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Cody Horn Biography 1988-

Cody-HornBorn in November 1987, was the daughter of Warner Bros. Entertainment president and COO Alan F. Horn. burgeoning up in a very entertainment sector, Horn learned her way around a put as a staff assistant on the shows of the Jennifer Aniston romantic comedy “Rumor Has It ” (2005). Five years later, she created an impressive onscreen debut with 3 roles. After an overall look through the short “Dead Hands” (2010) as the girlfriend of a returning, traumatized soldier, Horn appeared in Joel Schumacher’s glossy teenage drug drama “Twelve” (2010) and Rob Reiner’s nostalgic first love romantic comedy “Flipped” (2010).

As her professional momentum increased, Horn booked a guest spot on “White Collar” (USA Network, 2009- ) and recurred on “Rescue Me” (FX, 2004-2011) as Emily, the seemingly perfect girlfriend of firefighter Sean (Steven Pasquale). She produced bigger waves, nevertheless, when she landed a recurring role on “The Office” (NBC, 2005- ) as Jordan Garfield, a new executive assistant hired by the deranged temporary boss Deangelo Vickers (Will Ferrell). Young, lovely and wryly intelligent, Jordan seemed to be a potential monkey wrench from the wedding of Pam (Jenna Fischer) and Jim (John Krasinski). Although she suit in well with the ensemble cast and brought her own unique spark towards the show, nothing ever came of Horn’s storylines or character, and she left the show after 3 visual appeals.

The rebounded from booking juicy supporting roles within a teen-girl assassins (Alexis Bledel and Saoirse Ronan) black comedy “Violet & Daisy” (2011) and of the psychological thriller “Occupant” (2011), but built her bid for mainstream film stardom as the female cause in Steven Soderbergh’s surprisingly funny and romantic “Magic Mike” (2012). Playing the sister of novice stripper “The Kid” (Alex Pettyfer), Horn proved a feisty, charming love interest to Channing Tatum. Demonstrating impressive chemistry, the duo brought authentic heart for the center of the film and helped ground it with higher emotional stakes in comparison with many critics felt were probable in light of the subject matter.

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