Huge 90s star star unrecognisable with very different new job
Over two decades since Dawson's Creek first aired in 1998, one of its stars, Kerr Smith, who played the character Jack McPhee from season two onwards, is barely recognisable today. The actor, now 53, has swapped his iconic brown locks for a silver fox look and is living a life of wellness in the mountains of Utah.
Smith's character was known for his struggle with his sexuality, eventually coming out as gay and becoming the first openly gay character to kiss on primetime TV.
Since the show ended in 2003, Smith has continued his acting career, appearing in shows such as Charmed, CSI: NY, Eli Stone, The Fosters, Agents of S.H. I.E. L.D. , and most notably, as Principal Holden Honey in Riverdale, reports Surrey Live.
In addition to his acting career, Kerr and his wife Lisa also run TerraLife, a wellness company that focuses on holistic health coaching, functional nutrition, and natural hormone balancing.
Kerr was previously married to producer Harmoni Everett from 2003 until their split in 2009.
Dawson's Creek served as a launchpad for many of its cast members, including James Van Der Beek, who went on to appear in shows like How I Met Your Mother and Ugly Betty. Joshua Jackson landed roles in Little Fires Everywhere and Fatal Attraction, while Meredith Monroe appeared in Criminal Minds and 13 Reasons Why.
Michelle Williams earned five Oscar nominations for her performances in Brokeback Mountain, Blue Valentine, and The Fabelmans. Katie Holmes also found success in films like Coda and Don't Be Afraid of the Dark, and was married to Tom Cruise for six years.
Fans of Dawson's Creek may have something to look forward to, as Smith revealed on The Morning Show last year that a script has been written for a spin-off centered around Jack's life, with the cast returning to Capeside. He said, "I'm working on a spin-off. Myself and a couple of other cast members are working on something. It's very preliminary at this point. But something's been written and we're trying to get it made."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
5 hours ago
- Daily Mirror
Dawson's Creek star James Van Der Beek shares health update after cancer diagosis
Dawson's Creek star James Van Der Beek said living with cancer feels like a 'full-time job' in a health update following his colorectal cancer diagnosis Dawson's Creek star James Van Der Beek said living with cancer feels like a 'full-time job' as the star shared a health update after he was diagnosed with Stage 3 colorectal cancer in August 2023. The actor, who has been married to business consultant Kimberly Brook since 2010 and shares six kids with her, said the cancer will be a 'process for the rest of his life'. When James first revealed the news last year, he told fans he was "privately dealing" with the diagnosis and was taking precautionary steps to "resolve it". The 48-year-old actor, who made his screen debut in 1993 in an episode of Clarissa Explains It All, said he had the support of his 'incredible family' and added: "There's reason for optimism, and I'm feeling good." READ MORE: Dermatologist-approved skincare brand loved by Strictly star is 30% off for few days only And now, the star spoke to and shared an update on his 'journey'. He said: "It's a process. It'll probably be a process for the rest of my life." He admitted living with cancer felt like a "full-time job" and he's focusing on finding "the beauty of just taking things a little bit more slowly and prioritising rest and really allowing that to be the job". James went on to urge people to get screening for colorectal cancer, adding that he was screened at 46, a year after the recommended screening age. "I thought I was way ahead of the game," James explained. "I ate as well as I could. I was healthy. I was in amazing cardiovascular shape. There was no reason in my mind that I should have gotten a positive diagnosis." The actor is currently working on the Legally Blonde prequel series, which has helped distract him. "The greatest thing about work is cancer doesn't exist between action and cut," he said. While James has been acting on screen in film and TV shows since the early 1990s, he is still best known to many as the titular Dawson Leery of iconic teen drama Dawson's Creek. The show also launched the careers of Oscar nominee Michelle Williams, Batman actress Katie Holmes, and Canadian star Joshua Jackson. Colorectal cancer is a term for bowel cancer - which can form and grow in the large bowel, which includes the colon and rectum. The disease is one of the most common types of cancer in the UK, but can be detected through bowel cancer screening and, if caught early, is one of the easiest forms of cancer to treat. The NHS records symptoms to watch out for are changes in your poo, such as having softer poo, diarrhoea or constipation that is not usual for you, blood in your poo which could look red or black, a sensation of needing to poo even if you've just been to the toilet - and other symptoms including tummy pain, bloating and unexpected weight loss.
The Guardian
18 hours ago
- The Guardian
‘A train nearly took my head off': how Lady Pink shook up the macho men of New York's graffiti scene
Lady Pink was five when she killed her first snake – with her bare feet. 'That shows what a precocious and fearless kid I was,' says the 61-year-old. Even over the phone from upstate New York, the venerated graffiti artist is a force to be reckoned with, talking at a breakneck tempo punctuated by bursts of raucous laughter. There's a sense that this energy might quickly combust too – she admits she 'totally lost it' while preparing for her current solo show, Miss Subway NYC, at D'Stassi Art in London. The exhibition sees her vividly recreate a New York City subway station. There are paintings in eye-popping colours depicting trains, train yards and playful portraits of the characters you typically see there: a busker in a cat costume, an elderly lady with a shopping cart and a chihuahua. With the help of her husband, fellow graffiti artist Smith, she has even meticulously reproduced layers of tags on the walls from her halcyon days, when she would risk arrest – and sometimes her life – to spray across the city at night. On the show's opening night, more than 1,000 people showed up to pay their respects to the grande dame of graf. Lady Pink was born Sandra Fabara in Ambato, Ecuador, in 1964. Her story begins on her grandparents' sugarcane plantation in the Amazon rainforest – a vast, wild terrain that, like the snake who met its fate at her feet, didn't intimidate her. Her mother had returned after leaving Pink's father, an agricultural engineer who was a 'womaniser, gambler, cheater … '. As soon as she had enough money, when Pink was seven, they left Ecuador for New York City. 'When we came here, we had no papers, we didn't speak the language.' Pink was a self-assured, determined and talented kid who quickly learned how to channel her pain and grief into creativity. She first got into graffiti at 15, after her boyfriend was arrested for tagging and sent to live with relatives in Puerto Rico. 'I cried for a whole month, then I started tagging his name everywhere.' A painting in her London show of the artist as a teen kissing a handsome boy pays tribute to this defining moment in her personal history. When she started high school in Queens, she met 'kids who knew how to get into yards and tunnels. The more they said, 'You can't, you're a girl,' the more I had to prove them wrong. I was stubborn as a mule. I was crazy.' As one of the only women accepted by the notoriously macho graffiti scene in New York in the late 1970s, she quickly gained a reputation for tagging subway trains. 'We are like a guild, a clannish, tribal group who go out at night and watch each other's backs.' She later earned her official moniker 'Pink' from a fellow member of TC5 crew, Seen. 'I was the only female in the city painting, and I needed a female name so everyone would know our crew tolerated a female,' she explains. 'I knew I was the token female and that got my foot in the door – but to keep up with the big bad boys, I had to back it up with real talent too. There was sexism of course, but I'm a little bit of a badass. I don't appreciate being walked over and I stand up strongly for myself. Even if I'm petite, I'm loud. Don't judge me by my size, judge me by how big and fast I paint!' She added the 'Lady' title – at first inspired by the European nobility in the historical romance novels she was reading. 'But I don't write Lady – I'm terrible at the letter Y.' Later she used the Lady title to avoid confusion with the pop singer of the same name – who approached the artist to design her first album cover. 'I said, 'Hell no!' Are you kidding me? But she's a fan, I'm not going to say anything bad about her, she's fine, she sings fine.' As a young woman out at night in New York's most insalubrious neighbourhoods in 1979, Pink was especially vulnerable. 'I would dress like a boy and pretend to be a boy. The teens I ran with weren't much bigger than me and I knew they weren't there to protect me if shit went down. You're in the worst neighbourhoods of New York City relying on the kindness of strangers to save your life – you've got to be prepared. What happens in the dark alleys of cities, you don't want to know. You shake a spray can and hope they let you live.' 'Bombing' subway trains is one of the most perilous activities of graffiti – 'loads of kids have died doing it, getting run over by the trains or electrocuted. It still happens. It's live electricity: if you touch the rail you will die.' How did she survive? 'You don't stumble in like you're drunk, it's like a military manoeuvre. You know the train schedules, where to walk, where to hide. You have all of that figured out ahead of time. You need to be sure where you're going when you're running like panicked rats in the dark maze.' Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion Still, there were more than a few close calls over the years. She recalls she once sliced her finger open and 'it was bleeding badly, it was a terrible cut and I probably should have had it stitched, but I just stuck it in my pocket and it quietly bled in there. I didn't want people to say: 'Oh you're a girl you're hurt and crying, you're going to slow us down,' – you've got to be a good soldier.' Another time, there was a near miss with an unforeseen moving train. 'I had gone to pee and I thought I could just walk it,' she laughs. 'Then there was a train coming and it was doing a weird curve, slanting into the wall. At the last minute I ducked, but if I had stayed standing the train would've taken my head off. After that, I just ran at top speed. I can't believe I survived it.' The 1980s were a whirlwind. She rose to fame in 1983 after featuring in Wild Style, the cult film that launched American hip-hop culture globally. Her spray-painted canvases, horror vacui compositions with bold, attention-grabbing colours of scenes inspired by the street, began to be accepted in conventional, legal art spaces, and in 1984 she was included in MoMA PS1's The New Portrait alongside Alice Neel, Jean-Michel Basquiat and Keith Haring. 'No one was aware it was going to launch anything, we were just in it for the moment and the money. People told us the art market was fickle and eventually we'd have to get jobs.' Once she invited Haring to come to paint a train with her. 'Just me and him, no machismo – but dude was not down, he didn't want to cross the line of breaking laws. What he did was chalk on boards. He was a white dude; he wasn't incurring any kind of arrests. They weren't graffiti artists, but they were the original street artists. Graffiti artists work with spray, with fonts – and we hit stuff with wheels.' Pink also received an invitation from Jenny Holzer, who was wheatpasting her Truisms posters in Manhattan. 'We were like the only women going out at night doing things. She was a tall lady, like two metres, she would wear a hoodie and a big coat so she could pass off as a man going around at night alone. I am very small and I couldn't pass off like that, so I had to run with a crew. She reached out to me and suggested we collaborate.' Holzer had done up an entire building in the Lower East Side. 'It was wild out there at that time, there were a lot of people doing drugs, there was a lot of crime. But she made this beautiful, safe building, and I loved going there and working with her.' Holzer would prep three-metre-square canvases for Lady Pink to spray paint her images on, and Holzer paired them with text. The works were later shown at MoMA and Tate Modern. In 1983, 19-year-old Pink was photographed by Lisa Kahane wearing a vest emblazoned with Holzer's famous words: 'Abuse of power comes as no surprise' – in 2017 the photo went viral as an emblem of the #MeToo movement. Though artwork sales and interest did wane in the late 1980s, Pink pivoted. She set up a mural company with her husband, doing public commissions and working in communities. While many of her peers 'couldn't handle the business, they couldn't leave the ghetto behind, they couldn't show up on time or answer a phone call', she says she was able to 'adapt to polite society. Artists don't know how to hustle, and you've gotta hustle, hustle, hustle. Some don't have the cojones. But good grief, you've got to go knocking on doors!' She stopped illegally painting subway trains decades ago – 'now I save my crazy for the galleries' – but the spirit of the subway lives on in the London show. And she says she's still paying the price for her years of youthful rebellion. Twelve years ago, she and her husband moved upstate after 'one too many' police raids on their home in NYC. 'They took my stuff – including my husband – and messed with us. We had to spend money on an expensive attorney. They've told me to stick to the indoor stuff and not paint big old murals because they inspire people. I said yeah – community people, poets, artists, I should hope I inspire people!' One thing is for sure: she doesn't have any regrets. 'Street art is the biggest art movement, we are in every corner of the world. By whatever means possible, we are taking over this world, it's our whole plan! I think it's cool, man – you've got to take control of your environment. You don't need an MA to be an artist, you just need a little paint plus a little courage. Just do it!' Lady Pink: Miss Subway NYC is at D'Stassi Art, London, until late September.
The Guardian
20 hours ago
- The Guardian
‘I'm a badass': how Lady Pink took on the macho men of New York's graffiti scene
Lady Pink was five when she killed her first snake – with her bare feet. 'That shows what a precocious and fearless kid I was,' says the 61-year-old. Even over the phone from upstate New York, the venerated graffiti artist is a force to be reckoned with, talking at a breakneck tempo punctuated by bursts of raucous laughter. There's a sense that this energy might quickly combust too – she admits she 'totally lost it' while preparing for her current solo show, Miss Subway NYC, at D'Stassi Art in London. The exhibition sees her vividly recreate a New York City subway station. There are paintings in eye-popping colours depicting trains, train yards and playful portraits of the characters you typically see there: a busker in a cat costume, an elderly lady with a shopping cart and a chihuahua. With the help of her husband, fellow graffiti artist Smith, she has even meticulously reproduced layers of tags on the walls from her halcyon days, when she would risk arrest – and sometimes her life – to spray across the city at night. On the show's opening night, more than 1,000 people showed up to pay their respects to the grande dame of graf. Lady Pink was born Sandra Fabara in Ambato, Ecuador, in 1964. Her story begins on her grandparents' sugarcane plantation in the Amazon rainforest – a vast, wild terrain that, like the snake who met its fate at her feet, didn't intimidate her. Her mother had returned after leaving Pink's father, an agricultural engineer who was a 'womaniser, gambler, cheater … '. As soon as she had enough money, when Pink was seven, they left Ecuador for New York City. 'When we came here, we had no papers, we didn't speak the language.' Pink was a self-assured, determined and talented kid who quickly learned how to channel her pain and grief into creativity. She first got into graffiti at 15, after her boyfriend was arrested for tagging and sent to live with relatives in Puerto Rico. 'I cried for a whole month, then I started tagging his name everywhere.' A painting in her London show of the artist as a teen kissing a handsome boy pays tribute to this defining moment in her personal history. When she started high school in Queens, she met 'kids who knew how to get into yards and tunnels. The more they said, 'You can't, you're a girl,' the more I had to prove them wrong. I was stubborn as a mule. I was crazy.' As one of the only women accepted by the notoriously macho graffiti scene in New York in the late 1970s, she quickly gained a reputation for tagging subway trains. 'We are like a guild, a clannish, tribal group who go out at night and watch each other's backs.' She later earned her official moniker 'Pink' from a fellow member of TC5 crew, Seen. 'I was the only female in the city painting, and I needed a female name so everyone would know our crew tolerated a female,' she explains. 'I knew I was the token female and that got my foot in the door – but to keep up with the big bad boys, I had to back it up with real talent too. There was sexism of course, but I'm a little bit of a badass. I don't appreciate being walked over and I stand up strongly for myself. Even if I'm petite, I'm loud. Don't judge me by my size, judge me by how big and fast I paint!' She added the 'Lady' title – at first inspired by the European nobility in the historical romance novels she was reading. 'But I don't write Lady – I'm terrible at the letter Y.' Later she used the Lady title to avoid confusion with the pop singer of the same name – who approached the artist to design her first album cover. 'I said, 'Hell no!' Are you kidding me? But she's a fan, I'm not going to say anything bad about her, she's fine, she sings fine.' As a young woman out at night in New York's most insalubrious neighbourhoods in 1979, Pink was especially vulnerable. 'I would dress like a boy and pretend to be a boy. The teens I ran with weren't much bigger than me and I knew they weren't there to protect me if shit went down. You're in the worst neighbourhoods of New York City relying on the kindness of strangers to save your life – you've got to be prepared. What happens in the dark alleys of cities, you don't want to know. You shake a spray can and hope they let you live.' 'Bombing' subway trains is one of the most perilous activities of graffiti – 'loads of kids have died doing it, getting run over by the trains or electrocuted. It still happens. It's live electricity: if you touch the rail you will die.' How did she survive? 'You don't stumble in like you're drunk, it's like a military manoeuvre. You know the train schedules, where to walk, where to hide. You have all of that figured out ahead of time. You need to be sure where you're going when you're running like panicked rats in the dark maze.' Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion Still, there were more than a few close calls over the years. She recalls she once sliced her finger open and 'it was bleeding badly, it was a terrible cut and I probably should have had it stitched, but I just stuck it in my pocket and it quietly bled in there. I didn't want people to say: 'Oh you're a girl you're hurt and crying, you're going to slow us down,' – you've got to be a good soldier.' Another time, there was a near miss with an unforeseen moving train. 'I had gone to pee and I thought I could just walk it,' she laughs. 'Then there was a train coming and it was doing a weird curve, slanting into the wall. At the last minute I ducked, but if I had stayed standing the train would've taken my head off. After that, I just ran at top speed. I can't believe I survived it.' The 1980s were a whirlwind. She rose to fame in 1983 after featuring in Wild Style, the cult film that launched American hip-hop culture globally. Her spray-painted canvases, horror vacui compositions with bold, attention-grabbing colours of scenes inspired by the street, began to be accepted in conventional, legal art spaces, and in 1984 she was included in MoMA PS1's The New Portrait alongside Alice Neel, Jean-Michel Basquiat and Keith Haring. 'No one was aware it was going to launch anything, we were just in it for the moment and the money. People told us the art market was fickle and eventually we'd have to get jobs.' Once she invited Haring to come to paint a train with her. 'Just me and him, no machismo – but dude was not down, he didn't want to cross the line of breaking laws. What he did was chalk on boards. He was a white dude; he wasn't incurring any kind of arrests. They weren't graffiti artists, but they were the original street artists. Graffiti artists work with spray, with fonts – and we hit stuff with wheels.' Pink also received an invitation from Jenny Holzer, who was wheatpasting her Truisms posters in Manhattan. 'We were like the only women going out at night doing things. She was a tall lady, like two metres, she would wear a hoodie and a big coat so she could pass off as a man going around at night alone. I am very small and I couldn't pass off like that, so I had to run with a crew. She reached out to me and suggested we collaborate.' Holzer had done up an entire building in the Lower East Side. 'It was wild out there at that time, there were a lot of people doing drugs, there was a lot of crime. But she made this beautiful, safe building, and I loved going there and working with her.' Holzer would prep three-metre-square canvases for Lady Pink to spray paint her images on, and Holzer paired them with text. The works were later shown at MoMA and Tate Modern. In 1983, 19-year-old Pink was photographed by Lisa Kahane wearing a vest emblazoned with Holzer's famous words: 'Abuse of power comes as no surprise' – in 2017 the photo went viral as an emblem of the #MeToo movement. Though artwork sales and interest did wane in the late 1980s, Pink pivoted. She set up a mural company with her husband, doing public commissions and working in communities. While many of her peers 'couldn't handle the business, they couldn't leave the ghetto behind, they couldn't show up on time or answer a phone call', she says she was able to 'adapt to polite society. Artists don't know how to hustle, and you've gotta hustle, hustle, hustle. Some don't have the cojones. But good grief, you've got to go knocking on doors!' She stopped illegally painting subway trains decades ago – 'now I save my crazy for the galleries' – but the spirit of the subway lives on in the London show. And she says she's still paying the price for her years of youthful rebellion. Twelve years ago, she and her husband moved upstate after 'one too many' police raids on their home in NYC. 'They took my stuff – including my husband – and messed with us. We had to spend money on an expensive attorney. They've told me to stick to the indoor stuff and not paint big old murals because they inspire people. I said yeah – community people, poets, artists, I should hope I inspire people!' One thing is for sure: she doesn't have any regrets. 'Street art is the biggest art movement, we are in every corner of the world. By whatever means possible, we are taking over this world, it's our whole plan! I think it's cool, man – you've got to take control of your environment. You don't need an MA to be an artist, you just need a little paint plus a little courage. Just do it!' Lady Pink: Miss Subway NYC is at D'Stassi Art, London, until late September.
