Pee-wee Herman Actor and Creator Paul Reubens Dies from Cancer at 70 

Flowers lie on top of the Hollywood Walk of Fame star of Pee-wee Herman, a character played by US actor Paul Reubens, in Los Angeles, California, USA, 31 July 2023. (AP)
Flowers lie on top of the Hollywood Walk of Fame star of Pee-wee Herman, a character played by US actor Paul Reubens, in Los Angeles, California, USA, 31 July 2023. (AP)
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Pee-wee Herman Actor and Creator Paul Reubens Dies from Cancer at 70 

Flowers lie on top of the Hollywood Walk of Fame star of Pee-wee Herman, a character played by US actor Paul Reubens, in Los Angeles, California, USA, 31 July 2023. (AP)
Flowers lie on top of the Hollywood Walk of Fame star of Pee-wee Herman, a character played by US actor Paul Reubens, in Los Angeles, California, USA, 31 July 2023. (AP)

Paul Reubens, the actor and comedian whose Pee-wee Herman character — an overgrown child with a tight gray suit and an unforgettable laugh — became a 1980s pop cultural phenomenon, has died at 70.

Reubens, who’s character delighted fans in the film "Pee-wee’s Big Adventure" and on the TV series "Pee-wee’s Playhouse," died Sunday night after a six-year struggle with cancer that he kept private, his publicist said in a statement.

"Please accept my apology for not going public with what I’ve been facing the last six years," Reubens said in a statement released Monday with the announcement of his death. "I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you."

Created for the stage, Pee-wee with his white chunky loafers and red bow tie would become a cultural constant in both adult and children's entertainment for much of the 1980s, though an indecent exposure arrest in 1991 would send the character into entertainment exile for years.

The staccato giggle that punctuated every sentence, catch phrases like "I know you are but what am I" and a tabletop dance to the Champs' song "Tequila" in a biker bar in "Pee-wee's Big Adventure" were often imitated by fans, to the joy of some and the annoyance of others.

Reubens created Pee-wee when he was part of the Los Angeles improv group The Groundlings in the late 1970s. The live "Pee-wee Herman Show" debuted at a Los Angeles theater in 1981 and was a success with both kids during matinees and adults at a midnight show.

The show closely resembled the format the Saturday morning TV "Pee-wee's Playhouse" would follow years later, with Herman living in a wild and wacky home with a series of stock-character visitors, including one, Captain Karl, played by the late "Saturday Night Live" star Phil Hartman.

HBO would air the show as a special.

Reubens took Pee-wee to the big screen with 1985’s "Pee-wee’s Big Adventure," which takes the character outside for a nationwide escapade. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, "The Bicycle Thief." Directed by Tim Burton and co-written by Hartman, the movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.

A sequel followed three years later in the less well-received "Big Top Pee-wee," in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s Pee-wee’s Big Holiday," for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.

His television series, "Pee-wee’s Playhouse," ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.

Jimmy Kimmel posted on Instagram that "Paul Reubens was like no one else — a brilliant and original comedian who made kids and their parents laugh at the same time. He never forgot a birthday and shared his genuine delight for silliness with everyone he met."

Both silly and subversive and championing nonconformity, the Pee-wee universe was a trippy place, populated by things like a talking armchair and a friendly pterodactyl.

Director Guillermo del Toro tweeted Monday that Reubens was "one of the patron saints of all misfitted, weird, maladjusted, wonderful, miraculous oddities."

The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.

"It’s for kids," Reubens told The Associated Press in 2010. "People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.

"The whole thing has been just a gut feeling from the beginning," Reubens told the AP. "That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know."

Reubens' career was derailed when he was arrested for indecent exposure in an adult movie theater in Sarasota, Florida, the city where he grew up. He was handed a small fine, but the damage was incalculable.

He became the frequent butt of late-night talk show jokes and the perception of Reubens immediately changed.

"The moment that I realized my name was going to be said in the same sentence as children and sex, that’s really intense," Reubens told NBC in 2004. "That’s something I knew from that very moment, whatever happens past that point, something’s out there in the air that is really bad."

Reubens said he got plenty of offers to work, but told the AP that most of them wanted to take "advantage of the luridness of my situation", and he didn't want to do them.

"It just changed," he said. "Everything changed."

He did take advantage of one chance to poke fun at his tarnished image. Just weeks after his arrest, he would open the MTV Video Music Awards, walking on to the stage alone and saying, "Heard any good jokes lately?" (Herman appearances on MTV had fueled Pee-wee’s popularity in the early 1980s.)

In 2001, Reubens was arrested and charged with misdemeanor possession of child pornography after police seized images from his computer and photography collection, but the allegation was reduced to an obscenity charge and he was given three years probation.

Born Paul Rubenfeld in Peekskill, New York, in 1952, the eldest of three kids, he grew up in Sarasota where his parents ran a lamp store and he put on comedy shows for neighbor kids.

After high school he sought to study acting. He spent a year at Boston University, and was then turned down by the Juilliard School and Carnegie-Mellon University. So he enrolled at the California Institute of the Arts. That would lead to appearances at local comedy clubs and theaters and joining the Groundlings.

"Paul’s contributions to comedy and entertainment have left a lasting impact on the world, and he will be greatly missed by all in the Groundlings community," the group said in a statement.

After the 1991 arrest, he would spend the decade playing primarily non-Pee-wee characters, including roles in Burton’s 1992 movie "Batman Returns," the "Buffy the Vampire Slayer" film and a guest-star run on the TV series "Murphy Brown."

He also appeared in the 1999 comedy film "Mystery Men" and Johnny Depp's 2001 drug-dealer drama "Blow."

Reubens — who never lost his boyish appearance even in his 60s, would slowly re-introduce Pee-wee, eventually doing a Broadway adaptation of "The Pee-wee Herman Show" in 2010, and the 2016 Netflix movie.

Reubens was beloved by his fellow comedians, and fans of Pee-wee spanned the culture.

"His surreal comedy and unrelenting kindness were a gift to us all," Conan O'Brien tweeted. "Damn, this hurts."



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.