinematic gold. It really 00:11:06.860 --> 00:11:09.700 is. Forever cementing phrases like, have fun 00:11:09.700 --> 00:11:12.490 storming the castle into the lexicon. And what's 00:11:12.490 --> 00:11:15.049 fascinating about Valerie is how she uses her 00:11:15.049 --> 00:11:18.889 physicality, her vocal cadence, that high breathy 00:11:18.889 --> 00:11:22.269 delivery, the frantic hand gestures. perfectly 00:11:22.269 --> 00:11:24.909 integrated into the fantasy setting. But if Princess 00:11:24.909 --> 00:11:27.889 Bride showed her range in pure fantasy, then 00:11:27.889 --> 00:11:31.129 Scrooged in 1988 showed her range in physical 00:11:31.129 --> 00:11:35.090 comedy. Right. In Scrooged, the Bill Murray take 00:11:35.090 --> 00:11:37.669 on A Christmas Carol, she played this contemporary, 00:11:37.990 --> 00:11:41.049 really aggressive, tiny fairy version of the 00:11:41.049 --> 00:11:43.070 ghost of Christmas present. Yes. It was a complete 00:11:43.070 --> 00:11:46.149 departure, required wire work, explosive energy. 00:11:46.669 --> 00:11:49.490 and most famously, wielding a toaster as a weapon. 00:11:49.590 --> 00:11:51.529 She totally stole the show on that. She really 00:11:51.529 --> 00:11:53.870 did. Variety magazine specifically singled out 00:11:53.870 --> 00:11:56.950 her performance, called it, and I quote, unquestionably, 00:11:56.950 --> 00:11:59.470 the pic's comic highlight. Wow. That kind of 00:11:59.470 --> 00:12:02.610 specific, immediate, critical praise just solidified 00:12:02.610 --> 00:12:04.850 the wisdom of her comedic pivot. She kind of 00:12:04.850 --> 00:12:07.470 wrapped up that period playing Shaldene, a potential 00:12:07.470 --> 00:12:09.549 love interest for Steve Martin's character, in 00:12:09.549 --> 00:12:12.690 the 1990 ensemble comedy My Blue Heaven. So once 00:12:12.690 --> 00:12:15.029 she was established in the 90s, Carole Kane really 00:12:15.029 --> 00:12:17.610 demonstrated the true benefit of that early stage 00:12:17.610 --> 00:12:21.340 rigor and her unique persona. Just constant work 00:12:21.340 --> 00:12:23.080 across all mediums. Yeah, she was everywhere. 00:12:23.320 --> 00:12:25.919 She was a regular on that short -lived NBC series 00:12:25.919 --> 00:12:29.039 American Dreamer from 90 to 91 and kept up a 00:12:29.039 --> 00:12:32.039 steady guest presence on iconic sitcoms like 00:12:32.039 --> 00:12:34.740 Seinfeld in 94. Oh, yeah, playing Corinne. And 00:12:34.740 --> 00:12:37.940 Ellen in 96. This period is really defined by 00:12:37.940 --> 00:12:41.100 her ability to just slip seamlessly into established 00:12:41.100 --> 00:12:44.320 worlds and make an immediate impact. We see this 00:12:44.320 --> 00:12:46.460 especially in the high -profile replacement role 00:12:46.460 --> 00:12:48.299 she took on. Right. The biggest one is probably 00:12:48.299 --> 00:12:51.909 1993. Addams Family Values. Yeah. She stepped 00:12:51.909 --> 00:12:54.389 in to play Grandmama Addams, replacing Judith 00:12:54.389 --> 00:12:57.029 Molina. Which was such a perfect fit for her 00:12:57.029 --> 00:12:59.289 eccentric style. And it gave her that wonderful 00:12:59.289 --> 00:13:01.549 professional reunion with her taxi castmate, 00:13:01.649 --> 00:13:03.929 Christopher Lloyd, who played Uncle Fester. Exactly. 00:13:04.149 --> 00:13:07.009 These career links, they really underscore the 00:13:07.009 --> 00:13:09.610 loyalty she seems to maintain within the industry. 00:13:09.750 --> 00:13:12.610 And she was also willing to return to her defining 00:13:12.610 --> 00:13:16.110 work. She made that cameo as herself. reprising 00:13:16.110 --> 00:13:19.309 the Simca character in the 1999 Andy Kaufman 00:13:19.309 --> 00:13:21.789 biopic Man on the Moon. That's a smart move, 00:13:21.909 --> 00:13:24.190 right? Acknowledging and leveraging the legacy 00:13:24.190 --> 00:13:27.049 she created. Absolutely. But while she was building 00:13:27.049 --> 00:13:30.110 this TV character actor reputation, she also 00:13:30.110 --> 00:13:32.769 proved she hadn't completely abandoned the deep, 00:13:32.809 --> 00:13:35.129 complex, dramatic work that started her career. 00:13:35.370 --> 00:13:38.389 How so? She had that notable, recurring, dramatic 00:13:38.389 --> 00:13:41.870 guest role as Gwen Munch, a victim's advocate 00:13:41.870 --> 00:13:44.169 who eventually becomes a murder suspect on Homicide. 00:13:44.649 --> 00:13:47.009 Life on the Street back in 97. Oh, I remember 00:13:47.009 --> 00:13:49.710 that. That was intense. Yeah. And that character, 00:13:49.769 --> 00:13:51.850 Gwen Munch, was apparently deemed so compelling 00:13:51.850 --> 00:13:54.450 that she reprised the role years later on Law 00:13:54.450 --> 00:13:56.950 & Order, Special Victims Unit. Really? When was 00:13:56.950 --> 00:13:59.950 that? In 2009 and again in 2013, which proves 00:13:59.950 --> 00:14:02.350 that casting directors, producers, they recognized 00:14:02.350 --> 00:14:04.529 her ability to deliver those intense, dramatic 00:14:04.529 --> 00:14:06.870 performances when the material called for it. 00:14:06.929 --> 00:14:09.370 They resisted just pigeonholing her as strictly 00:14:09.370 --> 00:14:12.600 a joke teller. That's great. Yet maybe the greatest 00:14:12.600 --> 00:14:14.580 demonstration of her professional commitment, 00:14:14.700 --> 00:14:18.179 her sheer rigor during this period, was her massive, 00:14:18.320 --> 00:14:20.879 like, decade -long commitment to the Broadway 00:14:20.879 --> 00:14:25.179 stage in Wicked. Oh, Wicked. This was a sustained, 00:14:25.419 --> 00:14:28.860 incredibly demanding engagement. It's so vital 00:14:28.860 --> 00:14:31.580 we analyze this as proof of the enduring value 00:14:31.580 --> 00:14:34.250 of her early theater training. playing Madame 00:14:34.250 --> 00:14:36.850 Morrible, the evil headmistress. That requires 00:14:36.850 --> 00:14:40.269 immense vocal stamina, physical presence, the 00:14:40.269 --> 00:14:42.649 ability to project across huge theaters eight 00:14:42.649 --> 00:14:44.889 shows a week. That is physically and professionally 00:14:44.889 --> 00:14:47.210 taxing work. And her commitment to that role 00:14:47.210 --> 00:14:49.269 was just incredible. This wasn't some celebrity 00:14:49.269 --> 00:14:51.409 stunt casting that lasts six months. Not at all. 00:14:52.110 --> 00:14:54.250 She played Madame Morrible across numerous productions 00:14:54.250 --> 00:14:57.429 from 2005 all the way to 2014. That's nearly 00:14:57.429 --> 00:15:00.289 10 years sustaining one character. The list of 00:15:00.289 --> 00:15:02.690 her runs is just staggering. Started with the 00:15:02.690 --> 00:15:05.409 first national tour in 2005, moved to the main 00:15:05.409 --> 00:15:08.149 Broadway production in 2006, then shifted to 00:15:08.149 --> 00:15:09.809 that substantial run in the L .A. production 00:15:09.809 --> 00:15:12.590 from 07 through 09. Then she followed the company 00:15:12.590 --> 00:15:15.330 to the San Francisco production in 09, and then 00:15:15.330 --> 00:15:17.610 returned to the Broadway company again from 2013 00:15:17.610 --> 00:15:20.529 to 2014, specifically to be part of the show's 00:15:20.529 --> 00:15:23.179 10th anniversary. That kind of longevity and 00:15:23.179 --> 00:15:26.120 commitment in one demanding stage role, it's 00:15:26.120 --> 00:15:28.679 really the antithesis of the typical TV guest 00:15:28.679 --> 00:15:31.139 star career path. It really is. It demonstrates 00:15:31.139 --> 00:15:33.860 that underneath that eccentric persona is just 00:15:33.860 --> 00:15:37.080 an intensely rigorous professional actor who 00:15:37.080 --> 00:15:39.399 truly values the craft. And she didn't limit 00:15:39.399 --> 00:15:42.080 her stage work just to musicals either. She made 00:15:42.080 --> 00:15:44.860 her West End debut in London in 2011 in a revival 00:15:44.860 --> 00:15:47.440 of Lillian Hellman's drama The Children's Hour. 00:15:47.600 --> 00:15:49.820 Oh, wow. Starring alongside Keira Knightley and 00:15:49.820 --> 00:15:52.610 Elizabeth Moss. and choosing serious, dramatic 00:15:52.610 --> 00:15:55.330 stage work to flex those muscles. And she returned 00:15:55.330 --> 00:15:57.629 to Broadway in 2012 in the revival of the play 00:15:57.629 --> 00:16:00.190 Harvey. So as that decade of Wicked was wrapping 00:16:00.190 --> 00:16:02.669 up, she moved back into consistent, high -profile, 00:16:02.669 --> 00:16:05.049 recurring TV roles, including her appearance 00:16:05.049 --> 00:16:07.809 on Ugly Betty in 2010 as Justin Suarez's acting 00:16:07.809 --> 00:16:10.350 teacher, Lena Korvinka. Right, and significantly, 00:16:10.590 --> 00:16:13.809 from 2014 to 2016, she had that really notable 00:16:13.809 --> 00:16:16.129 recurring role as Gertrude Capple put on the 00:16:16.129 --> 00:16:19.000 Fox series Gotham. Ah, yes, Penguin's mother. 00:16:19.100 --> 00:16:21.840 Exactly. It was this beautifully nuanced, heightened, 00:16:21.960 --> 00:16:25.220 dramatic role. The doting, suffocating, Hungarian 00:16:25.220 --> 00:16:29.720 -born mother of Oswald Cobblepot. That role allowed 00:16:29.720 --> 00:16:32.360 her to use her unique linguistic and emotional 00:16:32.360 --> 00:16:35.320 intensity in that heightened, dark comic book 00:16:35.320 --> 00:16:38.299 universe setting. It showed she was still the 00:16:38.299 --> 00:16:40.340 perfect choice for complex character pieces, 00:16:40.580 --> 00:16:43.299 even then. Okay, so the rise of streaming platforms 00:16:43.299 --> 00:16:45.659 seems like it provided the perfect habitat for 00:16:45.659 --> 00:16:47.639 Carole Kane's very specific brand of character 00:16:47.639 --> 00:16:50.559 work, launching her into what feels like her 00:16:50.559 --> 00:16:52.960 modern renaissance. Yeah, definitely. And this 00:16:52.960 --> 00:16:55.500 era is really defined, first and foremost, by 00:16:55.500 --> 00:16:57.980 unbreakable Kimmy Schmidt. Absolutely. Her role 00:16:57.980 --> 00:17:01.279 is Lillian Koshtopper. The eccentric, fiercely 00:17:01.279 --> 00:17:03.820 anti -gentrification New York landlord. Yes. 00:17:04.079 --> 00:17:05.920 It became one of her longest and most globally 00:17:05.920 --> 00:17:08.480 beloved television roles. Running from 2015 to 00:17:08.480 --> 00:17:11.299 2020, she was initially recurring, but got promoted 00:17:11.299 --> 00:17:13.660 to series regular in season two. Appeared in, 00:17:13.740 --> 00:17:16.740 what, 42 episodes? Lillian Koshteper is maybe 00:17:16.740 --> 00:17:18.619 the ultimate distillation of the Carole Kane 00:17:18.619 --> 00:17:21.160 persona, isn't she? I think so. She embodies 00:17:21.160 --> 00:17:24.039 that New York eccentricity, political fervor, 00:17:24.039 --> 00:17:27.299 a slightly manic energy, all delivered with that 00:17:27.299 --> 00:17:29.799 signature high cadence. It felt completely tailor 00:17:29.799 --> 00:17:32.619 -made for her. It really did. But the sources 00:17:32.619 --> 00:17:34.779 point out that loyalty was actually key to her 00:17:34.779 --> 00:17:37.619 joining the show. Oh, how so? She joined the 00:17:37.619 --> 00:17:40.160 cast specifically because she admired showrunner 00:17:40.160 --> 00:17:43.099 Tina Fey. She revealed she'd actually tried to 00:17:43.099 --> 00:17:46.079 collaborate with Fey before on 30 Rock. Ah, okay. 00:17:46.359 --> 00:17:48.440 Kimmy Schmidt finally provided that perfect opportunity. 00:17:48.779 --> 00:17:51.089 Mm -hmm. And the longevity of the role, the chance 00:17:51.089 --> 00:17:53.809 to reprise Lillian in the 2020 interactive special, 00:17:54.029 --> 00:17:57.720 Kimmy vs. the Reverend, It just confirms how 00:17:57.720 --> 00:18:00.259 vital that character became to the show's success. 00:18:00.559 --> 00:18:02.980 And this modern period is also really characterized 00:18:02.980 --> 00:18:05.400 by these reunions that demonstrate the strength 00:18:05.400 --> 00:18:07.940 of her professional bonds. It proves she's been 00:18:07.940 --> 00:18:10.420 this deeply consistent, probably pleasant presence 00:18:10.420 --> 00:18:13.380 in a pretty tumultuous industry. Yeah, you see 00:18:13.380 --> 00:18:16.240 that thread. She appeared in Jim Jarmusch's quirky 00:18:16.240 --> 00:18:19.200 horror comedy, The Dead Don't Die, in 2019. Right. 00:18:19.400 --> 00:18:21.079 Which brought her back together with Bill Murray, 00:18:21.279 --> 00:18:23.480 her co -star from Scrooged, decades earlier. 00:18:23.680 --> 00:18:27.329 And then... The really amazing one. The 45 -year 00:18:27.329 --> 00:18:30.269 reunion with Al Pacino. Working again with Pacino 00:18:30.269 --> 00:18:33.009 in the ensemble cast of the Amazon series Hunters 00:18:33.009 --> 00:18:37.630 from 2020 to 2023. She played Mindy Markovits. 00:18:37.809 --> 00:18:40.710 That's nearly half a century after their first 00:18:40.710 --> 00:18:43.470 collaboration in Dog Day Afternoon. That is an 00:18:43.470 --> 00:18:45.829 incredible testament to her enduring place in 00:18:45.829 --> 00:18:48.630 Hollywood. It really is. She also reunited with 00:18:48.630 --> 00:18:51.190 her Kimmy Schmidt castmate Fred Armisen in the 00:18:51.190 --> 00:18:54.279 HBO series Loss of Spookies in 2019. And the 00:18:54.279 --> 00:18:56.599 sources show she actively participates in maintaining 00:18:56.599 --> 00:18:59.940 that legacy, too. In 2020, she took part in two 00:18:59.940 --> 00:19:03.700 major high -profile cast reunion fundraisers, 00:19:03.700 --> 00:19:06.059 one with the Taxi cast and one with the Princess 00:19:06.059 --> 00:19:08.619 Bride cast. These events really highlight how 00:19:08.619 --> 00:19:11.359 much she values those classic projects that defined 00:19:11.359 --> 00:19:14.059 her career. That's great to see. Now, we absolutely 00:19:14.059 --> 00:19:16.359 need to discuss the role that truly broke new 00:19:16.359 --> 00:19:17.859 ground and kind of shattered all expectations 00:19:17.859 --> 00:19:20.140 of where a comedic character actress in her 70s 00:19:20.140 --> 00:19:23.400 might go next. Starfleet. Ah, yes. Star Trek. 00:19:23.440 --> 00:19:25.940 In 2023, she joined the cast of Star Trek, Strange 00:19:25.940 --> 00:19:28.559 New Worlds as Chief Engineer Pelia. This is a 00:19:28.559 --> 00:19:31.359 massive, high -profile pivot into the science 00:19:31.359 --> 00:19:34.660 fiction genre, a world she had never really seriously 00:19:34.660 --> 00:19:37.839 entered before. It really is. And the trivia 00:19:37.839 --> 00:19:40.660 around this casting is arguably as important 00:19:40.660 --> 00:19:43.369 as the role itself. Which is. Prior to our casting 00:19:43.369 --> 00:19:45.750 announcement, Carol Kane had apparently never 00:19:45.750 --> 00:19:48.210 watched a single episode of the original Star 00:19:48.210 --> 00:19:51.750 Trek series. Get out! Seriously. Seriously. And 00:19:51.750 --> 00:19:53.849 this isn't just a fun fact. It speaks to the 00:19:53.849 --> 00:19:56.190 writers' vision for the character Pelia. How 00:19:56.190 --> 00:19:58.890 so? Well, the sources confirm she mentioned that 00:19:58.890 --> 00:20:02.069 the show's writers actually thought this oversight... 00:20:02.269 --> 00:20:05.509 Improved her performance. Huh, why? Because Pelia, 00:20:05.569 --> 00:20:08.150 who's an alien of the Lanthanite species, is 00:20:08.150 --> 00:20:10.490 supposed to be quirky, eccentric, and bring a 00:20:10.490 --> 00:20:12.829 completely non -traditional energy to the Enterprise 00:20:12.829 --> 00:20:15.950 bridge. Okay, I see. Her lack of knowledge allowed 00:20:15.950 --> 00:20:18.490 her to play the role with her natural, uninhibited 00:20:18.490 --> 00:20:21.430 eccentricity. It ensured Pelia wasn't just some 00:20:21.430 --> 00:20:23.569 reverent imitation of past Starfleet engineers. 00:20:24.130 --> 00:20:26.789 She simply became the Starfleet version of Carol 00:20:26.789 --> 00:20:29.410 Kane. That's brilliant. And while she's traversing 00:20:29.410 --> 00:20:31.750 the galaxy, she simultaneously circled right 00:20:31.750 --> 00:20:34.329 back to her deepest cultural and artistic roots 00:20:34.329 --> 00:20:37.890 in 2024. Right. Between the Temples. She starred 00:20:37.890 --> 00:20:40.089 in Nathan Silver's film Between the Temples playing 00:20:40.089 --> 00:20:43.309 Carla Kessler, a woman who, raised secularly, 00:20:43.329 --> 00:20:45.950 decides to have a bat mitzvah in her 60s. And 00:20:45.950 --> 00:20:48.369 this role provided such a rare opportunity for 00:20:48.369 --> 00:20:50.809 her to draw on deep personal history for the 00:20:50.809 --> 00:20:53.099 performance. She apparently drew inspiration 00:20:53.099 --> 00:20:55.660 from the director's own mother who studied for 00:20:55.660 --> 00:20:59.099 a bat mitzvah late in life and also her own mother 00:20:59.099 --> 00:21:01.880 who moved to Paris at 55 to become a musician. 00:21:02.259 --> 00:21:05.579 That whole thread of late life reinvention is 00:21:05.579 --> 00:21:07.789 really powerful there. And the acclaim for this 00:21:07.789 --> 00:21:10.529 performance was huge. It demonstrated her dramatic 00:21:10.529 --> 00:21:13.829 abilities are just as sharp as ever. She got 00:21:13.829 --> 00:21:16.210 the New York Film Critics Circle Award for Best 00:21:16.210 --> 00:21:19.190 Sporting Actress in 2024. Wow. And was nominated 00:21:19.190 --> 00:21:22.230 for an Independent Spirit Award. So 50 years 00:21:22.230 --> 00:21:24.390 after her Oscar nomination, she's right back 00:21:24.390 --> 00:21:26.490 in the critical conversation for serious character 00:21:26.490 --> 00:21:28.650 work. That's incredible. And the full circle 00:21:28.650 --> 00:21:31.049 moment is still coming, apparently. She was announced 00:21:31.049 --> 00:21:33.329 as part of the cast of Darren Aronofsky's upcoming 00:21:33.329 --> 00:21:36.960 2025 film Caught Stealing. Oh, yeah? Or she's 00:21:36.960 --> 00:21:39.119 slated to play a minor role, bubby. Spoken entirely 00:21:39.119 --> 00:21:42.460 in Yiddish. No way. Back to Yiddish. Exactly. 00:21:42.539 --> 00:21:46.259 It closes the loop straight back. to the linguistic 00:21:46.259 --> 00:21:49.019 grounding and cultural depth that fueled her 00:21:49.019 --> 00:21:51.099 start in Hester Street. It's an incredible testament 00:21:51.099 --> 00:21:54.240 to her longevity and versatility. So her career 00:21:54.240 --> 00:21:56.920 reveals so much about her professional intentionality, 00:21:57.079 --> 00:21:59.819 but her personal life seems to show that same 00:21:59.819 --> 00:22:03.380 commitment to just living authentically. We noted 00:22:03.380 --> 00:22:05.440 her relationship with Woody Harrelson back in 00:22:05.440 --> 00:22:08.839 86 to 88, which shows her moving within those 00:22:08.839 --> 00:22:11.180 influential circles. And the fact that they apparently 00:22:11.180 --> 00:22:13.819 remain close friends. Harrelson attended her 00:22:13.819 --> 00:22:17.819 60th birthday. party in 2012 that speaks volumes 00:22:17.819 --> 00:22:20.660 about her professional character, you know, fostering 00:22:20.660 --> 00:22:23.599 genuine, enduring connections. Yeah. But perhaps 00:22:23.599 --> 00:22:25.640 the most telling insight into her intentionality 00:22:25.640 --> 00:22:27.740 comes from her choice regarding family. She's 00:22:27.740 --> 00:22:30.140 never been married, never had children. And she 00:22:30.140 --> 00:22:32.380 addressed this with real candor, stating she 00:22:32.380 --> 00:22:34.759 never felt, quote, calm and stable enough to 00:22:34.759 --> 00:22:36.720 be the kind of mother she'd want to be. That 00:22:36.720 --> 00:22:40.440 statement is pretty profound, isn't it? She didn't 00:22:40.440 --> 00:22:43.319 just view motherhood as some automatic destiny. 00:22:43.789 --> 00:22:46.190 She added that incredibly refreshing observation, 00:22:46.529 --> 00:22:49.269 I don't think everyone randomly is mother material. 00:22:49.670 --> 00:22:52.309 Right. It's such an intentional choice, reflecting 00:22:52.309 --> 00:22:55.170 the dedication she clearly poured into her highly 00:22:55.170 --> 00:22:58.130 nomadic, intense professional life. Absolutely. 00:22:58.349 --> 00:23:00.170 And while she chose not to have her own children, 00:23:00.349 --> 00:23:03.289 she has embraced a familial role. She's taken 00:23:03.289 --> 00:23:05.650 on the role of grandmother to the four children 00:23:05.650 --> 00:23:08.390 of her goddaughter, actress Bianca Hunter. Oh, 00:23:08.430 --> 00:23:10.490 that's lovely. It shows a commitment to nurturing 00:23:10.490 --> 00:23:12.869 relationships outside of the conventional structure. 00:23:12.950 --> 00:23:16.450 Exactly. But we absolutely cannot conclude this 00:23:16.450 --> 00:23:18.890 deep dive without analyzing the single feature 00:23:18.890 --> 00:23:21.329 that defines her more than any role. Yeah. And 00:23:21.329 --> 00:23:24.750 that is her voice. Oh, yeah. It's the core mechanism 00:23:24.750 --> 00:23:27.950 of her entire persona. That high, breathy, and 00:23:27.950 --> 00:23:30.369 distinctively slow vocal delivery, sometimes 00:23:30.369 --> 00:23:32.630 it edges toward a raspiness, especially as she's 00:23:32.630 --> 00:23:35.470 gotten older. It is instantly recognizable. It's 00:23:35.470 --> 00:23:37.369 been the comedic engine for pretty much every 00:23:37.369 --> 00:23:40.250 quirky character she's played, from Valerie to 00:23:40.250 --> 00:23:43.089 Lillian Kosteper. And the irony is, the sources 00:23:43.089 --> 00:23:47.369 tell us, she dislikes it. Intensely. Yeah. She 00:23:47.369 --> 00:23:50.029 confessed to People Magazine in 2020 that she 00:23:50.029 --> 00:23:52.920 wished her voice was deep and beautiful and sexy. 00:23:53.339 --> 00:23:55.980 Yet the industry has basically commodified and 00:23:55.980 --> 00:23:58.640 weaponized this very voice. But if we connect 00:23:58.640 --> 00:24:01.140 this back to her craft, we see how she used that 00:24:01.140 --> 00:24:04.599 same voice dramatically too. In When a Stranger 00:24:04.599 --> 00:24:08.059 Calls, that high cadence translated into genuine, 00:24:08.059 --> 00:24:11.140 quiet terror, right? Heightening the victim's 00:24:11.140 --> 00:24:14.279 vulnerability. Good point. But then in Scrooged, 00:24:14.279 --> 00:24:16.579 it became manic, volatile, and funny. So it's 00:24:16.579 --> 00:24:18.839 not just the pitch, it's the control she has 00:24:18.839 --> 00:24:20.839 over the tempo, the emotional texture. That's 00:24:20.839 --> 00:24:23.569 true. The voice became her brand, her signature, 00:24:23.769 --> 00:24:26.150 her permanent calling card. It's what allows 00:24:26.150 --> 00:24:28.549 her to jump from the dark chaos of a New York 00:24:28.549 --> 00:24:31.910 street and dog day afternoon to the deck of the 00:24:31.910 --> 00:24:34.589 enterprise. The sound of Carole Kane instantly 00:24:34.589 --> 00:24:37.529 establishes the character as singular and unconventional. 00:24:37.690 --> 00:24:39.470 And despite any personal reservations she might 00:24:39.470 --> 00:24:41.670 have about her vocal characteristics, her cultural 00:24:41.670 --> 00:24:43.930 impact was recognized pretty early on. Right 00:24:43.930 --> 00:24:46.049 in the middle of her biggest comedic run, late 00:24:46.049 --> 00:24:48.809 80s, she was inducted into the Ohio Women's Hall 00:24:48.809 --> 00:24:52.140 of Fame in 1988. Wow. which underscores how quickly 00:24:52.140 --> 00:24:54.880 she transcended simple character work to become 00:24:54.880 --> 00:24:58.220 a real cultural figure. Hashtag tag outro. So 00:24:58.220 --> 00:25:01.359 what Carol Kane's seven decade career ultimately 00:25:01.359 --> 00:25:04.259 shows us is the power of strategic reinvention, 00:25:04.279 --> 00:25:07.400 but rooted in really disciplined practice. She 00:25:07.400 --> 00:25:09.680 started with intense award nominated dramatic 00:25:09.680 --> 00:25:13.319 rigor, then strategically pivoted into Emmy winning 00:25:13.319 --> 00:25:16.369 comedy. She demonstrated her foundational stage 00:25:16.369 --> 00:25:19.029 capability playing Madame Morrible for a decade 00:25:19.029 --> 00:25:21.730 solid. Yeah. And now finds this renewed modern 00:25:21.730 --> 00:25:24.670 success by translating her distinctive persona 00:25:24.670 --> 00:25:27.529 into roles like the beloved Lillian Couchtupper 00:25:27.529 --> 00:25:30.650 and, you know, the surprising fresh take on Starfleet's 00:25:30.650 --> 00:25:33.450 chief engineer, Pilia. Her entire journey is 00:25:33.450 --> 00:25:36.130 really a study in converting a potential weakness 00:25:36.130 --> 00:25:38.250 like the risk of typecasting after high dramatic 00:25:38.250 --> 00:25:40.730 success or even disliking her own voice into 00:25:40.730 --> 00:25:43.029 absolute strength. Exactly. By owning her unique, 00:25:43.130 --> 00:25:45.299 highly... specific mannerisms, she created a 00:25:45.299 --> 00:25:47.779 brand so strong that the industry couldn't really 00:25:47.779 --> 00:25:50.579 pin her down. Instead, the industry kind of adapted 00:25:50.579 --> 00:25:53.059 to her. Yeah, that feels right. And we see her 00:25:53.059 --> 00:25:55.119 career completing this incredible circle now, 00:25:55.240 --> 00:25:58.480 receiving modern critical acclaim, the New York 00:25:58.480 --> 00:26:01.160 Film Critics Circle Award for Between the Temples, 00:26:01.299 --> 00:26:04.900 50 Yims after her Oscar nom, and preparing for 00:26:04.900 --> 00:26:06.980 an entirely Yiddish role in Caught Stealing. 00:26:07.230 --> 00:26:09.210 It's this return to the cultural and linguistic 00:26:09.210 --> 00:26:11.849 specificity that launched her career, but now 00:26:11.849 --> 00:26:14.529 viewed through the lens of immense, diverse experience. 00:26:14.849 --> 00:26:17.670 So as she simultaneously embraces her cultural 00:26:17.670 --> 00:26:20.650 roots with the Yiddish film and breaks new frontiers 00:26:20.650 --> 00:26:24.450 in Star Trek, Strange New Worlds, as a Starfleet 00:26:24.450 --> 00:26:27.230 engineer who knows nothing about Star Trek, it 00:26:27.230 --> 00:26:29.849 raises this final provocative thought for you, 00:26:29.930 --> 00:26:32.759 the listener. If her career trajectory proves 00:26:32.759 --> 00:26:35.180 anything, it's that authenticity might be the 00:26:35.180 --> 00:26:37.900 ultimate long term career strategy. So if you 00:26:37.900 --> 00:26:40.019 are an artist or really any professional who 00:26:40.019 --> 00:26:42.339 fears being pigeonholed is the greatest move 00:26:42.339 --> 00:26:44.839 not to fight the stereotype, but maybe to fully 00:26:44.839 --> 00:26:46.859 embrace the most distinctive, unique aspects 00:26:46.859 --> 00:26:49.500 of your identity and then use that highly specific 00:26:49.500 --> 00:26:52.180 platform to launch yourself into entirely new, 00:26:52.259 --> 00:26:53.759 unexpected professional galaxies.