Kimberly Cullum is an American former child actress from Los Angeles, California, whose on-screen work in the 1990s quietly stacked up into one of those “oh yeah, she was in everything” résumés—TV movies, sitcoms, prestige-ish drama, and genre shows with demanding fanbases.
Family and early life
Cullum was born in Los Angeles and is the daughter of Leo Cullum, a cartoonist whose work appeared regularly in The New Yorker. Her younger sister, Kaitlin Cullum, also worked as a child actress—meaning Kimberly grew up in a household where creative work wasn’t an abstract dream; it was simply what adults did.
Getting started: working early, working often
She began acting professionally at age seven, landing a starring role in the 1989 made-for-TV movie The Revenge of Al Capone opposite Keith Carradine. That’s a serious first step—TV movies were a major pipeline then, and they demanded more than a quick punchline or a cute reaction shot.
From there, she did what successful child actors did in that era: she became reliable. Not famous in the tabloid sense—bookable. The kind of kid who could deliver dialogue, hold emotional tone, and not slow down production.
The ’90s TV circuit: sitcoms, drama, and genre credibility
Cullum’s credits include appearances on mainstream shows like The Fresh Prince of Bel-Air and Empty Nest, plus high-concept and sci-fi series like VR.5 and Quantum Leap. Those last two matter: genre and anthology-style shows tend to require actors—especially young actors—to sell unusual premises without winking at the camera.
She also appeared on Star Trek: The Next Generation (a fandom microscope if there ever was one), playing Gia in the episode “Thine Own Self.” That’s not just “another guest role”—that’s a role people rewatch for decades and argue about on message boards like it’s a sworn affidavit.
Film work: mixing family fare and big studio presence
In 1994 she had film credits that show how versatile her lane was:
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Monkey Trouble (family comedy, strong “kid-centric studio movie” energy)
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Maverick (big glossy studio production alongside Mel Gibson, Jodie Foster, and James Garner)
That’s a wide swing: from youthful, accessible “Saturday afternoon” storytelling to a star-driven studio vehicle where even small roles have to hit cleanly.
A short-lived regular role and the sibling TV overlap
In 1995, Cullum became a regular on the short-lived series Bless This House. At the same time, her sister Kaitlin had a long-running spot on Grace Under Fire, and Kimberly guest-starred there twice in 1996–1997—a neat little snapshot of how kid actors sometimes moved through the same casting ecosystem, especially when families were already “known quantities” in the industry.
Stepping away
Cullum’s last credited acting work came with her Young Artist Award-nominated appearance on Nothing Sacred in 1998. After that, she stopped acting—no drama required, no mystery necessary. Some child actors don’t “flame out.” They simply exit, like they finished the job and chose a different life.
Awards and recognition: the Young Artist era
Cullum accumulated eight Young Artist Award nominations, with recognition for work in:
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The Sitter (1991 TV movie)
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The Rapture (1991 film)
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Grave Secrets: The Legacy of Hilltop Drive (1992 TV movie)
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Star Trek: The Next Generation (“Thine Own Self,” as Gia)
And she won two Young Artist Awards—one for a three-episode arc on Quantum Leap, and another for her recurring appearances on Home Improvement, where she played Michelle, Randy Taylor’s girlfriend. Those wins tell you what her real reputation was: not hype—dependability. The kind of performer who could step into different tones and make them work.
The takeaway
Kimberly Cullum’s career isn’t the story of a celebrity—it’s the story of a working child actor who moved smoothly across sitcoms, TV movies, sci-fi, and studio films, earned real industry recognition, and then—quietly—left the stage.
