
EXCLUSIVE 80s comedy actor who starred with Bill Murray looks unrecognizable during a rare outing in Los Angeles
A Hollywood star who is known for appearing in classic comedy films throughout the 1980s was spotted enjoying a rare outing in Los Angeles.
He has worked alongside a number of celebrities over the years such as Bill Murray, Michael Keaton, Farrah Fawcett, Kim Cattrall and Chevy Chase.
The actor began his career - which has spanned around six decades thus far - in the early 70s with small roles in both film and television.
He then landed a lead role in a comedic movie which became a box office hit and was followed by two sequels.
The star was also romantically linked to Valerie Bertinelli after the pair worked together on a beloved sitcom.
But can you guess who he is?
It is Scott Colomby, 72 - who is known for his roles in Caddyshack (1980) and also Porky's (1981).
The actor was seen stepping out to run a few errands this week on Monday in sunny L.A. and also had the chance to mingle with a close pal.
He kept it casual wearing a short-sleeved, black shirt as well as a pair of dark gray pants. The star completed the outfit by slipping into comfy black sneakers.
Colomby portrayed the role of Tony D'Annunzio in Caddyshack - who was the rival of fellow caddie Danny Noonan, played by Michael O'Keefe.
The cast had also included Chevy Chase, Rodney Dangerfield, Ted Knight as well as Bill Murray.
The premise of the sports comedy is: 'An exclusive golf course has to deal with a flatulent new member and a destructive dancing gopher,' per IMDB.
Caddyshack was a box office success and raked in $60 million on a budget of around $4-$6 million. Eight years later, a sequel was released - although Colomby did not appear in the movie.
In 1982, Scott had the chance to further show off his comedic skills in the film titled Porky's - with the cast also starring Sex And The City alum Kim Cattrall, Kaki Hunter, Nancy Parsons, Alex Karras and Susan Clark.
The actor was seen stepping out to run a few errands this week on Monday in sunny L.A. and also had the chance to mingle with a close pal
He kept it casual wearing a short-sleeved, black shirt as well as a pair of dark gray pants. The star completed the outfit by slipping into comfy black sneakers
The premise is: 'In 1954, a group of Florida high-school guys try to help their buddy lose his virginity, which leads them to seek revenge on a sleazy nightclub owner and his redneck sheriff brother for harassing them,' per an IMDB synopsis.
Colomby took on the role of Brian Schwartz in the film - which was also a box office success upon its release.
The movie - which was directed by Bob Clark - raked in $160 million on a budget of around $4-$5 million, and also became the sixth highest-grossing film of the year as well.
Two additional movies were made, which Scott also appeared in: Porky's II: The Next Day (1983) and Porky's Revenge! (1985).
Scott was born in 1952 in Brooklyn, New York and later attended Beverly Hills High School where he graduated from in 1970.
He later furthered his passion for performing and acting while taking theater arts classes at the Immaculate Heart school.
Colomby kicked off his professional acting career in the early 70s such as with the film Montserrat (1971) and appearances in shows such as Room 222, Sons And Daughters as well as Charlie's Angels.
From 1977-1978, Scott starred as Cliff Randall in the sitcom One Day At A Time - where he first met Valerie Bertinelli.
The pair reportedly dated during his time as a guest star on the series - and were pictured together on more than one occasion.
Also in the late 70s, the actor appeared in a total of 15 episodes of the short-lived comedy series Szysznyk.
Along with his roles in Caddyshack and the Porky's films, the 80s was busy for Scott - who also was seen in shows such as The A-Team and Dirty Dancing.
In 1988, he began playing the character of Jose Torres in the soap opera Days Of Our Lives throughout 18 episodes.
In the 1990s, Colomby starred alongside Michael Keaton and Kelly Preston in the movie Jack Frost (1998).
Scott's last credit on IMDB is the 2023 film All Of It Happened On A Thursday - where he portrayed the role of Alligator Swanson.
To further his passion for the arts, the star also co-founded a performance company called Big Elvin & The Professors' Blues Theater.
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Edinburgh Live
2 hours ago
- Edinburgh Live
Vernon Kay urges BBC colleagues not to call HR after cheeky remark leaves them stunned
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Vernon Kay has pleaded with his BBC Radio 2 colleagues not to contact HR after making an "awkward" comment about the weather. The UK was basking in glorious sunshine last month, with the the Environment Agency even declaring drought status for the north-west of England following the driest start to spring in 69 years. However, the weather has turned for most of the country since the beginning of June, with the Met Office warning that a large area of the UK is set to be struck by fierce thunderstorms on Saturday, according to the Mirror. The recent wet weather has not gone unnoticed by Radio 2 host Vernon, who told his BBC colleague Scott Mills that he had an unfortunate moment while discussing the rain with the production team. (Image: Instagram) He said: "We were talking about the age gap between us on-air and the production team. Had a bit of an awkward moment this morning. You know the weather's turned, it's raining outside. I said to the Radio 2 team, a lot of desks on your left hand side, 'Hi team, morning news team, ooo the weather's changed. "And someone said 'Yeah it's horrible'. So I said 'Outside it's raining but inside it's wet', East 17. Didn't go down very well. I'm like 'Before you get onto HR, it's East 17." The lyrics in question come from the title song of East 17's second studio album 'Steam', which was released in the UK on October 17, 1994 by London Records. The album was certified 2× Platinum in the UK. However, with the song being released over 30 years ago, it seems that many of the BBC's production staff were unaware of the lyrics, before Scott came up with an idea. (Image: Getty Images for Great British Racing) Scott said: "Well, you should have checked it by me first and then gone to the office, do it the other way round next time. Come and check with me the phrase before you say it to the whole office." Last week, Vernon admitted to listeners that he was feeling a 'bit ropey' after enjoying BBC Radio 1's Big Weekend. During the show, the 51-year-old confessed that he suffers from a seafood allergy. It means Vernon is unable to eat prawns or cockles - a type of small edible shellfish. He says he discovered the allergy after undergoing a test. Vernon said: 'Radio 1, how are you feeling? A bit ropey, no, honestly, terrible, I'm sure I've eaten a prawn or a cockle. I'm allergic to cockles."


The Guardian
4 hours ago
- The Guardian
‘I've been crucified!' Sarah Jessica Parker on dating, delis – and surviving three decades of Carrie haters
Carrie Bradshaw was undoubtedly not intended as a hate figure when Sex and the City first aired. But in recent years, a curious cultural shift has occurred: newer fans have started to see Carrie, played by Sarah Jessica Parker, as the most toxic thing about the horny, headline-grabbing show. An entire website, Carrie Bradshaw Is the Worst, was devoted to explaining why Carrie sucked. (The most common complaints: she cheated on nice guy Aidan; talked about herself too much.) One viral essay posited that Carrie was TV's first female antihero. Parker, 60 and still synonymous with pop culture's most iconic single gal, has grown to love the term. 'I prefer that to any other description of her, because it allows her to be as male as the men have been. I love The Sopranos so much, and I look at all the times [Tony] was unlawful, and we loved him. Carrie has an affair and everybody falls apart,' says Parker ruefully. 'An antihero, to me, is somebody that's not behaving in conventional ways, and she hasn't ever.' She pauses. 'Am I crazy?' Another pause. 'A lot of people love her too, though!' Nobody could accuse Parker of being an antihero; in person, she is considered and endlessly gracious, eloquent in a way that puts her in stark contrast to Carrie, the garrulous character she made so indelible 27 years ago. In 2021, she returned to the role in spin-off And Just Like That with the same fizz and magnetism. Seated in a Paris hotel room for the European launch of the show's new season, Parker is tiny – her tininess magnified by the chicly gigantic grey V-neck she wears over a floral dress – and has impeccable posture, surely a holdover of her childhood years spent training as a ballet dancer. AJLT is a hugely divisive show – a marker of how relevant Sex and the City remains – largely because of its clunky handling of race and sexuality, though it arguably nails the way moneyed older people try, clumsily, to talk about progressive politics. Some fans hated the absence of Kim Cattrall's Samantha Jones, and the introduction of Che Diaz (Sara Ramirez), a non-binary standup who becomes Miranda's (Cynthia Nixon) love interest. But for many, the revival is a deft exploration of life after grief – Carrie's husband, Mr Big, dies in episode one – and a frothy ode to traditions that seem to be dying out: getting dressed up on a whim for brunch; finding romance in everyday life. This season – which focuses on Carrie's relationship with on-again, off-again beau Aidan, a handsome new neighbour played by Jonathan Cake, plus hijinks such as Miranda accidentally sleeping with a virgin lesbian nun – is just as delightful. Front and centre, of course, are Carrie's incredible outfits. She is always dressed to the nines, whether walking through the park in a gigantic hat that looks like a picnic basket or strutting through her apartment wearing a dress adorned with hundreds of jangly charms. (At one point, her proclivity for heels even becomes a key plot driver, as her downstairs neighbour asks her to invest in – gasp! – slippers.) This might be one of the show's most fantastical elements: a version of New York where everyone isn't just walking around in yoga sweats. How does Parker, a local style icon herself, feel about the city's shift to athleisure? 'I mean, I see a lot of people – women in particular – in New York in leggings. They are often on their way to, it seems to me, an exercise experience of some kind. I'm slightly allergic to me criticising the commitment to athleisure wear … You can't be a hypocrite about it if you believe in wearing what feels good when you walk out the door,' she says. 'There are occasions when I think: 'People should be dressed up, I want to see some effort,' but the idea of legislating that is counter to a lot of stuff we're meant to feel and live by. So, it's not creative but if you're comfortable, I mean, who am I?' Perhaps AJLT's main function, then, is as an appealingly joyful piece of escapism in catastrophically dark times. But in the new season, Parker hopes, the show takes on new depth, too. 'I was excited about the way the relationship with Aidan would sort itself out, because there's a new maturity to both parties, especially Carrie,' she says. 'It all sounded good to me – challenging, exciting, fun and hopefully funny.' Carrie's growth is one of the show's many changes that she welcomes with open arms. 'It's no surprise that at this point in her life, she's just more equipped, like we all are. I'm reacting differently to things now because I have a decade more experience,' she says. If she were still an antihero … well, that would be a hard sell. 'We've not seen Carrie at this point in her life – I think it's developmentally correct, but not that surprising. You know, she's not been a wildly hysterical person for the [entire] nine years spent on television!' The complexity of a character such as Carrie may have caused some of AJLT's new additions to seem one-note in comparison. Che Diaz, the 'queer non-binary Mexican-Irish diva', was one of its most controversial additions – a caricature of queer culture in stark contrast to the nuanced women who defined the original show. Che hasn't returned for season three. Parker says she was 'shocked' to discover the character was so widely reviled. 'A friend of mine brought it up to me, and it's like: 'What are you talking about?' And he said: 'Yeah, there's all this conversation,'' she recalls. 'I've been an actor for 50 years, and I've almost never paid attention to peripheral chatter. I loved working with them.' Viewers and critics may have had a problem with Che, but if anyone's flying the flag for Carrie, it's gen Z. On social media, Carrie is seen as the ultimate messy protagonist; flighty and flinty in equal measure, she is the perfect avatar for a generation obsessed with debating (and subsequently ignoring) red flags and turning traumatic events into pithy one-liners. Barely a day goes by when I don't see Carrie's 'Single & Fabulous?' New York magazine cover repurposed as aresponse to a modern embarrassment. Parker hasn't seen this phenomenon first-hand ('I'm not on TikTok myself – I don't say that pridefully, I'm just overwhelmed by the idea of it') but hears about it from friends' kids. 'It's curious, because their lives are so different – the language they use around dating is different,' she says. 'They're less patient. They're more punitive. They're not as forgiving of people's shortcomings. I'm not condemning it, it's just what I've heard. So it's really interesting that they feel so spirited about it. It doesn't mean they aren't objecting to Big and Carrie's relationship, or the way he treated her, or choices Carrie made. But people had those strong feelings back then, too.' Does she ever feel disheartened that the original show – a quarter century-old ur-text of heteropessimism – still feels so relevant to audiences now, who find the carnival of dud men dated by Carrie, Charlotte, Miranda and Samantha painfully relatable? 'I think it would be a reason to feel disheartened, but the show is also about finding home and contentment, whatever home means to you,' says Parker. 'I feel that 20- and 30-year-olds should be searching. There should be something in the distance that's important and exciting, and worth the wait. Part of it is rather dreary that great women of all ages are still incredibly frustrated by the dating scene, but I also see a lot of happy endings.' The culture around Sex and the City is cyclical in more ways than one. In the 2000s, the show was criticised for accelerating the gentrification of New York's meatpacking district; now, New Yorkers are fretting about the arrival of the West Village Girl, a new city transplant who treats the neighbourhood as 'a fabulous theme park … to live out Sex and the City fantasies', is how New York magazine recently described it. I ask Parker if, as a longtime West Village resident, she's heard of this stereotype, which has caused endless conversation online recently, and she immediately turns sheepish, admitting that her husband Matthew Broderick worded her up on the terminology the week prior. 'We see it all the time. I mean, every single place has lines round the corner, there's young girls dressed in very fine threads everywhere, and they're all stopping in the street and taking their pictures, raising a camera up high,' she says, holding her arm up as if taking an 0.5 selfie. Parker is rattling off the West Village Girl description with ease; for a second, I feel as if I'm in one of Sex and the City's brunch scenes in which the ladies pontificate, with relish, on the hot topics of the day. 'But I remember they said that about the meatpacking, too – they said we ruined it. I recall being crucified for that. It happens – the West Village is a very charming advent calendar kind of neighbourhood, and it's been through many versions of this, and the true born-and-raised West Villagers have always complained about it, and rightly so, because it's priced people out. She continues: 'Retail rent has gone way high, the price of a coffee – because they're not going to the deli! If you would just go to the deli,' – she cups her hand around her mouth as if trying to reach the West Village girls through a megaphone – 'Just go support Sam's Deli on West 4th Street! But I think that's the nature of these things … you've seen the lines for a croissant that's not really croissant – is it a bagel? Is it a donut? Then they top it off with some whipped cream and olive oil and salt and people go mad for it.' Today's New York – exclusively a playground for the wealthy, some say – is a far cry from the New York Parker grew up in, after her family moved in an RV from Cincinnati to Roosevelt Island in 1977 in search of opportunity. She frets about the inaccessibility of the city to working-class people 'constantly.' 'It's beyond a concern – New York has become impossible for artists, [whether] ballet dancers, photographers, whomever. We haven't had the kind of political support in our city to really be smart and innovative about affordable housing and protecting culture. It's our biggest export – so when we're not able to offer shelter to the people producing that, and focus on tax breaks for big corporations, we lose what makes us singular,' she says. 'It's like an epidemic, this constantly untreated problem. We all do better for having [artistic] communities. Every study in the world shows it.' It was New York's deep-rooted arts scene that nurtured Parker's entire career, from her stint being directed – as a child – by Harold Pinter in a Broadway production of The Innocents to her time performing in experimental theatre to her role as Carrie. It's somewhat surprising she was so game to return to the character given that she's gone to such efforts to break free of the Carrie archetype with projects such as the 2016 drama Divorce or last year's stage revival of Plaza Suite, with Broderick, in London – not to mention being a judge for the 2025 Booker prize. Was there ever, I wonder, any reluctance? I read her a quote from 2006 by her former co-worker Cattrall, in which she says there's a 'darkness' to playing an iconic character, because those around you can lose sense of where the character ends and you begin. Parker, who has famously fallen out with Cattrall in recent years, seems to stiffen slightly at the mention of her name, before relaxing when realising the question is not about her. 'Being a public person is complicated,' she says. 'It asks you to be generous of spirit at times in which you might have a child having a meltdown at an airport, or you're having a tough conversation on the phone. But if that's my cross to bear, I'm in a pretty enviable place.' And Just Like That is on Sky Comedy and Now in the UK. In the US and Australia, it airs on Max.


Telegraph
8 hours ago
- Telegraph
The Carrie Bradshaw guide to style over 50
The world – or at least that tranche of it that's a Sex And The City fan – is divided into two sorts of people: those who wouldn't watch divisive sequel And Just Like That if they were on fire, and those who would merrily walk into one for the love of Carrie Bradshaw. Only one episode in, and plot-wise at least, Season Three is already making the haters feel vindicated, while severely testing the loyalty of even the most diehard fans. Nobody wants to watch Carrie and Aidan having phone sex. Few things in life are more dispiriting than faking an orgasm, but faking a phone sex orgasm is surely one of them. But let us move on, like Miranda after another doomed lesbian tryst, and focus on the real joy of the show – the fashion. Carrie, Miranda and Charlotte are older and wiser now than when they first burst onto our screens in 1997, though thankfully not so old or wise as to refrain from wearing impractical dresses, mad-assed hats and bags the price of a small condo. So what if the plot is more far-fetched than Big coming back from the dead? (though at this stage, we probably shouldn't rule that out). We come for the memories: we stay for the fashion. Here are seven learnings from episode one. Carrie is still a huge fan of British fashion Is Simone Rocha an AJLT fan? The show is certainly a fan of hers. Carrie's first appearance sees her in a sheer blush pink dress and matching duster coat from Rocha's spring/summer 24 collection, the long-stemmed roses suspended between its tulle layers a knowing nod to Carrie's long-term love affair with corsages. Whimsical and romantic, it's the perfect choice for a quick trip to the post box – if you're Carrie, anyway. Later, she's seen in a blue lace Zandra Rhodes blouse and an Ossie Clarke maxi dress, while a forthcoming episode will see her wearing up and coming Liverpudlian designer, Patrick McDowell. A staunch supporter of the late Alexander McQueen and Vivienne Westwood, it's heartening to see Carrie still doing her bit for Anglo-American relations. She's also a fan of orthopaedic shoes Dr Scholls? Young Carrie would never. While she's teetered down countless sidewalks in sky-high Manolos and Choos, at 58 (or thereabouts), she's decided it's time to swap her 24/7 heels for more sensible footwear, at least when the occasion warrants. Which is why she's spotted strolling in the park wearing white 'Pescura' mules, £117, by Scholl. Samantha Jones wouldn't approve, but Carrie's ankles will. New Yorkers don't wear jeans and parkas to walk their dogs Although they do wear workout gear. Walking her English bulldog, Richard Burton, in Central Park, Charlotte is seen in a lace Gucci track jacket, £902, while Lisa wears a mint green Y-3 tracksuit, orange Hoka Mach 6 trainers, £140, and and a Gymwrap visor that's a snip (in AJLT terms) at $25.95. Clearly, Marfa Stance parkas are not ubiquitous (yet) in Manhattan. Not every label is high end As the wealthiest of the original four friends, Charlotte York can always be relied upon to wear a tasteful, preppy melange of Carolina Herrera, Veronica Beard and Ralph Lauren. High street? Charlotte doesn't know her. Which is why it's a surprise to see a Shein box sullying her marble kitchen counter top. Are times really that hard for Harry Goldenblatt? In fact, the box is a plot device that hammers home a message. 'Maybe don't order so much fast fashion – it's killing the environment,' Charlotte's non-binary daughter, Rock, says to her sister Lily, who is the culprit. But they do love polka dots Like the Princess of Wales, Carrie and Charlotte have both pledged their allegiance to black and white polka dots this season, with Charlotte wearing a black high-necked Saint Laurent blouse, £1225, and Carrie seen in a cropped 'Delia' shirt by Rebecca Valance, £320. The night attire is as enviable as the daywear With age comes an increasing obsession with night attire, or maybe that's just me. This episode runs the gamut from sensible to seductive. Seema (Sarita Choudhury) likes to lounge around in a gold kaftan and black push-up bra, Lisa (Nicole Ari Parker) favours a fluid satin dressing gown and matching wide-leg trousers, while Carrie wears a pink and white candy striped night shirt that looks surprisingly prosaic, and very comfy. Perhaps she finds it too maudlin now to wear Mr Big's old shirts to bed, and who can blame her. The accessories are still on point While Carrie's gingham 'Head In The Clouds' Maryam Keyhani hat was doubtless chosen for its potential to go viral rather than as a feasible item of headgear, the first episode is a feast of covetable items, proving that while you might age out of three-inch heels, you're never too old for a fabulous accessory. Star of the episode is Carrie's crystal-embellished Gucci 'Jackie' shoulder bag, £10,500, a fitting choice, given younger Carrie's obsession with Tom Ford-era Gucci. Honourable mentions also go to Seema's capacious silver Published by Arabella tote bag (now sold out) and Lisa's Proenza Schouler feather sandals, £1055. For those whose budgets don't quite stretch to these, there's always Charlotte's Burberry poop bag, for never let it be said that Richard Burton doesn't defecate in style. And just like that, we're weirdly hooked and ready to cringe-watch (an adjunct to binge-watch) the rest of the season.