Trivia: Actor Dick York started out as a child performer on radio, playing important roles in such airwaves favorites as Jack Armstrong, the All-American Boy. In the early '50s, York began showing up in New York-based instructional films, including a now-infamous reel about proper dating etiquette. Establishing himself as one of Broadway's most versatile young character actors, he was seen in such major productions as Tea and Sympathy, Bus Stop, and Night of the Auk. In films from 1955, York's most famous movie role was schoolteacher Bertram Cates in Inherit the Wind, the 1960 dramatization of the Scopes Monkey Trial. Though a prolific TV guest star, he didn't settle down on a weekly series until 1962, when he co-starred with Gene Kelly and Leo G. Carroll in a short-lived video adaptation of Going My Way. Two years later, he landed his signature role: Darren Stephens, the eternally flustered husband of glamorous witch Samantha Stephens (Elizabeth Montgomery), in Bewitched. He remained with the series until 1969, when a recurring back ailment (the legacy of an on-set injury suffered while filming the 1959 feature They Came to Cordura) forced York to relinquish the role of Darren to Dick Sargent. Though he was for all intents and purposes retired from acting, York remained active on behalf of several pro-social causes. He was the founder of Acting for Life, an organization designed to help the homeless help themselves. Living a spartan existence in Grand Rapids, MI, an increasingly infirm Dick York tirelessly continued giving of himself for the benefit of others until his death from emphysema in 1992.

Trivia: Oates first acted in a student play while attending the University of Louisville. He moved to New York in 1954, hoping to find work on the stage or TV; instead he had a series of odd jobs. Eventually he appeared in a few live TV dramas, and when this work slowed down he moved to Hollywood; there he became a stock villain in many TV and film Westerns. Over the years he gained respect as an excellent character actor; by the early '70s he was appearing in both unusual, unglamorous leads and significant supporting roles. His breakthrough role was in In the Heat of the Night (1967). He played the title role in Dillinger (1973).

Trivia: Although actor/director Paul Mazursky enjoyed a lengthy and successful career spanning several decades, he rose to his greatest prominence during the 1970s, an era during which his films probed with uncommon insight and depth. Born Irwin Mazursky on April 25, 1930, in Brooklyn, NY, he studied literature at the nearby Brooklyn College. There he began acting, winning acclaim for a leading role in a 1950 campus revival of Leonid Andreyev's He Who Gets Slapped. His performance caught the eye of scenarist Howard Sackler, who introduced the young actor to an aspiring filmmaker named Stanley Kubrick. Mazursky then took a leave of absence from his studies to travel to California to appear in Kubrick's little-seen debut feature, Fear and Desire, for which he changed his first name to Paul. Upon graduating in 1951, he migrated to Greenwich Village, where he studied method acting under Lee Strasberg. He also appeared in a number of stock productions, ranging from Death of a Salesman to The Seagull. In 1955, Mazursky returned to the screen, appearing as a juvenile delinquent in Richard Brooks' The Blackboard Jungle. Major success continued to elude him, however, and he spent the next several years regularly appearing in small roles on television and both on and off-Broadway. He also appeared as a standup comic, first performing with fellow comedian Herb Hartig in an act billed as "Igor and H" and later touring the nation as a solo act. In 1959, Mazursky relocated to Los Angeles, forging a collaboration with fellow struggling performer Larry Tucker while working with the U.C.L.A. repertory company. In 1963, he and Tucker were both signed as writers for television's Danny Kaye Show, and two years later they penned the pilot for The Monkees. In 1966, Mazursky also appeared in Vic Morrow's low-budget Deathwatch, making his first return to film in over a decade. With the short subject Last Year at Malibu -- a parody of the Alain Resnais masterpiece Last Year at Marienbad -- Mazursky made his directorial debut, and in 1968 he and Tucker wrote the screenplay for the feature I Love You, Alice B. Toklas. Strong reviews allowed Mazursky the leverage to direct the duo's next script, 1969's Bob & Carol & Ted & Alice; a frank comedy about the "new morality" of the sexual revolution, the film was a massive hit, earning close to 20 million dollars. Its success offered Mazursky the freedom to make movies according to the wishes and demands of no one but himself, and he responded with 1970's Alex in Wonderland, the clearly autobiographical tale of a young filmmaker pondering his future. The picture was an unmitigated critical and financial disaster, however, and injured by its reception, he traveled to Europe to take stock of his career. Upon returning to Los Angeles, Mazursky ended his partnership with Larry Tucker and began work on his first solo screenplay, Harry and Tonto. Finding no takers for the project, he instead turned to 1973's Blume in Love, a return to reviewers' good graces. After securing the backing of 20th Century Fox, he finally made Harry and Tonto in 1974, directing star Art Carney to an Academy Award. Next, he again turned reflective, going back to his youth for the inspiration behind 1976's Next Stop, Greenwich Village, followed by an appearance in the 1976 Barbra Steisand remake of A Star Is Born. Mazursky's next directorial effort, 1978's An Unmarried Woman, remains the most highly regarded of his pictures, scoring an Oscar nomination for Best Picture as well as a Best Actress nod for star Jill Clayburgh. The 1980 Willie and Phil -- an homage to Francois Truffaut's masterpiece Jules et Jim -- met with a mixed reception, as did its follow-up, 1982's Tempest, an update of the Shakespeare drama. He then helmed the 1984 culture-clash comedy Moscow on the Hudson, a vehicle for Robin Williams which restored some of his critical and box-office lustre, and in 1986 Mazursky scored his biggest success in years with the satire Down and Out in Beverly Hills, a remake of the 1932 Jean Renoir classic Boudu Saved From Drowning. After serving as the art director on 1987's Intervista, a film from one of his idols, Federico Fellini, Mazursky helmed 1988's Moon Over Parador, followed by a pair of onscreen performances in Punchline and Scenes From the Class Struggle in Beverly Hills. With 1989's adaptation of Isaac Bashevis Singer's Enemies, a Love Story, Mazursky achieved new levels of acclaim, scoring Best Director honors from the New York Critics' Circle and leading stars Anjelica Huston and Lena Olin to Academy Award nominations. However, his next picture, the strained 1990 comedy Scenes From a Mall -- a satiric update of Ingmar Bergman's far superior Scenes From a Marriage -- was a disaster. Mazursky then spent several years away from filmmaking, only producing 1990's Taking Care of Business as well as appearing in Bob Rafelson's 1992 flop Man Trouble. When The Pickle, his 1993 comeback effort, fared poorly, Mazursky again retreated, appearing in films ranging from the 1993 Brian DePalma crime drama Carlito's Way to the 1995 romantic comedy Miami Rhapsody. Faithful, his 1996 return to directing, was also a disappointment, the victim of legal hassles and distribution problems. In Mazursky's later career, he mostly focused on acting and writing- he had recurring roles in Once and Again and Curb Your Enthusiasm and regularly wrote as a film critic for Vanity Fair. In 2014, he received a lifetime achievement award from the Writers Guild of America. He passed away later that year, at age 84.

Trivia: Although in films from 1951 (he played the Rommel's son in The Desert Fox that year), when he was placed under contract by Universal-International, strapping six-foot William Reynolds (born William de Clercq Reynolds) did better on television, where he starred on Pete Kelly Blues (1959) and The Islanders (1960-1961). The handsome actor later enjoyed his greatest success as Special Agent Tom Colby on The F.B.I. (1967-1973).

Trivia: Often introduced as "one of America's most familiar faces," it's likely that you've caught a glimpse of Ron Masak either in one of his over 300 appearances in various television shows, on that commercial that lingers in the back of your memory somewhere (he was once blessed with the moniker "king of commercials" and was the voice of the Vlassic Pickle Stork for 15 years), or maybe in one of his 15 feature film appearances. Whatever you might recognize him from, if you don't remember his name, he's the guy that you know you've seen somewhere before, but just might not be able to place where. A native of Chicago, IL (he was once offered a contract with the Chicago White Sox by Hall-of-Famer Rogers Hornsby), Masak was classically trained as an actor at the Windy City's own CCC. A tireless performer, Masak found an initial platform for his talents in the Army, where he toured the world entertaining in an all-Army show in which he served as writer, performer, and director. Masak became well-known not only for his acting abilities, but for the fact that he was a dedicated performer who never missed a show. Proving himself adept at roles ranging from Shakespeare to his almost decade-long stint as the sheriff on Murder She Wrote, Masak thrived in theater and in commercial work around Chicago in the late '50s and early '60s.After a few minor roles in such television series as Bewitched, I Dream of Jeannie, The Monkees, and The Flying Nun (not to mention what many consider to be one of the earliest Elvis impersonations on the Spade Cooley Show in 1958), Masak was spotted by producer Harry Ackerman early in his career and went to California to audition for a lead in a pilot. Though that particular prospect fell through, Masak was introduced to John Sturges, a meeting which resulted in his feature debut in the cold-war thriller Ice Station Zebra (1968). Masak's work as an emcee is another testament to his universal appeal and versatile likeability; he has served as host for some of the biggest names in show business, including such talents as Kenny Rogers and Billy Crystal. Masak also starred in four of the most successful sales motivational videos of all time, including Second Effort with Vince Lombardi and Ya Gotta Believe with Tommy Lasorda (which Masak also wrote and directed). The first recipient of MDA's Humanitarian of the Year Award, Masak's work as field announcer for the Special Olympics and his eight-year stint as host of The Jerry Lewis Telethon represents only a fraction of his remarkable work as a compassionate philanthropist, and though Masak's film work may not be as prolific or as frequent as his extensive television work, his roles in such films as Tora! Tora! Tora! (1970) are always memorable and constantly ring true with an appeal that often leaves a lasting impression, even though his screen time may be brief and his characters secondary.

Trivia: Character actor, onscreen from 1947.