Paul Michael Glaser is a name you probably associate with a bright red Ford Gran Torino or maybe a chunky knit cardigan. But honestly, if you only think of him as Dave Starsky, you’re missing about 80% of the story.
He's 82 now.
Think about that for a second. The guy who defined 1970s "cool" has spent the last five decades reinventing himself so many times it's hard to keep track. He’s been a Broadway actor, a big-shot Hollywood director, a grieving father, a fierce activist, and—in a twist most people don't see coming—a digital artist.
Actually, he’s a pretty great artist.
In a world where child stars and TV icons often burn out or fade into "where are they now" listicles, Paul Michael Glaser just kept moving. He didn't have a choice. Life threw things at him that would have leveled most people.
The Starsky Era and That "Striped Tomato"
Back in 1975, the world met Dave Starsky. He was the street-wise, Brooklyn-born half of the most famous buddy-cop duo in history. The chemistry between Glaser and the late David Soul (who we sadly lost in early 2024) wasn't just acting. They were real-life brothers.
But here’s the kicker: Paul Michael Glaser hated the car.
Yeah, the iconic "Striped Tomato." He thought it was ridiculous. To him, the idea of two undercover cops driving a bright red car with a giant white vector stripe was the pinnacle of "unrealistic." He’s gone on record saying he used to intentionally "abuse" the car during stunts because he wanted to break it.
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He didn't want to be just a TV star. He wanted to be a creator.
By the third season, he was already trying to get out of his contract. The fame was suffocating. People were literally banging on his door. To cope, he started directing episodes. He realized he liked being behind the lens way more than being the "handsome guy" in front of it.
When Life Got Cruel
If you want to understand the depth of Paul Michael Glaser, you have to talk about Elizabeth.
In 1981, his wife Elizabeth Glaser was giving birth to their daughter, Ariel. She needed a blood transfusion. It was the early days of the AIDS epidemic, and the blood supply wasn't screened. She contracted HIV and unknowingly passed it to Ariel through breastfeeding and later to their son, Jake, in utero.
It’s the kind of tragedy that feels too heavy for a movie script.
Ariel died in 1988. She was only seven. Elizabeth died in 1994.
Glaser didn't just retreat into grief. He helped Elizabeth start the Elizabeth Glaser Pediatric AIDS Foundation (EGPAF). At a time when the government was largely ignoring the crisis—especially when it came to children—they were the ones shouting from the rooftops. They lobbied Congress. They forced the FDA to realize that kids needed different drug dosages than adults.
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Today, that foundation is a global powerhouse. His son, Jake, is an ambassador for the organization and has lived a long, healthy life thanks to the very research his parents fought for.
The Director Most People Forget
After Starsky and Hutch ended, Glaser didn't just sit on his royalties. He became a legit director.
Have you ever seen The Running Man? The 1987 Arnold Schwarzenegger flick about a dystopian game show? That was him.
How about The Cutting Edge? The "toe pick!" figure skating movie that everyone secretly loves? Also him.
He even directed Shaquille O'Neal in Kazaam. Okay, maybe that one wasn't an Oscar contender, but it shows his range. He was a working pro. He did episodes of Miami Vice, Judging Amy, and Las Vegas. He proved he wasn't just a guy with cool hair and a fast car; he understood the mechanics of storytelling.
The "Act III" Evolution
These days, if you look for Paul Michael Glaser, you won't find him on a film set. You’ll find him in front of a Cintiq monitor.
He calls this "Act III."
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He’s become a prolific digital artist. He takes sketches, digitizes them, and creates these vibrant, often surreal pieces of art. We’re talking over 1,700 pieces sold globally. It’s not just a hobby for an old actor; he’s been featured in the 2026 ArtTreasury Collector’s Annual.
His work—like "Boy Blue" or "The Pugilist"—has this raw, energetic feel. It’s almost like all that intensity he used to put into his acting has been channeled into pixels and digital brushstrokes.
Honestly, it’s inspiring. He’s 82 and still learning new software.
Why He Still Matters
People still search for Paul Michael Glaser because he represents a specific kind of resilience. He’s a bridge between the gritty Hollywood of the 70s and a much more personal, artistic present.
He doesn't shy away from his past. He still shows up for fan events with Antonio Fargas (Huggy Bear). But he also doesn't live in the past. He’s vocal about the fact that he doesn't want to be "Dave Starsky" forever. He wants to be the guy who helped save millions of kids from AIDS. He wants to be the guy who creates art that makes you feel something.
Key Takeaways for Fans and Creatives
If you’re looking for a "lesson" from Glaser’s career, it’s probably these:
- Don't get stuck in your "iconic" moment. Glaser could have spent 40 years doing Starsky and Hutch reunions. Instead, he directed, wrote books (like Chrystallia and the Source of Light), and became a painter.
- Advocacy requires skin in the game. The EGPAF succeeded because it was personal. He used his fame as a tool, not just a lifestyle.
- Creativity doesn't have an expiration date. Switching from acting to digital art in your 70s is a bold move. It’s a reminder that "I’m too old for this" is usually a lie we tell ourselves.
If you want to see what he's up to right now, his website PMGlaserArt.com is the best place to start. It's a lot more interesting than watching old reruns.
You should check out the Elizabeth Glaser Pediatric AIDS Foundation website to see the actual scale of the work they’re doing in 2026. It’s a massive operation that started with three moms (and one actor) sitting around a kitchen table. If you're an artist or a filmmaker, look into his "Act III" philosophy—it’s a solid blueprint for how to handle a long-term creative life without losing your soul to your most famous role.