Trivia: James Stewart was the movies' quintessential Everyman, a uniquely all-American performer who parlayed his easygoing persona into one of the most successful and enduring careers in film history. On paper, he was anything but the typical Hollywood star: Gawky and tentative, with a pronounced stammer and a folksy "aw-shucks" charm, he lacked the dashing sophistication and swashbuckling heroism endemic among the other major actors of the era. Yet it's precisely the absence of affectation which made Stewart so popular; while so many other great stars seemed remote and larger than life, he never lost touch with his humanity, projecting an uncommon sense of goodness and decency which made him immensely likable and endearing to successive generations of moviegoers.Born May 20, 1908, in Indiana, PA, Stewart began performing magic as a child. While studying civil engineering at Princeton University, he befriended Joshua Logan, who then headed a summer stock company, and appeared in several of his productions. After graduation, Stewart joined Logan's University Players, a troupe whose membership also included Henry Fonda and Margaret Sullavan. He and Fonda traveled to New York City in 1932, where they began winning small roles in Broadway productions including Carrie Nation, Yellow Jack, and Page Miss Glory. On the recommendation of Hedda Hopper, MGM scheduled a screen test, and soon Stewart was signed to a long-term contract. He first appeared onscreen in a bit role in the 1935 Spencer Tracy vehicle The Murder Man, followed by another small performance the next year in Rose Marie.Stewart's first prominent role came courtesy of Sullavan, who requested he play her husband in the 1936 melodrama Next Time We Love. Speed, one of six other films he made that same year, was his first lead role. His next major performance cast him as Eleanor Powell's paramour in the musical Born to Dance, after which he accepted a supporting turn in After the Thin Man. For 1938's classic You Can't Take It With You, Stewart teamed for the first time with Frank Capra, the director who guided him during many of his most memorable performances. They reunited a year later for Mr. Smith Goes to Washington, Stewart's breakthrough picture; a hugely popular modern morality play set against the backdrop of the Washington political system, it cemented the all-American persona which made him so adored by fans, earning a New York Film Critics' Best Actor award as well as his first Oscar nomination.Stewart then embarked on a string of commercial and critical successes which elevated him to the status of superstar; the first was the idiosyncratic 1939 Western Destry Rides Again, followed by the 1940 Ernst Lubitsch romantic comedy The Shop Around the Corner. After The Mortal Storm, he starred opposite Katherine Hepburn and Cary Grant in George Cukor's sublime The Philadelphia Story, a performance which earned him the Best Actor Oscar. However, Stewart soon entered duty in World War II, serving as a bomber pilot and flying 20 missions over Germany. He was highly decorated for his courage, and did not fully retire from the service until 1968, by which time he was an Air Force Brigadier General, the highest-ranking entertainer in the U.S. military. Stewart's combat experiences left him a changed man; where during the prewar era he often played shy, tentative characters, he returned to films with a new intensity. While remaining as genial and likable as ever, he began to explore new, more complex facets of his acting abilities, accepting roles in darker and more thought-provoking films. The first was Capra's 1946 perennial It's a Wonderful Life, which cast Stewart as a suicidal banker who learns the true value of life. Through years of TV reruns, the film became a staple of Christmastime viewing, and remains arguably Stewart's best-known and most-beloved performance. However, it was not a hit upon its original theatrical release, nor was the follow-up Magic Town -- audiences clearly wanted the escapist fare of Hollywood's prewar era, not the more pensive material so many other actors and filmmakers as well as Stewart wanted to explore in the wake of battle. The 1948 thriller Call Northside 777 was a concession to audience demands, and fans responded by making the film a considerable hit. Regardless, Stewart next teamed for the first time with Alfred Hitchcock in Rope, accepting a supporting role in a tale based on the infamous Leopold and Loeb murder case. His next few pictures failed to generate much notice, but in 1950, Stewart starred in a pair of Westerns, Anthony Mann's Winchester 73 and Delmer Daves' Broken Arrow. Both were hugely successful, and after completing an Oscar-nominated turn as a drunk in the comedy Harvey and appearing in Cecil B. De Mille's Academy Award-winning The Greatest Show on Earth, he made another Western, 1952's Bend of the River, the first in a decade of many similar genre pieces.Stewart spent the 1950s primarily in the employ of Universal, cutting one of the first percentage-basis contracts in Hollywood -- a major breakthrough soon to be followed by virtually every other motion-picture star. He often worked with director Mann, who guided him to hits including The Naked Spur, Thunder Bay, The Man From Laramie, and The Far Country. For Hitchcock, Stewart starred in 1954's masterful Rear Window, appearing against type as a crippled photographer obsessively peeking in on the lives of his neighbors. More than perhaps any other director, Hitchcock challenged the very assumptions of the Stewart persona by casting him in roles which questioned his character's morality, even his sanity. They reunited twice more, in 1956's The Man Who Knew Too Much and 1958's brilliant Vertigo, and together both director and star rose to the occasion by delivering some of the best work of their respective careers. Apart from Mann and Hitchcock, Stewart also worked with the likes of Billy Wilder (1957's Charles Lindbergh biopic The Spirit of St. Louis) and Otto Preminger (1959's provocative courtroom drama Anatomy of a Murder, which earned him yet another Best Actor bid). Under John Ford, Stewart starred in 1961's Two Rode Together and the following year's excellent The Man Who Shot Liberty Valance. The 1962 comedy Mr. Hobbs Takes a Vacation was also a hit, and Stewart spent the remainder of the decade alternating between Westerns and family comedies. By the early '70s, he announced his semi-retirement from movies, but still occasionally resurfaced in pictures like the 1976 John Wayne vehicle The Shootist and 1978's The Big Sleep. By the 1980s, Stewart's acting had become even more limited, and he spent much of his final years writing poetry; he died July 2, 1997.

Trivia: One of the cinema's most enduring actors, Henry Fonda enjoyed a highly successful career spanning close to a half century. Most often in association with director John Ford, he starred in many of the finest films of Hollywood's golden era. Born May 16, 1905, in Grand Island, NE, Fonda majored in journalism in college, and worked as an office boy before pursuing an interest in acting. He began his amateur career with the Omaha Community Playhouse, often performing with the mother of Marlon Brando. Upon becoming a professional performer in 1928, Fonda traveled east, tenuring with the Provincetown Players before signing on with the University Players Guild, a New England-based ensemble including up-and-comers like James Stewart, Margaret Sullavan, and Joshua Logan. Fonda's first Broadway appearance followed with 1929's The Game of Life and Death. He also worked in stock, and even served as a set designer. In 1931, Fonda and Sullavan were married, and the following year he appeared in I Loved You Wednesday. The couple divorced in 1933, and Fonda's big break soon followed in New Faces of '34. A leading role in The Farmer Takes a Wife was next, and when 20th Century Fox bought the film rights, they recruited him to reprise his performance opposite Janet Gaynor, resulting in his 1935 screen debut. Fonda and Gaynor were slated to reunite in the follow-up, Way Down East, but when she fell ill Rochelle Hudson stepped in. In 1936 he starred in The Trail of the Lonesome Pine (the first outdoor Technicolor production), the performance which forever defined his onscreen persona: Intense, insistent, and unflappable, he was also extraordinarily adaptable, and so virtually impossible to miscast. He next co-starred with Sullavan in The Moon's Our Home, followed by Wings of the Morning (another Technicolor milestone, this one the first British feature of its kind). For the great Fritz Lang, Fonda starred in 1937's You Only Live Once, and the following year co-starred with Bette Davis in William Wyler's much-celebrated Jezebel. His next critical success came as the titular Young Mr. Lincoln, a 1939 biopic directed by John Ford. The film was not a commercial sensation, but soon after Fonda and Ford reunited for Drums Along the Mohawk, a tremendous success. Ford then tapped him to star as Tom Joad in the 1940 adaptation of John Steinbeck's The Grapes of Wrath, a casting decision which even Steinbeck himself wholeheartedly supported. However, 20th Century Fox's Darryl Zanuck wanted Tyrone Power for the role, and only agreed to assign Fonda if the actor signed a long-term contract. Fonda signed, and Zanuck vowed to make him the studio's top star -- it didn't happen, however, and despite the success of The Grapes of Wrath (for which he scored his first Best Actor Academy Award nomination), his tenure at Fox was largely unhappy and unproductive.The best of Fonda's follow-up vehicles was the 1941 Preston Sturges comedy The Lady Eve, made at Paramount on loan from Fox; his co-star, Barbara Stanwyck, also appeared with him in You Belong to Me. After a number of disappointing projects, Fox finally assigned him to a classic, William Wellman's 1943 Western The Ox-Bow Incident. Studio executives reportedly hated the film, however, until it won a number of awards. After starring in The Immortal Sergeant, Fonda joined the navy to battle in World War II. Upon his return, he still owed Fox three films, beginning with Ford's great 1946 Western My Darling Clementine. At RKO he starred in 1947's The Long Night, followed by Fox's Daisy Kenyon. Again at RKO, he headlined Ford's The Fugitive, finally fulfilling his studio obligations with Ford's Fort Apache, his first unsympathetic character. Fonda refused to sign a new contract and effectively left film work for the next seven years, returning to Broadway for lengthy runs in Mister Roberts, Point of No Return, and The Caine Mutiny Court Martial. Outside of cameo roles in a handful of pictures, Fonda did not fully return to films until he agreed to reprise his performance in the 1955 screen adaptation of Mister Roberts, one of the year's biggest hits. Clearly, he had been greatly missed during his stage exile, and offers flooded in. First there was 1956's War and Peace, followed by Alfred Hitchcock's The Wrong Man. In 1957, Fonda produced as well as starred in the Sidney Lumet classic Twelve Angry Men, but despite a flurry of critical acclaim the film was a financial disaster. In 1958, after reteaming with Lumet on Stage Struck, Fonda returned to Broadway to star in Two for the Seesaw, and over the years to come he alternated between projects on the screen (The Man Who Understood Women, Advise and Consent, The Longest Day) with work on-stage (Silent Night, Lonely Night, Critic's Choice, Gift of Time). From 1959 to 1961, he also starred in a well-received television series, The Deputy.By the mid-'60s, Fonda's frequent absences from the cinema had severely hampered his ability to carry a film. Of his many pictures from the period, only 1965's The Battle of the Bulge performed respectably at the box office. After 1967's Welcome to Hard Times also met with audience resistance, Fonda returned to television to star in the Western Stranger on the Run. After appearing in the 1968 Don Siegel thriller Madigan, he next starred opposite Lucille Ball in Yours, Mine and Ours, a well-received comedy. Fonda next filmed Sergio Leone's Once Upon a Time in the West; while regarded as a classic, the actor so loathed the experience that he refused to ever discuss the project again. With his old friend, James Stewart, he starred in The Cheyenne Social Club before agreeing to a second TV series, the police drama Smith, in 1971. That same year, he was cast to appear as Paul Newman's father in Sometimes a Great Notion.After a pair of TV movies, 1973's The Red Pony and The Alpha Stone, Fonda began a series of European productions which included the disastrous Ash Wednesday and Il Mio Nome è Nessuno. He did not fare much better upon returning to Hollywood; after rejecting Network (the role which won Peter Finch an Oscar), Fonda instead appeared in the Sensurround war epic Midway, followed by The Great Smokey Roadblock. More TV projects followed, including the miniseries Roots -- The Next Generation. Between 1978 and 1979, he also appeared in three consecutive disaster movies: The Swarm, City on Fire, and Meteor. Better received was Billy Wilder's 1978 film Fedora. A year later, he also co-starred with his son, Peter Fonda, in Wanda Nevada. His final project was the 1981 drama On Golden Pond, a film co-starring and initiated by his daughter, Jane Fonda; as an aging professor in the twilight of his years, he finally won the Best Actor Oscar so long due him. Sadly, Fonda was hospitalized at the time of the Oscar ceremony, and died just months later on August 12, 1982.

Trivia: At age 16, Inger Stevens broke into show business in a Kansas City burlesque show. She moved to New York at age 18, working in the garment center and as a chorus girl while studying theater at the Actors Studio and making the rounds of Broadway agents. She appeared in several TV commercials, leading to roles in TV dramas. In 1956 she debuted on Broadway, then made her first film in 1957. She went on to appear in a dozen or so films during the next decade-plus. Stevens achieved some popularity as the star of the '60s TV series "The Farmer's Daughter." After her death at age 36, it was later revealed that she had been secretly married since 1961 to black musician Isaac (Ike) Jones.

Trivia: Gary Lockwood was the astronaut who didn't make it to Jupiter in 2001: A Space Odyssey (1968). A former stunt performer, Lockwood's first film work was as stand-in for Anthony Perkins, with whom he appeared on camera in 1960's Tall Story. Before his unfortunate space ride in 2001, Lockwood starred on the network TV series Follow the Sun (1961) and The Lieutenant (1963); afterward, he was seen in such theatrical films as R.P.M (1970) and Project Kill (1976). Gary Lockwood was for several years married to actress Stefanie Powers with whom he co-starred in a memorable 1969 episode of TV's Love, American Style, wherein Lockwood got his mouth stuck on a doorknob!

Trivia: An Ohio farm boy, Dean Jagger dropped out of school several times before attending Wabash College. He was a schoolteacher for several years before opting to study acting at Chicago's Lyceum Art Conservatory. By the time he made his first film in 1929, Jagger had worked in stock, vaudeville and radio. At first, Hollywood attempted to turn Jagger into a standard leading man, fitting the prematurely balding actor with a lavish wig and changing his name to Jeffrey Dean. It wasn't long before the studios realized that Jagger's true calling was as a character actor. One of his few starring roles after 1940 was as the title character in Brigham Young, Frontiersman--though top billing went to Tyrone Power, cast as a fictional Mormon follower. Jagger won an Academy Award for his sensitive performance in Twelve O'Clock High (1949) as one of General Gregory Peck's officers (and the film's narrator). Physically and vocally, Jagger would have been ideal for the role of Dwight D. Eisenhower, but he spent his career studiously avoiding that assignment. Having commenced his professional life as a teacher, Dean Jagger came full circle in 1964 when cast as Principal Albert Vane on the TV series Mr. Novak.

Trivia: Born in Connecticut to an immigrant Irish couple, Ed Begley ran away from home several times before making a complete break from both his family and his formal education at the age of 13. For the next two decades, Begley knocked around in a variety of activities, from Naval service to working as bowling alley pin boy, before obtaining an announcer's job at a Hartford radio station in 1931. Ten years later, Begley moved to New York, where he became a prolific radio actor; from 1944 through 1948, he played the title role in the radio version of Charlie Chan. His belated Broadway debut at age 43 came in a short-lived play titled Land of Fame. In 1947, Begley created the role of benighted war profiteer Joe Keller in Arthur Miller's All My Sons; that same year, he was assigned a solid supporting part in his first film, Boomerang (1947). He was a familiar figure in TV's "golden age" of the 1950s, co-starring in the original video productions of Twelve Angry Men and Patterns. In 1955, he made the first of 789 appearances as the William Jennings Bryan counterpart in the Broadway drama Inherit the Wind, co-starring first with Paul Muni and then with Melvyn Douglas. Despite his ever-increasing activity, Ed Begley was standing in the unemployment compensation line in 1961 when he was informed that he'd been Oscar-nominated for his performance in Sweet Bird of Youth. Justifiably proud of his Oscar statuette, Begley reportedly carried it with him everywhere he went, even on short airplane flights! Ed Begley died at 69 while attending a party at the home of Hollywood press agent Jay Bernstein; he was the father of popular movie and TV leading man Ed Begley Jr.

Trivia: Discovered by famed African-American comedian Bert Williams, actor Jay C. Flippen attained his first Broadway stage role in 1920's Broadway Brevities. Entertainers of the period were expected to sing, dance, act and clown with equal expertise, and the young Flippen was no slouch in any of these categories. He not only shared billing with such stage luminaries as Jack Benny and Texas Guinan, but he boned up on his ad-lib skills as a radio announcer for the New York Yankees games. At one time president of the American Guild of Variety Artists, Flippen did as many benefits for worthy causes as he did paid performances and worked tirelessly in all showbiz branches: movies, stage (including the touring version of Olsen and Johnson's Hellzapoppin), radio (he was one of the first game show emcees) and even early experimental television broadcasts. After several years of alternating between raspy-voiced villains and lovable "Pop"- type characters in films, Flippen increased his fan following with a supporting role as C.P.O. Nelson on the 1962 sitcom Ensign O'Toole, which, though it lasted only one network season, was a particular favorite in syndicated reruns. In 1964, Flippen suffered a setback when a gangrenous leg had to be amputated. Choosing not to be what he described as "a turnip," Jay C. Flippen continued his acting career from a wheelchair, performing with vim and vinegar in films and on television until his death.

Trivia: A graduate of Santa Monica Junior College, Jack Elam spent the immediate post-World War II years as an accountant, numbering several important Hollywood stars among his clients. Already blind in one eye from a childhood fight, Elam was in danger of losing the sight in his other eye as a result of his demanding profession. Several of his show business friends suggested that Elam give acting a try; Elam would be a natural as a villain. A natural he was, and throughout the 1950s Elam cemented his reputation as one of the meanest-looking and most reliable "heavies" in the movies. Few of his screen roles gave him the opportunity to display his natural wit and sense of comic timing, but inklings of these skills were evident in his first regular TV series assignments: The Dakotas and Temple Houston, both 1963. In 1967, Elam was given his first all-out comedy role in Support Your Local Sheriff, after which he found his villainous assignments dwindling and his comic jobs increasing. Elam starred as the patriarch of an itinerant Southwestern family in the 1974 TV series The Texas Wheelers (his sons were played by Gary Busey and Mark Hamill), and in 1979 he played a benign Frankenstein-monster type in the weekly horror spoof Struck By Lightning. Later TV series in the Elam manifest included Detective in the House (1985) and Easy Street (1987). Of course Elam would also crack up audiences in the 1980s with his roles in Cannonball Run and Cannonball Run II. Though well established as a comic actor, Elam would never completely abandon the western genre that had sustained him in the 1950s and 1960s; in 1993, a proud Elam was inducted into the Cowboy Hall of Fame. Two short years later the longitme star would essay his final screen role in the made for television western Bonanza: Under Attack.

Trivia: James Best started appearing on film in 1950 in such westerns as Winchester 73 and Kansas Raiders, he was touted as a bright new face on the cinematic scene. When Best showed up as a regular on the 1963 TV series Temple Houston, he was promoted as a "promising" performer. When co-starred in Jerry Lewis' Three on a Couch in 1965, Best was given an "and introducing" credit. And in 1979, He finally found his niche when he was cast as Sheriff Roscoe Coltrane on the immensely popular weekly TVer The Dukes of Hazzard. Best played the role for all seven seasons of the show, and returned to it for TV movies and video games. He died in 2015, at age 88.

Trivia: Of Hungarian-Philippine heritage, Barbara Luna was a stage actress from childhood. In 1949, Luna was cast as one of Ezio Pinza's children in South Pacific; she can be heard on the original cast album, singing the Pulitzer Prize-winning musical's opening number "Dites Moi, Pourquoi?" She went on to appear in such Broadway productions as The King and I, Teahouse of the August Moon and A Chorus Line. In films from 1958, Luna has usually been seen in exotic ethnic roles in films like The Devil at Four O'Clock (1961) and Five Weeks in a Balloon (1961). Star Trek fans still send her complimentary letters for her performance as Marlene Moreau in the 1967 ST installment "Mirror Mirror." Her most recent film credit was 1992's Lady Against the Odds. Barbara Luna has been married to actors Doug McClure and Alan Arkin.

Trivia: Lead actress, onscreen from the '50s.

Trivia: As a Hollywood starlet, American actress Brooke Bundy started off well with a good supporting role in the James Stewart-Henry Fonda western Firecreek (1968). She then joined a sizable cast of twentysomething actors (including Patty McCormick, Richard Dreyfuss and Kevin Coughlin) in the Sam Katzman-produced exploitation flick The Young Runaways (1968). This tawdry little item seemed to set the tone for Brooke's subsequent film achievements, which included Nightmare on Elm Street sequels #3 and #4, (1987 and 1988 respectively), Night Visitor (1990), and that shoe-in for the Oscars titled Beverly Hills Bodysnatchers (1991). Brooke Bundy's TV credits included stints on Days of Our Lives, as Rebecca North, and General Hospital, as Diana Maynard; she also guested on the Star Trek: The Next Generation episode "The Naked Now."

Trivia: Rough-edged character actor Morgan Woodward is the son of a Texas physician. Specializing in Westerns, the 6'3" Woodward has been seen in scores of big-screen oaters, and in 1956 held down the semi-regular role of Shotgun Gibbs in the TV series The Life and Legend of Wyatt Earp. He has also made quite a few non-Western appearances on such video weeklies as Star Trek and The A-Team. In his spare time, Morgan Woodward is a licensed pilot.

Trivia: The son of a Norwegian pastor, John Qualen was born in British Columbia. After his family moved to Illinois, Qualen won a high school forensic contest, which led to a scholarship at Northwestern University. A veteran of the tent-show and vaudeville circuits by the late '20s, Qualen won the important role of the Swedish janitor in the Broadway play Street Scene by marching into the producer's office and demonstrating his letter-perfect Scandinavian accent. His first film assignment was the 1931 movie version of Street Scene. Slight of stature, and possessed of woebegone, near-tragic facial features, Qualen was most often cast in "victim" roles, notably the union-activist miner who is beaten to death by hired hooligans in Black Fury (1935) and the pathetic, half-mad Muley in The Grapes of Wrath (1940). Qualen was able to harness his trodden-upon demeanor for comedy as well, as witness his performance as the bewildered father of the Dionne quintuplets in The Country Doctor (1936). He was also effectively cast as small men with large reserves of courage, vide his portrayal of Norwegian underground operative Berger in Casablanca (1942). From Grapes of Wrath onward, Qualen was a member in good standing of the John Ford "stock company," appearing in such Ford-directed classics as The Long Voyage Home (1940), The Searchers (1955), Two Rode Together (1961), and The Man Who Shot Liberty Valance (1962). John Qualen was acting into the 1970s, often appearing in TV dramatic series as pugnacious senior citizens.

Trivia: Prolific American character actress Louise Latham was essentially a stage performer until the early 1960s. Latham made an impressive film debut as Tippi Hedrens slatternly mother in Hitchcock's Marnie (1964). Her regular weekly-TV roles include landlady Martha Higgins in Sara (1976), Alma Captor in The Contender (1980) and Louise Dougherty in Hothouse (1988). In addition, Louise Latham was featured in a wealth of made-for-TV movies, notably Lois Gibbs and the Love Canal (1981) and Pray TV (1982).

Trivia: American actress Athena Lorde has played numerous supporting roles on television, stage, radio, and feature films. Her children, Eric Boles and Barbara Boles, are both actors as is her husband, Jim Boles.

Trivia: A character actor beloved particularly for playing villains, Bill McKinney was born in Chattanooga, TN, in 1931. After spending some time in Los Angeles while on leave in the Navy, McKinney decided to settle there following his discharge in order to pursue his dream of becoming an actor. He studied at the Pasadena Playhouse and Lee Strausberg's Actors Studio while paying the bills as a high-school teacher before he began landing TV roles on shows like The Monkees and I Dream of Jeannie. In 1972, McKinney was cast as a sadistic mountain man in the thriller Deliverance alongside Burt Reynolds and Jon Voight. His visage was soon synonymous with ominousness and violence, leading to a slew of roles as baddies in a wide variety of films over the coming years, like Cleopatra Jones, The Shootist, First Blood, and The Parallax View. McKinney also began collaborating with Clint Eastwood on a series of films, including The Outlaw Josey Wales, The Gauntlet, Every Which Way but Loose, Any Which Way You Can, and Pink Cadillac. By the 2000s, the actor, now in his seventies, was still going strong. He appeared in such films as 2007's Lucky You, 2008's Pride and Glory, and 2010's How Do You Know before passing away in December 2011 at age 80.

Trivia: With her scrawny body and puckered-persimmon face, Almira Sessions successfully pursued a six-decade acting career. Born into a socially prominent Washington family, Sessions almost immediately followed her "coming out" as a debutante with her first stage appearance, playing a sultan's wizened, ugly wife in The Sultan of Sulu. She briefly sang comic songs in cabarets before pursuing a New York stage career. In 1940, she traveled to Hollywood to play Cobina of Brenda and Cobina, an uproariously if cruelly caricatured brace of man-hungry spinsters who appeared regularly on Bob Hope's radio show (Elvia Allman was Brenda). Sessions' first film was the 1940 Judy Garland vehicle Little Nellie Kelly. Until her retirement in 1971, she played dozens of housekeepers, gossips, landladies, schoolmarms, maiden aunts, and retirement-home residents. Usually appearing in bits and minor roles, Almira Sessions was always given a few moments to shine onscreen, notably as an outraged in-law in Chaplin's Monsieur Verdoux (1947), the flustered high school teacher in the observatory scene in Rebel Without a Cause (1955), and the hero's inquisitive neighbor in Willard (1971).