Trivia: Though he has played a variety of leading roles, tall, dark, and wholesomely handsome Christopher Reeve will always be the definitive Superman to an entire generation of "Man of Steel" fans. That his definitive character was such a model of physical prowess only serves to intensify the tragedy of Reeve's post-Superman years, marked by a 1995 horseback riding accident that left him almost completely paralyzed.A native of New York City, Reeve was born to journalist Barbara Johnson and professor/writer Franklin Reeve on September 25, 1952. When he was four, his parents divorced, and Reeve and his brother went with their mother to Princeton, NJ, after she married her second husband, a stockbroker. Reeve became interested in acting at the age of eight, an interest that complemented his musical studies at the time. The following year, he made his professional acting debut in a production of a Gilbert and Sullivan operetta at Princeton's McCarter Theater. He would continue to work with the theater through his early teens and further enhanced his resumé at the age of 15, when he received a summer apprenticeship to study drama in Williamstown. The following year, he secured his first agent.Reeve went on to major in English and music at Cornell University. Following his graduation, he pursued a master's degree in drama at Juilliard and then studied under actor John Houseman's tutelage before heading to Europe to work at London's Old Vic and the Comedie Française of Paris. Upon his 1974 return stateside, Reeve took over the role of Ben Harper on the long-running soap opera Love of Life; he stayed with the show through 1978. During this period, he made his Broadway debut, starring opposite Katharine Hepburn in a production of A Matter of Gravity. Though he had made his feature-film debut with a small role in the undersea adventure Gray Lady Down (1977), Reeve did not become a star until he beat out a number of big name actors, including Robert Redford, Sylvester Stallone, and Clint Eastwood, to don the metallic blue body stocking and red cape in Richard Donner's 1978 blockbuster Superman: The Movie. Though the film abounded with exuberant, sly humor, Reeve played his Superman straight, giving him great charm, a touch of irony, and a clumsy wistfulness, thereby creating a believable alien hero who masquerades as a bungling newsman and pines for the love of unknowing colleague Lois Lane. The film was one of the year's most popular and earned Reeve a British Academy Award for Most Promising Newcomer. He went on to reprise the role in the film's three sequels, none of which matched the quality and verve of the original.In a concerted effort to avoid typecasting, Reeve attempted to prove his versatility by essaying a wide variety of roles. In 1980, while Superman II was in production, he returned to Broadway to appear as a gay amputee in Lanford Wilson's Fifth of July. That same year, he also starred in the romantic fantasy Somewhere in Time, playing a Chicago playwright who travels back in time to capture the attentions of a beautiful woman (Jane Seymour). Though generally cast as a good guy, Reeve occasionally attempted darker characters. In Deathtrap (1981), he played a crazed playwright, while he portrayed a corrupt priest in the dismal Monsignor (1982) and a reporter entangled in the prostitution industry in Street Smart (1987). Reeve returned to television in Sleeping Beauty, an entry in Shelley Duvall's distinguished Faerie Tale Theater. He subsequently had success appearing in television movies such as Anna Karenina (1985) and Death Dreams (1992). In the late '80s, Reeve became involved in various social causes and co-founded the Creative Coalition. He was also active with Amnesty International, even going to Chile in 1987 to show support for imprisoned authors. His interest in improving the world is apparent in the earnest but much-panned Superman IV: The Quest for Peace (1987), for which he wrote the story.By the mid-'90s, Reeve was still busy juggling his film, television, and stage work. It all abruptly came to a halt in June 1995, when he fell from a horse during a steeplechase race. Having broken several key bones in his neck, Reeve was left completely paralyzed and could not even breathe without special assistance. The doctors' prognosis for his recovery remained grim, but Reeve still retained hope that advances in medical science would someday allow him to walk again. In 1996, he helped establish the UCI Reeve-Irvine Research Center, which specializes in spinal cord injuries; Reeve's work with the center was indicative of the strength and fortitude he had consistently displayed since his accident. In addition to his offscreen commitments, Reeve continued to work in film and television, making his directorial debut with the critically acclaimed made-for-cable drama In the Gloaming (1997) and starring in the 1998 TV-movie remake of Alfred Hitchcock's Rear Window.Reeve credited much of his post-accident survival to his wife, former cabaret singer Dana Morosini. The two married in 1992, after Reeve separated from Gae Exton. He and Exton -- a modeling executive whom he met while filming the first Superman in England -- never married, but had two children together. He also had a son with Morosini.On October 10, 2004, after years as an outspoken advocate for stem-cell and spinal-cord-injury research, Reeve passed away from heart failure at the age of 52. A year and a half later, his wife Dana died of lung cancer.Prior to their deaths, the Reeves began to develop a pet project, the CG-animated feature Everyone's Hero, with voices by an all-star line-up of performers. The picture told the story of a young boy in the 1930s whose talking bat is stolen by a crooked security guard. It was released in 2007.

Trivia: African-American comedian Richard Pryor grew up bombarded by mixed messages. Pryor's grandmother owned a string of brothels, his mother prostituted herself, and his father was a pimp. Still, they raised Richard to be honest, polite, and religious. Living in one of the worst slums in Peoria, IL, Pryor found that he could best defend himself by getting gang members to laugh at instead of pummeling him. This led to his reputation as a disruptive class clown, although at least one understanding teacher allowed Pryor one minute per week to "cut up" so long as he behaved himself the rest of the time. At age 14, he became involved in amateur dramatics at Peoria's Carver Community Center, which polished his stage presence. In 1963, Pryor headed to New York to seek work as a standup comic; after small gigs in the black nightclub circuit, he was advised to pattern himself after Bill Cosby -- that is, to be what white audiences perceived as "nonthreatening." For the next five years, the young comic flourished in clubs and on TV variety shows, making his film bow in The Busy Body (1967). But the suppression of Pryor's black pride and anger by the white power structure frustrated him. One night, sometime between 1969 and 1971, he "lost it" while performing a gig in Las Vegas; he either walked off-stage without a word or he obscenely proclaimed that he was sick of it. Over the next few years, Pryor found himself banned from many nightclubs, allegedly due to offending the mob-connected powers-that-be, and lost many of his so-called friends who'd been sponging off of him. Broke, Pryor went underground in Berkeley, CA, in the early '70s; when he re-emerged, he was a road-company Cosby no more. His act, replete with colorful epithets, painfully accurate character studies of street types, and hilarious (and, to some, frightening) hostility over black-white inequities, struck just the right note with audiences of the committed '70s. Record company executives, concerned that Pryor's humor would appeal only to blacks, were amazed at how well his first post-Berkeley album, That Nigger's Crazy!, sold with young white consumers. As for Hollywood, Pryor made a key early appearance in the Diana Ross vehicle Lady Sings the Blues. But ultra-reactionary Tinseltown wasn't quite attuned to Pryor's liberal use of obscenities or his racial posturing. Pryor had been commissioned to write and star in a Mel Brooks-directed Western-comedy about a black sheriff, but Brooks replaced Pryor with the less-threatening Cleavon Little; Pryor nonetheless retained a credit as one of five writers on the picture, alongside such luminaries as Andrew Bergman. When Pryor appeared onscreen in The Bingo Long Traveling All-Stars and Motor Kings and Silver Streak (both 1976), it was as a supporting actor. But Pryor's popularity built momentum, and by the end of the '70s he became the highest-paid starring comedian in films, with long-range contracts ensuring him work well into the next decade - when such efforts as Stir Crazy, Bustin' Loose, and The Toy helped to both clean up the foul-mouthed comic's somewhat raunchy public image, and endear him to a whole new generation of fans. His comedy albums -- and later, videocassettes -- sold out as quickly as they were recorded. The only entertainment arena still too timid for Pryor was network television -- his 1977 NBC variety series has become legendary for the staggering amount of network interference and censorship imposed upon it.By the early '80s, Pryor was on top of the entertainment world. Then came a near-fatal catastrophe when he accidentally set himself afire while freebasing cocaine. Upon recovery, he joked liberally (and self-deprecatively) about his brush with death, but, otherwise, he appeared to change; his comedy became more introspective, more rambling, more tiresome, and occasionally (as in the 1983 standup effort Richard Pryor: Here and Now) drew vicious heckling and catcalls from obnoxious audiences. His cinematic decline began with a thinly-disguised film autobiography, Jo Jo Dancer, Your Life Is Calling (1986), which Pryor starred in and directed; it met with critical scorn. Pryor's films declined in popularity, the audiences grew more hostile at the concerts, and Pryor deteriorated physically. Doctors diagnosed him with multiple sclerosis in the late '80s, and, by 1990, it became painfully obvious to everyone that he was a very sick man, although his industry friends and supporters made great effort to celebrate his accomplishments and buoy his spirits. The twin 1989 releases Harlem Nights and See No Evil, Hear No Evil (the latter of which re-teamed Pryor with fellow Silver Streak alums Arthur Hiller and Gene Wilder) failed to reignite Pryor's popularity or draw back his fanbase.Pryor's ill-fated attempt to resuscitate his stand-up act at L.A.'s Comedy Store in 1992 proved disastrous; unable to stand, Pryor was forced to deliver his monologues from an easy chair; he aborted his planned tour soon after. He appeared in television and films only sporadically in his final decade, save a rare cameo in David Lynch's 1997 Lost Highway. These dark omens foretold a sad end to a shimmering career; the world lost Pryor soon after. On December 12, 2005, the comedian - only 65 years old -- died of a heart attack in a Los Angeles hospital. But he left a peerless legacy behind as a stand-up comic and black actor.

Trivia: To hear him tell it, Robert Vaughn has spent most of his acting career getting very well paid for being artistically frustrated. Born in Manhattan and raised in Minnesota, Vaughn went straight from college drama classes to his first film, the juvenile delinquent opus No Time to Be Young (1957). Ever on the search for "meaningful" roles, Vaughn signed to play a survivor of a nuclear apocalypse in what he assumed would be a serious, politically potent drama: the film was released as Teenage Caveman (1957). Though Oscar-nominated for his performance as a crippled, alcoholic war veteran in The Young Philadelphians (1959), Vaughn didn't rise to full stardom until 1964, where he was signed to play ultra-cool secret agent Napoleon Solo in the TV espionage series The Man From U.N.C.L.E. (1964-1968). He swore at that time that he'd never, ever subject himself to the rigors of another television series, but in 1972 he was back to the weekly grind in the British series The Protectors. In films, Vaughn has been most effective as an icy, corporate heavy, notably in Bullitt (1968) and Superman III (1982). On-stage, Vaughn has exhibited a special fondness for Shakespeare (Hamlet in particular); he was given an excellent opportunity to recite the Bard's prose on film when he played Casca in Julius Caesar (1970). A dyed-in-the-wool liberal activist, Vaughn worked on his Masters and Ph.D. in political science at L.A. City College during his U.N.C.L.E. years; his doctoral thesis was later expanded into the 1972 history of the HUAC, Only Victims. Vaughn later had several recurring roles on TV shows like The Nanny and Law & Order and the British series Hustle and Coronation Street. He died in 2016, just shy of his 84th birthday.

Trivia: Woefully underappreciated American actress Annette O'Toole combined intelligence, wit, and delicate, often teasing allure with a girl-next-door magnetism that served her impeccably, both during her ingenue years and well into adulthood. Born in 1953, the scarlet-haired Houston native followed the lead of her dance studio owner mother by practicing her footwork with stunning determination. Annette's family moved to the City of Angels before her 14th birthday, where she shifted gears from dancing to acting, enrolled in drama courses, and landed guest roles in such series as The Partridge Family and Hawaii Five-O. In 1974, O'Toole tackled her first major feature role -- that of sweet-hearted beauty pageant contestant Doria Houston (otherwise known as Miss Anaheim) in Michael Ritchie's legendary satire Smile (1975). She did stellar work opposite Robby Benson in the romantic comedy One on One (1977), which premiered to favorable critical reviews, but a similar effort with Gary Busey a few years later, called Foolin' Around (1980), failed to display like chemistry. For better or worse, O'Toole's big break arrived in 1982, when she was cast opposite Christopher Reeve as Lana Lang in Superman 3; the film, of course, clocked in as an enormous stinker, overbloated to the point of absurdity, with O'Toole providing its only saving grace. That film imparted bittersweet undercurrents to O'Toole's life; it brought her the greatest character identification of her career, to be certain, but (along with an ill-advised appearance in Paul Schrader's awful 1982 movie Cat People), may have contributed to keeping her offscreen for several years. She rebounded with force in Armyan Bernstein's outstanding sex comedy Cross My Heart, as one of two romantic leads opposite Martin Short. The late 1987 release displayed the wit, charisma, and intelligence of both of its stars (and incorporated a hilarious nod to Superman 3, suggesting that Bernstein and Gail Parent may have written the role specifically for O'Toole), but for some unascertainable reason, failed to connect with an audience. O'Toole then signed for roles in the Alan Rudolph comedy-mystery Love at Large (1989) and the horrific Stephen King telemovie It (1990), which found the actress, along with John Ritter, Richard Thomas, and others, squaring off against homicidal clown Pennywise (Tim Curry). Her next major feat came in the late '90s, when she played Lisa, the spunky ex-wife of the police detective title character (Don Johnson) on the series Nash Bridges (1996-2001). She then achieved recognition by playing a different Superman role than the one previously essayed -- that of Clark Kent's mother, Martha -- on the popular prime-time series Smallville (2001). At about the same time, O'Toole made headlines by marrying her second husband, comedian and actor Michael McKean (Laverne & Shirley, This Is Spinal Tap), in 1999. The two co-authored a song for the Christopher Guest mockumentary A Mighty Wind (2003), entitled "A Kiss at the End of the Rainbow," in which McKean co-starred sans O'Toole. In a particularly memorable bit, the couple performed that number together on-stage at the 2004 Academy Awards ceremony.

Trivia: American actor Jackie Cooper was in movies at the age of three; his father had abandoned the family when Jackie was two, forcing his mother to rely upon the boy's acting income to keep food on the table. Shortly after earning his first featured part in Fox Movietone Follies of 1929. Cooper was hired for producer Hal Roach's "Our Gang" two-reeler series, appearing in 15 shorts over the next two years. The "leading man" in many of these comedies, he was most effective in those scenes wherein he displayed a crush on his new teacher, the beauteous Miss Crabtree. On the strength of "Our Gang," Paramount Pictures signed Cooper for the title role in the feature film Skippy (1931), which earned the boy an Oscar nomination. A contract with MGM followed, and for the next five years Cooper was frequently co-starred with blustery character player Wallace Beery. Cooper outgrew his preteen cuteness by the late 1930s, and was forced to accept whatever work that came along, enjoying the occasional plum role in such films as The Return of Frank James (1940) and What a Life! (1941). His priorities rearranged by his wartime Naval service, Cooper returned to the states determined to stop being a mere "personality" and to truly learn to be an actor. This he did on Broadway and television, notably as the star of two popular TV sitcoms of the 1950s, The People's Choice and Hennessey. Cooper developed a taste for directing during this period (he would earn an Emmy for his directorial work on M*A*S*H in 1973), and also devoted much of his time in the 1960s to the production end of the business; in 1965 he was appointed vice-president in charge of production at Screen Gems, the TV subsidiary of Columbia Pictures. From the early 1970s onward, Cooper juggled acting, producing and directing with equal aplomb. Modern audiences know Cooper best as the apoplectic Perry White in the Christopher Reeve Superman films. In 1981, Cooper surprised (and sometimes shocked) his fans with a warts-and-all autobiography, Please Don't Shoot My Dog. Cooper died in May 2011 at the age of 88 following a sudden illness.

Trivia: The daughter of a mining engineer, Canadian actress Margot Kidder spent her first two-and-a-half years living in a caboose. While attending the University of British Columbia, Kidder was talked into appearing in a college stage production of Take Me Along; she was hooked, though she later learned there was more to acting than crying on cue and partying. In her first professional years with the Canadian Broadcasting Corporation headquarters in Vancouver, Kidder played everything from simpering ingenues to an unhinged murderess. She made her first film in 1969, an American production titled Gaily Gaily, then worked with Gene Wilder in the British-made Quackser Fortune Has a Cousin in the Bronx (1970). Kidder disliked the seamier side of the movie business and retreated to Canada in hopes of learning how to become a film editor, but was brought back to the U.S. in 1971 for a continuing role in the James Garner TV series Nichols. She liked Garner but not the hassles of making a weekly series, and for the next decade concentrated on film work, plunging headfirst into a kinky Brian DePalma chiller titled Sisters (1972). Kidder's best-known work in the '70s and '80s was as Lois Lane in the Superman films starring Christopher Reeve. Other movie roles and a stint on 1987 TV series Shell Game followed. She continued to work steadily in a variety of projects including 1988's Body of Evidence, White Room, and Hanry & Verlin, however she earned the most press she had in quite some time after a bizarre incident in 1996 where she went missing for a few days and was found dazed and confused outside a stranger's home in Glendale, California. She recovered and went back to work in numerous films and TV series including Touched By an Angel and Tribulation. She was a major figure in Peter Biskind's book about '70s cinema, Easy Riders, Raging Bulls, and figured prominently in the documentary made from that book. In 2007 she appeared on the reality program Who Do You Think You Are, and went on to act in Rob Zombie's remake of Halloween II.Kidder married and divorced writer Tom McGuane and actor John Heard (their union lasted six days!) and remains a vocal activist for political and ecological causes.

Trivia: The niece of musical comedy star Ella Logan (Finian's Rainbow), British-born Annie Ross was raised in America, where she secured work as a child actress. Ross was the kilted lassie who sings "Loch Lomond" in the 1937 two-reeler Our Gang Follies of 1938; she was also featured in Judy Garland's Presenting Lily Mars (1943). As a teenager, Ross studied drama in Manhattan, returned to a brief singing career in England, then emerged in the 1950s as a popular jazz singer; for many years she was a member of the influential American vocal group Lambert, Hendricks & Ross. She continued to appear in films as a character actress into the 1990s, including an amusing villainess turn in Superman III. As a solo stage performer, Ross was one of the stars of the Broadway musical revue Side by Side by Sondheim.

Trivia: New Zealand-born lead actress, onscreen from 1977.

Trivia: Best remembered for playing plucky cub reporter Jimmy Olson in all four of the Superman films that starred Christopher Reeve, Marc McClure made his film debut in the Disney film Freaky Friday and in the television movie James at 15 (both 1977). He went on to play supporting roles and occasional leads in both venues. In 1979, McClure starred in the short-lived TV series California Fever.

Trivia: British comic actor Graham Stark has contributed innumerable cameo roles to both films and television. His busiest era was the '60s, during which time he appeared in such class-A productions as Becket (1964) and Alfie (1966). Seldom arising above the "also in the cast" ranks, Graham Stark was memorable in a role for which he had his back to the camera for the most part and said little more than "Oui, monsieur." Stark was Hercule Lajoy, Inspector Clouseau's stonefaced assistant, in A Shot in the Dark (1964), and as such he sat in passive obesciance as Clouseau (Peter Sellers) toted up the clues in a murder case and barked "Facts, Hercule! Facts!" -- just before falling on his face or pinching his fingers.

Trivia: To call British character actor Gordon Rollings a clown would have been to compliment him, for that is what he originally trained to be. Though best remembered for his work on television and in commercials, Rollings also appeared in a few feature films and on-stage.

Trivia: Character actor Barry Dennen works primarily on stage and British TV.

Trivia: Canada-born actor Peter Whitman was best known in his adopted country of Great Britain for his work in stage musicals. He moved to England and started out on BBC radio in 1968. Whitman made his screen debut in the mid-'70s and went on to play supporting roles in several films, including Superman II (1980), Superman III (1983), and Scandalous (1984).

Trivia: If you watch television, you've no doubt seen his work, but even if you don't recognize the name David Winning, the mention of such titles as Friday the 13th: The Series, Andromeda, and Dinotopia are sure to fire a synapse or two. While still only 22, the Calgary, Alberta, native made his debut feature, Storm, for a mere 50,000 dollars. His credits had been sporadic to that point, but picked up considerably during the '90s. Though he worked almost exclusively in television, success with episodes of such shows as Sweet Valley High and Goosebumps was tempered with occasional feature endeavors like Killer Image (1992), Profile for Murder (1997), and Exception to the Rule (1997). That same year, Winning also made Turbo: A Power Rangers Movie, based on ABC's Mighty Morphin' Power Rangers. Subsequent small-screen efforts such as Earth: Final Conflict, Andromeda, and the miniseries Merlin found the director leaning closer to sci-fi fantasy material.

Trivia: Robert Beatty spent his early adulthood in Canada as a gas-company cashier, salesman and amateur actor. Upon arriving in London, Beatty enrolled at the RADA, making his film debut as an extra and stand-in. During World War II, Beatty achieved fame through his eyewitness radio reports of the nightly London bombings. In most of his postwar film, stage, radio and TV work, Beatty was cast as a rough-hewn American or Canadian. One of his favorite stage roles was rude 'n' crude American junk dealer Harry Brock in Garson Kanin's Born Yesterday. He also played more than his share of detectives, most prominently as radio's Phillip O'Dell, and on the 1958 TV series Dial 999. Beatty was given a chance to demonstrate his versatility in the dual role of a milquetoast British hubby and a slick Italian gangster in Her Favorite Husband (1950). Later film roles included Lord Beaverbrook in The Magic Box (1951), Halvorsen in 2001: A Space Odyssey (1968), and two separate characters in Superman III (1980) and Superman IV (1984). On television, Robert Beatty was seen in the miniseries Jesus of Nazareth (1977, as Proculus) and The Martian Chronicles (1980), and as President Ronald Reagan in the 1987 PBS special Breakthrough at Reykajavik.

Trivia: Supporting actor, onscreen from the '80s.

Trivia: Irish-born actor Gavan O'Herlihy eked out his strongest presence in tough-guy roles, specializing in the action, western, and sci-fi genres. He formally debuted in a guest bit on The Mary Tyler Moore Show, then briefly landed the part of Chuck Cunningham, Richie Cunningham's (Ron Howard) older brother, in the first season of the popular period situation comedy Happy Days. Unfortunately (and for unknown reasons) O'Herlihy was replaced in mid-season by Randolph Roberts after a multi-episode stint, but he grew incredibly prolific in features during the decades that followed; credits included Superman III (1983) , Death Wish 3 (1985), Willow (1988) (which reteamed him with Howard), and the telemovie Conagher (1991).