Trivia: Red-headed, freckle-faced Martin Milner was only 15 when he made his screen debut in Life With Father (1947), and would continue to play wide-eyed high schoolers and college kids well into the next decade. His early film assignments included the teenaged Marine recruit in Lewis Milestone's The Halls of Montezuma (1951) and the obnoxious suitor of Jeanne Crain in Belles on Their Toes (1952). His first regular TV series was The Stu Erwin Show (1950-1955), in which he played the boyfriend (and later husband) of Stu's daughter Joyce. More mature roles came his way in Marjorie Morningstar (1957) as Natalie Wood's playwright sweetheart and in The Sweet Smell of Success (1957) as the jazz musician targeted for persecution by Winchell-esque columnist Burt Lancaster. Beginning in 1960, he enjoyed a four-year run as Corvette-driving Tod Stiles on TV's Route 66 (a statue of Milner and his co-star George Maharis currently stands at the Corvette Museum in Bowling Green, KY). A longtime friend and associate of producer/director/actor Jack Webb, Milner was cast as veteran L.A.P.D. patrolman Pete Malloy on the Webb-produced TV weekly Adam-12, which ran from 1968 to 1975. His later TV work included a short-lived 1970s series based on Johan Wyss' Swiss Family Robinson. Later employed as a California radio personality, Martin Milner continued to make occasional TV guest appearances; one of these was in the 1989 TV movie Nashville Beat, in which he was reunited with his Adam-12 co-star Kent McCord. He made an appearance on the short-lived series The New Adam-12 and had recurring roles on shows like Life Goes On and Murder, She Wrote. Milner died in 2015, at age 83.

Trivia: Supporting actor Kent McCord is best known for co-starring in the long-running series Adam-12 (1968-1975). McCord made his film debut in the made-for-television movie The Outsider (1967). Following the demise of Adam-12, McCord continued appearing in TV films and in low-budget features such as Unsub (1985) and Return of the Living Dead 3 (1993).

Trivia: The face of American actor Myron Healey was not in and of itself villainous. But whenever Healey narrowed his eyes and widened that countenance into a you-know-what-eating grin and exposed those pointed ivories, the audience knew that he was about to rob a bank, hold up a stagecoach, or burn out a homesteader, which he did with regularity after entering films in the postwar years. Still, Healey could temper his villainy with a marvelous sense of humor: for example, his hilarious adlibs while appearing in stock badguy roles in such TV series as Annie Oakley and Gene Autry. With 1949's Colorado Ambush Healey broadened his talents to include screenwriting. Usually heading the supporting cast, Myron Healey was awarded a bonafide lead role in the 1962 horror film Varan the Unbelievable (a Japanese film, with scattered English-language sequences), though even here he seemed poised to stab the titular monster in the back at any moment.

Trivia: American performer Sidney Miller started out as a child actor in such films as Penrod and Sam (1930), The Penguin Pool Murder (1932) and The Mayor of Hell (1933). Miller's pronounced ethnic features precluded stardom in a Hollywood that celebrated blonde, blue-eyed children, but he brought a welcome touch of urbanity to his supporting and minor roles. In 1938, Miller attained one of his better roles as Mo Kahn in Boys Town, in which he acted with his longtime friend Mickey Rooney. Again featured with Rooney in Babes in Arms, an unbilled Miller was allowed to play the piano in accompaniment to Rooney's makeshift stage show and even got to do a couple of celebrity imitations. In the '40s, Miller specialized in portraying nerdish college freshmen (notably in Columbia's Glove Slingers two-reelers) and streetwise intellectuals (as in The East Side Kids' Mr. Wise Guy). He also toured USO bases and hospitals in a pantomime-boxing sketch with fellow child performer Frank Coghlan Jr. With the advent of television, Miller gained a measure of fame as Donald O'Connor's accompanist/cohort in several of O'Connor's TV series and in his subsequent nightclub act. Miller gave up performing briefly in the mid '50s when he assumed the directing chores on the daily TV series Mickey Mouse Club; perhaps due to his own experiences as a child actor, Miller saw to it that the kids were treated professionally but with dignity, and also insisted that stage mothers be banned from the set. Later on in the '60s, Miller directed four grown-up adolescents on several episodes of the music/comedy tver The Monkees. Sidney Miller made an acting comeback in the early '70s with such films as Which Way to the Front? (as Hitler!) and Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) (1972); Miller was also on hand as director for the syndicated New Mickey Mouse Club in 1977. Sidney Miller was married to Dorothy Green; their son is actor Barry Miller.

Trivia: American character actress Priscilla Pointer was the wife of famed theatrical director Jules Irving, and the mother of actress Amy Irving and writer/director David Irving. After extensive theatrical experience, Pointer attained her first major TV job in the daytime drama Where the Heart Is (1969-73). She went on to play Mrs. Austin in From Here to Eternity (1980). Rebecca Barnes Wentworth in Dallas (1981-83) and Lillie in Call to Glory (1984-85). One of her more memorable film assignments was the 1976 chiller Carrie, in which she played the mother of the character played by her daughter Amy. Perhaps as a by-product of Carrie, Priscilla Pointer was engaged to play important roles in Twilight Zone: The Movie (1983) and the made-for-TVTwilight Zone: The Lost Classics (1994).

Trivia: Actor and stunt man Fred Stromsoe worked in both television and feature films. His television credits include a regular role as Officer Woods on Adam-12 between 1974 and 1975. He also appeared in segments of Wild, Wild West and Gunsmoke.

Trivia: Making an appearance on the 1950 TV anthology series Magnavox Theater, American actor Robert Clarke was billed as "that fast-rising leading man." What audiences didn't know was that Clarke had been on a very slow ascension for nearly six years. Signed to an RKO contract in 1944, Clarke was seen in such budget-conscious productions as The Body Snatcher, Bedlam, and Dick Tracy Meets Gruesome. Beginning with 1951's The Man From Planet X, he became a fixture of inexpensive horror and sci-fi epics. His film manifest includes such jewels as Captive Women (1952), The Incredible Petrified World (1962), and Terror of the Bloodhunters (1962). Upon completing The Astounding She-Monster (1958), Clarke, by now convinced that any film could attain a release no matter how wretched, made his directorial debut with The Hideous Sun Demon (1958). With such lofty credits to his name, Clarke was bound to achieve cult-idol status at some point or another; he became a much sought-after interview subject and movie-convention guest speaker during the 1980s and 1990s. In 1995, Robert Clarke, in collaboration with film historian Tom Weaver, penned an entertaining autobiography, To "B" or Not to "B": A Filmmaker's Odyssey.