logo
Step By Step star Christine Lakin, 46, rose to fame as a child actress in the '90s... see her now

Step By Step star Christine Lakin, 46, rose to fame as a child actress in the '90s... see her now

Daily Mail​07-06-2025
Christine Lakin has come a long way since breaking out in Hollywood in the early 1990s.
The actress, now 46, got her big break as a main cast member on the sitcom Step By Step, which she starred on for 160 episodes over seven seasons.
She played Alicia 'Al' Lambert, the daughter of Patrick Duffy's character Frank, who is getting used to his new marriage to Suzanne Somers ' character Carol.
Although critics never paid much attention to Step By Step, it was popular with viewers for several seasons, though ratings began to flag by the show's sixth season.
For its seventh and final season, it moved from ABC to CBS, though that turmoil only exacerbated the exodus of viewers, and the show was canceled for good in June 1998.
Now, more than two decades after the show that gave her her big break went off the air, DailyMail.com takes a look at what Christine looks like now.
The film and television actress was spotted out in Los Angeles this week when she attended her son Baylor's Little League game.
Christine was dressed in a sporty white tank top that highlighted her toned arms, and she paired it with acid wash jeans and brown Birkenstock sandals.
She opted for minimal makeup and covered up with aviator sunglasses and a blue denim-style LA Dodgers baseball cap.
Christine carried a bag with her son's equipment, including his baseball bat, and she also brought along a fan for the sweltering late-spring day.
Despite being decades away from the role she's best known for, she still looked shockingly youthful.
In 2014, she tied the knot with the actor Brandon Breault. In 2016, they welcomed their first child, daughter Georgia James, nine, and in late 2018 she gave birth to their son Baylor B., six.
Christine managed to make a successful transition from being a child star to an adult actor after her first series ended, and even though she's never appeared in any film or show as successful as Step By Step, she has continued to be a prolific actor and has even expanded into directing in recent years.
After wrapping on Step By Step, Christine — who described herself as a 'recovering child actor' in an interview with Voyage LA last year, became an in-demand guest star on shows including 7th Heaven, 3rd Rock From The Sun and the Touched By An Angel spinoff Promised Land.
Christine was dressed in a sporty white tank top that highlighted her toned arms, and she paired it with acid wash jeans, brown Birkenstocks, aviator sunglasses and a blue denim-style LA Dodgers baseball cap. She opted for minimal makeup
As the 2000s rolled around, she appeared in episodes of Boston Public, the original Touched By An Angel series, the cult teen mystery-drama Veronica Mars, CSI and Bones.
Her next series to get picked up was the CW's Valentine in 2008, but the series only lasted eight episodes.
Although she mostly appeared in low-budget films throughout the 2000s, she had a surprising connection to Paris Hilton's attempt to launch an acting career when she starred opposite the heiress in The Hottie And The Nottie (as the Nottie).
It took extreme makeup and prosthetics to cover up Christine's natural beauty, though she eventually gets to show off her real visage after a 'makeover.'
The film was panned by critics and earned the Golden Raspberry Award for Worst Actress for Paris, as well as three other Razzies.
The Hottie And The Nottie was also a failure at the box office, grossing only $1.6 million against a relatively modest budget of $9 million.
She rounded out the decade with roles in Disney's Race To Witch Mountain — which starred Dwayne Johnson, AnnaSophia Robb, Carla Gugino and Ciarán Hinds — and the all-star ensemble romantic comedy Valentine's Day.
A year later, she reunited with director Garry Marshall for a small part in his follow-up ensemble rom-com, New Year's Eve.
As the 2010s started up, Christine began a successful run as the voice of Joyce Kinney, as well as multiple miscellaneous characters, on the long-running animated series Family Guy.
She continued guest starring on shows like NCIS, CSI: NY and Modern Family, and she had multi-episode runs on Melissa & Joey and the Cartoon Network series Clarence.
Her film work in the 2010s was less prolific, but she again played a small part for Marshall in his rom-com Mother's Day, which starred Jennifer Aniston, Julia Roberts, Kate Hudson and Jason Sudeikis, among many others, and she also returned to the Veronica Mars universe with a role in the sequel film from 2014.
Christine has also established herself as a television director begin in 2012, and she got some of her most high-profile directing gigs beginning in 2018 on The Goldbergs.
She went on to direct 12 episodes of the series through 2023, along with three episodes of its spinoff series Schooled.
More recently, she helmed an episode of High School Musical: The Musical: The Series.
While speaking to Voyage LA last year, she explained her shift to working more behind the camera.
'I have always been interested in the production of television and the behind-the-scenes action that goes on with live and scripted production. Being a self-starter and creating my own lane with projects was something born out of necessity in a competitive town like Hollywood, but also appealed to my creative brain to constantly try things and bring folks together to create something fun and unique.
She added that 'saying yes to opportunities that sometimes scared me, that didn't always seem like a linear path to where I thought I wanted to go' had helped her in the past and motivated her to give directing a try.
However, she found road blocks along the way since she hadn't been trained extensively as a director before trying her hand at it.
'It's hard to be competitive for that first big job when you've had no experience at that level before,' she explained. 'The feedback can feel like a Catch-22: You desperately want to prove you can do it, but folks have a hard time taking a chance on someone new.'
In the same interview, she noted that being a child actor had been a far different experience for her than it has been for other stars, both those who found success later and those who left Hollywood.
'I had the most fun working as a child and surrounded by wonderful people,' Christine admitted. 'I love the fans that still approach me today and those who are now watching Step By Step again with their kids. There's a nostalgia that, as a fan of that time, I can completely appreciate.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Lewis Hamilton gets David Croft a part in F1 movie with Brad Pitt
Lewis Hamilton gets David Croft a part in F1 movie with Brad Pitt

BBC News

timean hour ago

  • BBC News

Lewis Hamilton gets David Croft a part in F1 movie with Brad Pitt

Racing commentator David Croft has credited racer Lewis Hamilton for getting him a part in the film ahead of the British Grand Prix in Silverstone the broadcaster explained how Hamilton, who like him is from Stevenage, Hertfordshire, insisted he was part of the had wanted to use actors to deliver commentary during racing sequences, but Hamilton had pushed to use Croft and Martin Brundle said: "It was Lewis Hamilton who came up with the idea and I've said to him he could be my agent anytime he wants." At the premiere in New York in June, Croft introduced himself to Brad Pitt - the film's star - who recognised him and told him the two commentators "legitimise everything we do in this movie".At the London premiere on 23 June Croft said he scored "dad points" by introducing his son to the movie star, who did not believe the two knew one laughed: "I said, 'James, this is Brad. Brad, this is James,' and [Pitt] went: "Ah, Crofty Junior, so good to see you, man." During the New York premiere Croft and Hamilton had a moment to discuss their shared hometown of meeting many times, and the broadcaster commentating on Hamilton's races since he won his first F1 title in 2008, the two had never discussed that they were from the same recalled: "Martin and Lewis and I were having a chat and I went... we are so far from Stevenage now."He laughed and chuckled, I said 'did you ever think one day we'd be in Time Square having shut New York down to do a film premiere?' He went: 'No, it's just crazy.'" Follow Beds, Herts and Bucks news on BBC Sounds, Facebook, Instagram and X.

Reboots and remakes: why is Hollywood stuck on repeat?
Reboots and remakes: why is Hollywood stuck on repeat?

The Guardian

timean hour ago

  • The Guardian

Reboots and remakes: why is Hollywood stuck on repeat?

On Monday, the director of the new Jurassic Park movie explained his aim for the seventh film in the series. Innovation it was not. Rather, said Gareth Edwards, it was karaoke. To prepare, he binged Steven Spielberg clips on repeat, hoping to accomplish genre cloning. 'I was trying,' he told BBC's Front Row, 'to make it feel nostalgic. The goal was that it should feel like Universal Studios went into their vaults and found a reel of film, brushed the dust off and it said: Jurassic World: Rebirth. 'And they're like: 'What's this? We don't remember doing this!' I wanted it to feel like a film they'd discovered from the early 90s.' Time travellers from that period to the present day would be forgiven for wondering whether their DeLorean was on the blink. Not only are Oasis and Pulp soundtracking the summer with hits from Britpop's golden years, but film-makers, too, are – to paraphrase another mid-90s cultural touchstone, the Ferrero Rocher ads – really spoiling us. In a fortnight, we return to the scene of the crime of 1997's ripe slasher sensation I Know What You Did Last Summer for a new movie boasting exactly the same title, as well as key cast Jennifer Love Hewitt and Freddie Prinze Jr – whose very names act as a Smash Hits madeleine. The 2025 film continues the events of 1998's I Still Know What You Did Last Summer but – purists take note – ignores 2006's now non-canonical I'll Always Know What You Did Last Summer. Mind your adverbs. August brings The Naked Gun, with Liam Neeson slipping into the Swiss army shoes vacated by Leslie Nielsen's bumbling police lieutenant in 1994, as well as a remake of 1989's The War of the Roses, this time called The Roses, with Olivia Colman locked in marital battle with Benedict Cumberbatch. Jamie Lee Curtis and Lindsay Lohan return for a very belated sequel to their 2003 bodyswap comedy Freakier Friday, while currently marauding through cinemas is 28 Years Later, Danny Boyle's reanimation of the zombie horror series he started in 2002. Still hanging on strong across multiplexes, meanwhile, is Final Destination: Bloodlines, the first new instalment for 14 years of the franchise that's been confirming people's worst fears about tanning beds, log trucks and acupuncture since the turn of the century. Also on offer during the holidays are a rebooted Superman, a new Fantastic Four movie and assorted anniversary reissues including The Goonies (which turns 40), Harry Potter and the Goblet of Fire (20), Human Traffic (26), Sense and Sensibility (30) and Spinal Tap (41). Hollywood, it appears, is stuck on repeat, sucked with an ever-more deafening gurgle into a death cycle of creative bankruptcy desperately presented as comfort food. That this packaging strategy works is thanks in part to the dire state of the world beyond the cinema; audiences are really eager for escape. 'It makes me think of that Gil Scott Heron quote,' says the veteran film journalist Steven Gaydos. ''Americans want to go back as far as they can, even if it turns out to be only last week. Not to face now or the future, but to face backwards'.' That they seem to be spending a lot of time in 1994 is because those people making decisions in Hollywood, and commissioning others to execute them, came of age around this time (Edwards turns 50 next weekend). They are therefore particularly keen to relive a more innocent pre-smartphone era – as well as introduce it to their offspring. Cinemas actively encouraging this sort of indulgence is not new. George Lucas's breakthrough, American Graffiti (1973), harked fruitfully back to his own youth, just as Back to the Future (1985) – which Spielberg executive produced – lucratively teleported parents to their mid-50s heyday. The difference is that those movies were developed in an entertainment ecosystem with sufficient ambition and capacity to support them. Both films advanced cinema accordingly. There is no way Back to the Future would be made today, said its writer, Bob Gale, on Thursday. Not just because of the colossal cost and reams of theoretical physics. 'We'd go into the studio and they'd say, what's the deal with this relationship between Marty and Doc? They'd start interpreting paedophilia or something. There would be a lot of things they have problems with.' Small wonder studios today are so risk-adverse. This is an industry in freefall, clutching at the surest things in sight as it scrabbles to regain footing after Covid – which closed about 8,000 screens worldwide, half of them in the US – and the nearly six-month strikes of 2023 and subsequent dearth of content. Both these moments proved huge opportunities for streamers to stake a yet greater claim on the marketplace. Says Robert Mitchell, director of theatrical insights at Gower Street Analytics, playing safe is simply good business sense: 'Look at this year's biggest hits to date. [Chinese animation] Ne Zha 2, Lilo & Stitch, A Minecraft Movie. All are either sequels or based on a massive IP.' As Andrew Cripps, head of theatrical distribution at Disney, acknowledged at the CineEurope convention last month, the top 15 US releases of last year – including Inside Out 2, Deadpool & Wolverine, Moana 2 and Despicable Me 4 – clearly indicated 'the market reality of what consumers are looking for. On the other hand, you can't generate new franchises without launching original content.' And here comes the looming problem, as easy to spot and hard to dispatch as a hillside of zombies. Barrels can only be scraped so far – and many feel they long ago spotted the bottom. Original concepts strong enough to spawn spin-offs are not only costly, they are rare as hen's teeth. In the 15 top-grossing films of all time, only two non-sequels make the list: Titanic and Avatar, both by James Cameron and both today unthinkable to finance ('Everybody knows the ship sinks!' 'A paraplegic marine mind controls a CGI blue alien …'). Studios are in a bind, says Charles Gant of Screen International. 'They need fresh stories and characters to launch franchises and create new sequel opportunities – but landing that plane can be hard. It doesn't look like Elio is going to be creating much financial value for Disney, or yielding any sequels.' The long-awaited new Pixar innovation, Elio defied friendly reviews last month to be a hideous commercial bust, so far recouping just half of its (conservatively estimated) $150m production budget. Other high-end attempts to break new ground have suffered similar fates: Black Bag, Steven Soderbergh's glossy spy thriller with Cate Blanchett and Michael Fassbender, made back just two-thirds of its costs. Mickey 17, Bong Joon-ho's sci-fi cloning thriller with Robert Pattinson, has done slightly better, but given its production budget was $120m, there's little chance it will end up in the black. These 'original disappointments from big name directors', says Mitchell, meant 'the mood music was: it's going to be even harder to tell original stories on a big or even medium budget'. The past tense is important. Since that pair of flops, new hope has glimmered: Brad Pitt's motor-racing drama F1: The Movie finished last weekend's box office race in top position, earning back $167m of its $300m budget. And don't forget that in April, Sinners, a supernatural horror directed by Ryan Coogler and starring Michael B Jordan, took $365m from a $90m budget. These numbers, says Mitchell, 'demonstrate a clear desire among audiences for an original story'. Others are less upbeat. 'Describing either of those films as original is a red herring,' says Gaydos. Sinners was marketed as the latest reunion for the team behind Black Panther and Rocky spin-offs Creed. It was also, thinks Gaydos, 'highly derivative of From Dusk Till Dawn, and of Crossroads' – the 1986 Robert Johnson drama, not the 80s soap set outside Birmingham. F1 was bankrolled in part by a big, pre-existing brand, while its fittings stick rigidly to the template of a 90s action film, just as new release Heads of State is an unapologetic throwback to the White House thrillers of the same period, which generally starred Michael Douglas and half a ton of shoulder pads. Both F1 and Sinners, says Gaydos, have more in common with the latest Mission: Impossible and Avengers movies than they have differences. All are 'huge budget diversions: amusement-park procedurals, gigantic and colourful and built like video games. 'Whether the IP is fresh, reworked or recycled, they all conform to the same formula. The big change is in the indie and mid-market sector. Truly original, provocative mainstream drama which deals in recognisable human dilemmas no longer has a place in cinemas.' Instead, it has shifted to TV, where the success of Adolescence and Baby Reindeer, as well as boundary-pushing series such as The White Lotus, Severance and Black Mirror, seems to tell a more edifying story to that being offered by the big screen. At home, at least, dramatic engagement with the real world appears to be exactly what people want. 'Once upon a time,' says Gaydos, 'Adolescence would have been a hit movie. But imagine pitching it today: 'It's about the penal system and the desensitisation of kids.' The sound of crickets would be deafening.' Insulated from the brutality of weekly box office returns, their business model propped up by subscriptions rather than ticket stubs, streamers have scope to stretch the remit. Jesse Armstrong's urgent tech-bros satire Mountainhead was to all intents and purposes a film, but it was never in cinemas: backed and distributed by HBO and Sky and out just in time for contention at the Emmys – not the Oscars. Hoping there's a lesson for Hollywood in such successes is academic, says Gaydos. No notes will be taken, 'because there is nothing called film culture left in Hollywood'. This may be overegging the wake. They may not be megabudget, but there are still a handful of genuinely original movies in cinemas this summer to divert those weary of spandex and explosions. Celine Song's Materialists – a romcom starring Dakota Fanning, Pedro Pascal and Chris Evans – leads the UK counter-programming push, as does Bring Her Back, a horror starring Sally Hawkins that has had early audiences alternately in raptures and retching. Eddington, Ari Aster's Covid western, also stars Pascal, alongside Joaquin Phoenix and Emma Stone, and tackles social media misinformation in an age of self-appointed messiahs. Some critics at Cannes were unconvinced, but studio A24 is nonetheless proceeding with a costly campaign – and no one could accuse the film of failing to offer audiences something chewier than the usual slop. Plus, sequels do not always result in inferior films – just ask The Godfather Part II director Francis Ford Coppola. 'I don't think it's fair to call all franchise films creatively bankrupt,' says Gant. '28 Years Later did feel something different from the two previous films, and I was ready to re-enter that world. I had a good time watching it – a better time than watching Black Bag or Mickey 17.' There may even be some fun to be found in the tumbleweed; the title of the forthcoming Spinal Tap sequel is Spinal Tap II: The End Continues. Twenty years ago, Gaydos said he believed the new economics of the blockbuster meant Hollywood was as close as it had ever come to being in the packaged goods industry. Nothing, he says, has happened since to reverse that assessment – lending a strange validity to Donald Trump's perception of the industry, as outlined in his tariffs plan. By the end of the weekend, Jurassic World: Rebirth will have been exported to 82 territories and taken about $260m. At the cinema, anyway. Once you add the Nintendo games and Lego kits, official 'power devour' T-Rex toys and dad-targeted skin survival kits, special-edition 'big gulp' Slurpee cups and limited-release peanut butter M&Ms, the numbers start to really snowball. The future of cinema isn't just the sequels. It's the Slurpees, stupid.

Justin Bieber takes his $200K electric G-Wagon for a spin as wife Hailey is brutally mocked by fans
Justin Bieber takes his $200K electric G-Wagon for a spin as wife Hailey is brutally mocked by fans

Daily Mail​

time2 hours ago

  • Daily Mail​

Justin Bieber takes his $200K electric G-Wagon for a spin as wife Hailey is brutally mocked by fans

Justin Bieber looked stern behind the wheel of his $200K electric Mercedes G-Wagon as he cruised through the streets of Los Angeles on Fourth of July. The Peaches hitmaker, 31 - who recently enjoyed a solo outing to a Russian bathhouse - donned a printed white shirt and black shades while heading to his next destination. The music artist rolled down the windows to the luxurious vehicle and causally rested his left arm out of the driver's side. It comes not long after his wife Hailey was brutally mocked by fans over a new Rhode product - as the couple continue to be embroiled in speculation of relationship trouble. Earlier this week, the two stars were seen going on a number of separate outings - with Justin spotted leaving a Russian-inspired spa called Voda on Thursday. That same day, the model was seen cruising through the streets in a sleek vehicle in the bustling city. At one point, she was spotted glancing down at her phone in her hand. And just one day earlier on Wednesday, the two stars were also spotted on solo outings once again. The media personality - whose brand Rhode was recently acquired by E.l.f. Cosmetics for a major $1 billion deal - enjoyed a bite to eat at celebrity hotspot Sushi Park alongside Leonardo DiCaprio's ex Camila Morrone. Bieber flashed her toned figure in a semi-sheer, black lace top as well as a pair of chic black trousers. Meanwhile, the Baby singer gave a glimpse at his workout routine by taking to his Instagram stories. He uploaded a photo of himself going shirtless at the gym and was also joined by pal and fellow music artist Gunna. Despite their recent solo outings, Justin and Hailey put on an united front while attending DJ Martin Garrix's headlining gig in L.A. over the past weekend on Sunday. In a short reel uploaded by a fan on TikTok, Bieber could be seen backstage with Hailey. The couple - who tied the knot in 2018 - stood next to each other as Justin draped his arm over his wife's shoulders. The two stars were later seen grooving to the DJ's set in a VIP section and at one point, the singer removed his shirt as he stood behind Hailey. Despite their recent solo outings, Justin and Hailey put on an united front while attending DJ Martin Garrix's headlining gig in L.A. over the past weekend on Sunday; seen in 2022 in Las Vegas And on Saturday, Justin jumped to his main Instagram page to share a series of snaps which also featured his wife Hailey. The pictures were taken to show the star inside a music studio surrounded by Hailey and other pals. Bieber donned a shirt that had 'I have time for nothing except being cute' printed on the back as he stood next to recording equipment. Hailey kept it casual in a short-sleeved, striped shirt as well as white shorts as she supported her husband. It came amid swirling rumors of relationship woes between the pair - and a source talked to Us Weekly last week about their 'tense' marriage. 'Things aren't great right now,' the insider stated, and added Bieber's erratic behavior has caused 'a lot of stress' for Hailey. 'Family issues have clouded her success. Justin's going through a difficult time, and Hailey is giving him room to get himself back on track. He's doing his best, but it's tough.' But late last week, Justin seemingly dropped a major hint about his relationship with Hailey when he shared an Instagram post that included photos of both his wife and baby son Jack Blues. A few days earlier, Hailey was brutally mocked after debuting her latest Rhode beauty accessory for the Peptide Lip Treatment. When she came out with the Rhode Lip Case in February - a phone case with a built-in holder for the lip tint and other lip gloss - fans swarmed to buy it. But a new launch in the Rhode line may have damaged those accolades. Along with a new 'Lemontini' Peptide Lip Tint, Hailey debuted a Rhode Belly Chain - a waist chain meant to hold her lip tints - on her Instagram feed. The chain was shown in a series of promotional photos of Hailey that included the starlet in a black tube top and matching shorts. Hailey captioned the photo dump 'lemontini ballerini' followed by a lemon emoji and martini emoji. But aside from the lip tint itself, fans focused their attention on the 'belly chain.' Waist beads have origins in ancient Egypt and West Africa, while waist chains can be traced to the Indian subcontinent. Many people, knowing this, claimed that Hailey's new product was a form of cultural appropriation. Even aside from that, fans criticized the Rhode belly chain for being an unnecessary (and impractical) cash grab - and made less than complimentary comparisons. 'This and the phone case are stupid as f**k to be honest, at this point she's just trying to sell SUPER unnecessary things, consumerism at its max,' one X (formerly Twitter) user wrote. 'Why would any woman want to wear there lip tint around the waist like that?' another asked. 'The phone case was cute but she's milking this concept now,' one fan wrote, and another shared, 'It looks like a tampon holder.' 'Celebrities are crazy. This is the most unnecessary thing ever,' added a fourth. An hour after Hailey posted on her own personal Instagram, the official Rhode account posted a picture of the new lip tint with a caption explaining that the Lemontini Peptide Lip Tint would be the first with a new and improved formula. It comes not long after Hailey made a $1 billion deal with E.l.f. Cosmetics which acquired her brand Rhode. And her dad Stephen recently reacted to the big news during a recent episode of The Adam Carolla Show. 'It took her three years,' he said. 'What, did you think that was just some rotten tomatoes journey? The cool part of it is she's super smart, smart in business.' Baldwin continued, 'Succeeded as a model prior to everything she's doing now. But the cool part was she actually had an offer to do something pretty big and cool in the cosmetics a couple years ago and didn't. 'The reason its succeeding is people are responding to it. It actually works as hydration and all of that.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store