Quick Facts
| Field | Detail |
|---|---|
| Full name (searched) | Thomas N. Staub |
| Publicly known as | Business executive (fitness industry), film producer (late 1990s), ex-husband of Danielle Staub |
| Marriage | Married 1993 — Divorced 2007 |
| Children | Christine Staub (b. 1993 — commonly cited Dec. 4, 1993), Jillian Staub (b. 1998) |
| Additional family mentions | A half-brother/stepson named “Billy” has been referenced in public material |
| Film production credits | Grind (1997) — producer credit; Dead Broke (1998) — producer credit |
| Business associations | Aerobics Inc. / PaceMaster (family treadmill/fitness business; executive role reported) |
| Public biography status | No standalone, authoritative personal biography publicly available |
Family and personal life
Thomas N. Staub exists in the public record most visibly through family ties. He is identified as the second husband of Danielle Staub (married in 1993; separated/divorced in 2007) and the father of two daughters, Christine and Jillian. Family life is the spine of his public identity: children born in the 1990s, household transitions in the 2000s, and recurring mentions in media features about Danielle and her daughters through the 2010s and beyond.
Christine, born in 1993 (commonly cited December 4, 1993), has appeared in modeling and lifestyle coverage and later pursued education and professional roles in people operations. Jillian, born in 1998, has been publicly described as running a small dairy-free baking venture and working in education for children with autism. Both daughters are present in public media and social media in ways that frequently link back to family narratives. A half-brother or stepson identified as “Billy” surfaces occasionally in entertainment clips and interviews, but public details about him are limited.
Family photographs and on-stage stories cast Thomas as the quieter center behind a noisier public cast: the name attached to children, to a marriage, and to the family business that once hummed in the background of a home life.
Career: fitness business and film production
Two distinct strands run through Thomas Staub’s public career: the family fitness business and a brief stint in independent film production.
Fitness industry — Aerobics Inc. / PaceMaster
The Staub name is tied to the treadmill’s lineage; a family fitness company built on a well-known innovation passed through generations. Thomas appears in industry reporting as a figure who took on executive responsibilities in Aerobics Inc. / PaceMaster during transitions in the 1990s and 2000s. Public accounts portray him participating in corporate life during asset sales and restructuring phases. Titles and precise employment dates are not cataloged in a single official biography, but press mentions indicate active involvement in the company that manufactured home fitness equipment and later underwent changes in ownership and structure.
Think of this role as backstage stewardship: not the inventor’s flash but the steady hand that helps dismantle and reassemble business machinery when markets shift.
Film production — late 1990s credits
A different spotlight lands briefly on Thomas during the late 1990s. Production credits list him in executive/associate producer roles on two independent features: Grind (1997) and Dead Broke (1998). Those credits place him in the practical world of film — financing, producing, the logistics that turn scripts into screenings. For a handful of years he wore the producer’s hat, a role that often requires persistence, negotiation, and cajoling crews and investors alike.
The film credits read like short, bright flares: distinct, dated, and separate from the decades-long association with the fitness business.
Timeline of notable public milestones
| Year | Event |
|---|---|
| 1993 | Married Danielle Staub; daughter Christine born (commonly cited Dec. 4, 1993). |
| 1997 | Executive/associate producer credit on Grind. |
| 1998 | Producer credit on Dead Broke; daughter Jillian born (1998). |
| 1990s–2000s | Associated with Aerobics Inc. / PaceMaster in executive capacity during company transitions. |
| 2007 | Divorce from Danielle Staub finalized (commonly cited). |
| 2009–2025 | Mostly mentioned in media in connection with Danielle and their daughters; not a frequent direct subject of news coverage. |
Profiles of the immediate family (numbers and notes)
| Name | Born | Public role / notes |
|---|---|---|
| Christine Staub | 1993 (Dec. 4 commonly cited) | Modeling/entertainment appearances in youth; later education and work in people operations. |
| Jillian Staub | 1998 | Small business (baking), education work with autistic children noted in media. |
| “Billy” (half-brother/stepson) | — | Mentioned in entertainment clips and interviews; nonpublic figure, limited details available. |
The daughters’ stories are punctuated with dates and small ventures — degrees, businesses, jobs. Their trajectories are the public continuation of a family narrative that began, in part, with the treadmill business’ rise and the marriage in the early 1990s.
Public presence, visibility, and what remains unverified
Thomas N. Staub’s public footprint is economical: clear where it connects to other public figures and corporate events, less so when it comes to a standalone biography. Several key facts are consistently reflected in public mentions: his marriage years (1993–2007), the existence and birth years of his daughters (1993 and 1998), producer credits in 1997–1998, and involvement with Aerobics Inc. / PaceMaster. What is harder to compile into a neat file are personal details such as exact birthdate or a full CV listing corporate titles and dates in one place.
There are also gaps in financial transparency; public net-worth figures are not authoritative and tend to be speculative when they appear. This leaves a silhouette rather than a portrait: the contours of career and family are visible, the fine-grain texture is not.
In public media, Thomas functions like a supporting set piece — a hinge between invention and entertainment — rather than the marquee name. He appears in the credits, in trade mentions, and as the axis around which Danielle Staub’s family life is described. The record reads as a ledger of events: years, roles, and relationships. It is precise in places and silent in others, like a map that marks towns but not every road.
