theater

Richard Riehle, a prolific character actor who portrayed Tom Smykowski, the product manager with “people skills” in Mike Judge’s cult classic, “Office Space,” has died. He was 78.

Riehle died Thursday of natural causes in Los Angeles, his representatives from Artists & Representatives and Wright Entertainment Inc. confirmed Monday to The Times. No additional details were provided.

“A remarkable actor whose career in theater, film, and television spanned nearly five decades and more than 400 projects, Richard leaves behind an extraordinary legacy,” read the joint statement from his talent agency and management company. “Beyond his immense talent, he will be remembered for his genuine goodness, boundless kindness, and unwavering generosity, particularly toward emerging actors and filmmakers, whom he encouraged and supported at every opportunity.

“Our industry has lost an exceptional talent, and our community has lost a truly wonderful man,” it continued.

In the 1999 corporate comedy “Office Space,” Riehle portrayed Tom, a middle manager who is laid off by the company before being seriously injured in a hit-and-run accident and winning a large settlement.

“We didn’t have a regular effects person to put me into a body cast for my scene after the character’s accident, so we hired an EMT guy to put me in a real cast,” Riehle said in an interview with Notre Dame Magazine. “I couldn’t get out of it for 8 hours — and when the EMT had to go to work he left a cast-cutter for the PA [production assistant]. That was fun.”

Richard Riehle, right, portrays a co-worker of Ajay Naidu, left, Ron Livingston and David Herman in the 1999 classic “Office Space.”

(20th Century Fox)

Riehle’s other credits include portraying the guard who lets Harrison Ford’s character escape custody in “The Fugitive” (1993); the mechanic with a punny name, Bill Cozbi, in “Bridesmaids” (2011); and the proprietor of a local diner in “Pee-wee’s Big Holiday” (2016).

His wide-ranging resume also includes TV roles in episodes of “Star Trek: The Next Generation,” “Star Trek: Voyager” and “Star Trek: Enterprise,” as well as multiple stints in shows including “Quantum Leap,” “Murder She Wrote,” “L.A. Law” and “Drunk History.” He was also a voice actor on animated projects such as “The Legend of Korra” and “Home on the Range.”

For five seasons, Riehle portrayed Walt Finnerty, the father of Donal Logue’s Sean Finnerty, in the sitcom “Grounded for Life,” which aired from 2001 to 2005.

“Richard Riehle was an amazing human being,” Logue wrote in a tribute shared Monday on Instagram. “A consummate professional, he was an actor’s actor — humble, kind, and incredible at his craft.”

Logue said that he “loved every minute” he spent with Riehle and recalled how the late actor made him laugh so hard during his final audition for the show that he fell to the floor.

“I’ll always remember small details — how he always had a novel (never pulp stuff — always Hugo or Dostoevsky or another classic) stuffed into the back pocket of his old-school slacks,” Logue added. “He loved the House of Pies on the corner of Franklin and Vermont (I did, too).”

Richard Mathias Riehle was born May 12, 1948, in Menomonee Falls, Wis. He graduated from Notre Dame with a degree in speech and drama in 1970 before pursuing a master’s in fine arts at the University of Minnesota.

He started his acting career in local theater. His first uncredited onscreen role was in the 1975 western “Rooster Cogburn,” though he mentioned that he couldn’t find himself in it in a 2017 interview with the A.V. Club. His first screen role “with lines” came a couple of years later, in the 1977 movie “Joyride.” One of his earliest breakout roles was in the 1989 Civil War film “Glory.”

“I always wanted the role that would bring something out of me, force me to find something extra,” he said in the Notre Dame Magazine feature. “As I get older, the roles may not be there as much on high-profile projects, but I’m always going to look for ways I can work and maybe even be a part of ways to change the business. When I work, I feel great. That doesn’t ever have to stop.”

Netflix publicly reported box office results for the first time in its history this weekend as it released its queer drama “La Bola Negra” in U.S. theaters.

The Spanish-language film opened in limited release — just four theaters in Los Angeles and New York — and brought in $277,500 on a reported production budget of $15 million to $17 million. That averaged out to about $69,375 per screen, the second-highest per-screen average for a non-English language film.

Netflix acquired the U.S. rights to the film at Cannes, reportedly for about $5 million.

The Los Gatos-based streaming giant plans to expand the number of locations in the coming weeks to as many as 300 theaters across the country. The film already opened in Spain in late September.

“La Bola Negra” will be available on Netflix on Dec. 2.

Netflix has high hopes for the film, which won six audience awards on the festival circuit and will be Spain’s entry for the Academy Awards.

But the U.S. debut comes at a rocky time for Netflix, which cut 6% of its workforce, or about 1,000 jobs, last week. The layoffs, which are believed to be the largest in company history, included Chief Content Officer Bela Bajaria, who was replaced by former Disney executive Peter Rice.

The move arrives as Netflix’s stock price has tumbled, and the company is under pressure from shareholders to churn out more hit films and TV shows, while increasing engagement on the platform.

Elsewhere at the box office, Paramount Pictures’ video game adaptation “Street Fighter” took the top spot, with a domestic haul of $31 million. It is the first major release from Skydance, the company formed when Paramount completed its $111-billion acquisition of Warner Bros. Discovery earlier this month.

A24’s Elizabeth Holmes documentary, “You Can See Everything,” which opened on only 855 screens, made about $15 million, while Universal Pictures’ “Other Mommy” ($8.3 million), Disney-owned 20th Century Studios’ “Whalefall” ($8 million) and Universal-owned Focus Features’ “Sense and Sensibility” ($7.2 million) rounded out the top five.

Skydance-owned Paramount Pictures has taken over the lease for the Bay Theater in Pacific Palisades and intends to reopen the cinema, which has been closed since the January 2025 Palisades fire last year.

Paramount plans to upgrade the theater with state-of-the-art projection systems and in-seat food and drink service, Rick Caruso, whose company owns the Palisades Village shopping center where the Bay Theater is located, said in an interview. Caruso is founder and executive chairman of the real estate firm Caruso.

Paramount plans to show first-run theatrical movies from all studios. The theater will be operated by The Lot, a La Jolla-based luxury dine-in theater chain with four locations in California. The theater is expected to reopen later this year, Caruso said.

“The comeback of this movie theater is a great signal for all of L.A.,” he said. “Los Angeles is resilient, and we’re going to show the country that Los Angeles can bounce back from a terrible, terrible disaster, and the comeback is going to be much greater than the setback.”

Palisades Village reopened in August after more than $100 million in renovations, including major infrastructure work. The upscale outdoor mall survived the Palisades fire, but needed refurbishment to eliminate any potential contaminants from the blaze.

Caruso declined to share terms of Paramount’s lease agreement, saying only that it was long-term. Paramount declined to comment on the size of its investment in the theater.

Caruso said he brought up the Bay Theater over lunch last year with David Ellison, chief executive of Skydance, who was then working to acquire Paramount. The two were discussing that deal and Ellison’s belief in the importance of the movie theater business to the industry.

“Together with Caruso, we are proud to help bring the Bay back to life as a place for the Pacific Palisades community to gather around the shared experience of cinema,” Ellison said in a statement. “This theater has always meant more than movies alone — it’s woven into the fabric of this neighborhood, and helping restore it is a privilege.”

The Bay Theater was previously leased by Netflix, which took it over in 2021. The company used the theater to host special events, screen classic films and showcase its own original theatrical movies.

Caruso described Netflix and company Chief Executive Ted Sarandos as “incredible stewards” of the theater, adding that Sarandos was “very much a gentleman” in having the discussion about Paramount stepping in at the theater.

The Bay Theater announcement comes just about a week after Paramount completed its acquisition of Warner Bros. Discovery. The newly combined company, which took the name Skydance after the deal closed, must release at least 30 films a year as part of a settlement agreement with 12 state attorneys general over antitrust claims.

Ellison has long extolled his love of movies and appeared at the CinemaCon movie theater owners convention earlier this year to reiterate his commitment to theatrical releases.

Studios were barred from owning theaters for decades under the Paramount consent decrees, which a federal judge terminated in 2020. Netflix has since operated the Egyptian Theatre in Hollywood and the Paris Theater in New York.

“Through our curated offering and dedicated hospitality, we look forward to welcoming the Pacific Palisades community back to the movies, the way they were intended to be shared,” Adolfo Fastlicht, founder and chief executive of The Lot, said in a statement.