Trivia: It might have been easy to write off American actor Warren Beatty as merely the younger brother of film star Shirley MacLaine, were it not for the fact that Beatty was a profoundly gifted performer whose creative range extended beyond mere acting. After studying at Northwestern University and with acting coach Stella Adler, Beatty was being groomed for stardom almost before he was of voting age, cast in prominent supporting roles in TV dramas and attaining the recurring part of the insufferable Milton Armitage on the TV sitcom Dobie Gillis. Beatty left Dobie after a handful of episodes, writing off his part as "ridiculous," and headed for the stage, where he appeared in a stock production of Compulsion and in William Inge's Broadway play A Loss of Roses.The actor's auspicious film debut occurred in Splendor in the Grass (1961), after which he spent a number of years being written off by the more narrow-minded movie critics as a would-be Brando. Both Beatty and his fans knew that there was more to his skill than that, and in 1965 Beatty sank a lot of his energy and money into a quirky, impressionistic crime drama, Mickey One (1965). The film was a critical success but failed to secure top bookings, though its teaming of Beatty with director Arthur Penn proved crucial to the shape of movie-making in the 1960s. With Penn again in the director's chair, Beatty took on his first film as producer/star, Bonnie and Clyde (1967). Once more, critics were hostile -- at first. A liberal amount of praise from fellow filmmakers and the word-of-mouth buzz from film fans turned Bonnie and Clyde into the most significant film of 1967 -- and compelled many critics to reverse their initial opinions and issue apologies. This isn't the place to analyze the value and influence Bonnie and Clyde had; suffice it to say that this one film propelled Warren Beatty from a handsome, talented film star into a powerful filmmaker.Picking and choosing his next projects very carefully, Beatty was offscreen as much as on from 1970 through 1975, though several of his projects -- most prominently McCabe and Mrs. Miller (1971) and The Parallax View (1974) -- would be greeted with effusive praise by film critics and historians. In 1975, Beatty wrote his first screenplay, and the result was Shampoo (1975), a trenchant satire on the misguided mores of the late '60s. Beatty turned director for 1978's Heaven Can Wait, a delightful remake of Here Comes Mr. Jordan that was successful enough to encourage future Hollywood bankrolling of Beatty's directorial efforts. In 1981, Beatty produced, directed, co-scripted and acted in Reds, a spectacular recounting of the Russian Revolution as seen through the eyes of American Communist John Reed. It was a pet project of Beatty's, one he'd been trying to finance since the 1970s (at that time, he'd intended to have Sergei Bondarchuk of War and Peace fame as director). Reds failed to win a Best Picture Academy Award, though Beatty did pick up an Oscar as Best Director. Nothing Beatty has done since Reds has been without interest; refusing to turn out mere vehicles, he has taken on a benighted attempt to re-spark the spirit of the old Hope-Crosby road movies (Ishtar [1984]); brought a popular comic strip to the screen, complete with primary colors and artistic hyperbole (Dick Tracy [1991]); and managed to make the ruthless gangster Bugsy Siegel a sympathetic visionary (Bugsy [1992]). In 1998 he was able to breath new life into political satire with Bulworth, his much acclaimed film in which he plays a disillusioned politician who turns to rap to express himself. In 2001, Beatty rekindled memories of Ishtar as he starred in another phenomenal bust, Town & Country. Budgeted at an astronomical 90 million dollars and earning a miserable 6.7 million dollars during it's brief theatrical run, Town & Country was released three years after completion and pulled from theaters after a mere four weeks, moving critics to rank it among the biggest flops in movie history.Fiercely protective of his private life, and so much an advocate of total control that he will dictate the type of film stock and lighting to be used when being interviewed for television, Beatty has nonetheless had no luck at all in keeping his many amours out of the tabloids. However, Beatty's long and well-documented history of high-profile romances with such actresses as Leslie Caron, Julie Christie, Diane Keaton, and Madonna came to an abrupt end upon his 1992 marriage to Bugsy co-star Annette Bening, with whom he later starred in 1994's Love Affair, his blighted remake of the 1957 An Affair to Remember.

Trivia: Although some of her recognition may stem from her 1992 marriage to Warren Beatty, Annette Bening has established herself as an actress capable of far more than domesticating one of Hollywood's most notorious playboys. After winning raves for her role in 1990's The Grifters, Bening turned in a series of strong performances in films ranging from The American President to Richard III to American Beauty.Born in Topeka, Kansas, on May 29, 1958, Bening moved with her family to San Diego, California when she was very young. It was there that she began to pursue her career, first as a dancer in various productions at a local college. Eventually graduating from San Francisco University (an education she paid for by working as a cook on a charter boat), Bening acted with San Francisco's American Conservatory Theatre before moving to New York to further her stage experience. Her career in New York had its auspicious moments, such as winning a Tony Award nomination and a Clarence Derwent Award for Outstanding Debut Performance for her performance in Coastal Disturbances, but Bening endured a five-year struggle before breaking into film.She made her debut as Dan Aykroyd's irritable wife in The Great Outdoors in 1988; more substantial work followed in the form of Milos Forman's Valmont, a 1989 adaptation of Chodleros de Laclos' Les Liaisons Dangereuses that featured Bening as the scheming, manipulative Marquise de Merteuil. The film suffered in comparison to Stephen Frears's Dangerous Liaisons, which had been released the previous year; fortunately, the same couldn't be said of Bening's next major effort, 1990's The Grifters. Frears's gripping, stylish adaptation of Jim Thompson's novel of the same name, The Grifters met with almost unanimous critical acclaim, much of which was aimed at the performances of Anjelica Huston, John Cusack, and Bening as the film's protagonists. Bening won special praise for her portrayal of an ill-fated con artist, accruing Best Supporting Actress nominations from the Academy, the New York Film Critics Circle, and the British Academy.Her performance also won the attention of Warren Beatty, who was so impressed with her work that he cast her as his love interest in his 1991 Bugsy. Although the film proved a relative disappointment, it did result in both a Golden Globe nomination for Bening and a 1992 marriage for her and Beatty. The two could be seen collaborating again onscreen two years later in Love Affair, a remake of the 1957 An Affair to Remember. Unfortunately, the film fared poorly, both at the box office and at the hands of disapproving critics. Bening had more luck with her subsequent role as Michael Douglas' presidential love interest in Rob Reiner's The American President (1995), and then went on to explore politics of a different sort with Richard Loncraine's 1996 adaptation of Richard III. Her starring turn as the embattled Queen Elizabeth drew praise, and the attention she garnered for her performance helped to lighten the load of antipathy directed toward Tim Burton's Mars Attacks!, the actress' other film that year.Following lead roles in 1998's underperforming The Siege and 1999's ill-fated In Dreams, Bening could be seen in American Beauty (also 1999) as Kevin Spacey's status-obsessed, control-freak wife. As part of the film's superb ensemble cast, which also featured Chris Cooper, Thora Birch, Wes Bentley, and Mena Suvari, the actress won praise for her work, and the added distinction of being part of what many hailed as one of the best films of the year. Her first Best Actress Oscar nomination followed, although Bening's near-lock on the award was stolen away from her by Hilary Swank, a newcomer almost as auspicious as she once was.Adding insult to injury, Bening lost the Oscar at the same time she could be seen in theaters alongside Garry Shandling in the much-derided sci-fi comedy What Planet Are You From? Perhaps as a result of this -- or due to her decision to spend more time with her four children -- the actress chose her parts very carefully in the coming years. She re-emerged in a leading role in 2003 opposite Kevin Costner in the sleeper-hit western Open Range, and followed that comeback with a triumphant diva turn as the title character in Being Julia, an adaptation of M. Somerset Maugham's back-stabbing, backstage comic melodrama Theater. Though little-seen, the film garnered immense praise for Bening -- including a Best Actress nod from the National Board of Review -- and an eventual Best Actress Oscar nomination. However, in a moment of Hollywood irony that echoed both her character's situation in Being Julia and the fate of the 2000 awards ceremony, Bening was denied the award in favor of Hilary Swank's tour-de-force as a doomed boxer in Oscar favorite Million Dollar Baby.She was the mother in the cinematic adaptation of Running With Scissors, and had a major part in the big-budget misfire remake of The Women. In 2010 she won the SAG award for best actress and was nominated for the Oscar in that same category for her work as a lesbian mother of two who finds out her partner is cheating on her in the comedy The Kids Are All Right.

Trivia: "I'm a personality as well as an actress," Katharine Hepburn once declared. "Show me an actress who isn't a personality, and you'll show me a woman who isn't a star." Hepburn's bold, distinctive personality was apparent almost from birth. She inherited from her doctor father and suffragette mother her three most pronounced traits: an open and ever-expanding mind, a healthy body (maintained through constant rigorous exercise), and an inability to tell anything less than the truth. Hepburn was more a personality than an actress when she took the professional plunge after graduating from Bryn Mawr in 1928; her first stage parts were bits, but she always attracted attention with her distinct New England accent and her bony, sturdy frame. The actress' outspokenness lost her more jobs than she received, but, in 1932, she finally scored on Broadway with the starring role in The Warrior's Husband. She didn't want to sign the film contract offered her by RKO, so she made several "impossible" demands concerning salary and choice of scripts. The studios agreed to her terms, and, in 1932, she made her film debut opposite John Barrymore in A Bill of Divorcement (despite legends to the contrary, the stars got along quite well). Critical reaction to Hepburn's first film set the tone for the next decade: Some thought that she was the freshest and most original actress in Hollywood, while others were irritated by her mannerisms and "artificial" speech patterns. For her third film, Morning Glory (1933), Hepburn won the first of her four Oscars. But despite initial good response to her films, Hepburn lost a lot of popularity during her RKO stay because of her refusal to play the "Hollywood game." She dressed in unfashionable slacks and paraded about without makeup; refused to pose for pinup pictures, give autographs, or grant interviews; and avoided mingling with her co-workers. As stories of her arrogance and self-absorption leaked out, moviegoers responded by staying away from her films. The fact that Hepburn was a thoroughly dedicated professional -- letter-perfect in lines, completely prepared and researched in her roles, the first to arrive to the set each day and the last to leave each evening -- didn't matter in those days, when style superseded substance. Briefly returning to Broadway in 1933's The Lake, Hepburn received devastating reviews from the same critics who found her personality so bracing in The Warrior's Husband. The grosses on her RKO films diminished with each release -- understandably so, since many of them (Break of Hearts [1935], Mary of Scotland [1936]) were not very good. She reclaimed the support of RKO executives after appearing in the moneymaking Alice Adams (1935) -- only to lose it again by insisting upon starring in Sylvia Scarlett (1936), a curious exercise in sexual ambiguity that lost a fortune. Efforts to "humanize" the haughty Hepburn personality in Stage Door (1937) and the delightful Bringing Up Baby (1938) came too late; in 1938, she was deemed "box-office poison" by an influential exhibitor's publication. Hepburn's career might have ended then and there, but she hadn't been raised to be a quitter. She went back to Broadway in 1938 with a part written especially for her in Philip Barry's The Philadelphia Story. Certain of a hit, she bought the film rights to the play; thus, when it ended up a success, she was able to negotiate her way back into Hollywood on her own terms, including her choice of director and co-stars. Produced by MGM in 1940, the film version was a box-office triumph, and Hepburn had beaten the "poison" label. In her next MGM film, Woman of the Year (1942), Hepburn co-starred with Spencer Tracy, a copacetic teaming that endured both professionally and personally until Tracy's death in 1967. After several years of off-and-on films, Hepburn scored another success with 1951's The African Queen, marking her switch from youngish sophisticates to middle-aged character leads. After 1962's Long Day's Journey Into Night, Hepburn withdrew from performing for nearly five years, devoting her attention to her ailing friend and lover Tracy. She made the last of her eight screen appearances with Tracy in Guess Who's Coming to Dinner (1967), which also featured her niece Katharine Houghton. Hepburn won her second Oscar for this film, and her third the following year for A Lion in Winter; the fourth was bestowed 13 years later for On Golden Pond (1981). When she came back to Broadway for the 1969 musical Coco, Hepburn proved that the years had not mellowed her; she readily agreed to preface her first speech with a then-shocking profanity, and, during one performance, she abruptly dropped character to chew out an audience member for taking flash pictures. Hepburn made the first of her several television movies in 1975, co-starring with Sir Laurence Olivier in Love Among the Ruins -- and winning an Emmy award, as well. Her last Broadway appearance was in 1976's A Matter of Gravity. Throughout the 1970s and 1980s, Hepburn continued to star on TV and in films, announcing on each occasion that it would be her last performance. She also began writing books and magazine articles, each of them an extension of her personality: self-centered, well-organized, succinct, and brutally frank (especially regarding herself). While she remained a staunch advocate of physical fitness, Hepburn suffered from a genetic condition, a persistent tremor that caused her head to shake -- an affliction she blithely incorporated into her screen characters. In 1994, Warren Beatty coaxed Hepburn out of her latest retirement to appear as his aristocratic grand-aunt in Love Affair. Though appearing frailer than usual, Hepburn was in complete control of herself and her craft, totally dominating her brief scenes. And into her nineties and on the threshold of her tenth decade, Katharine Hepburn remained the consummate personality, actress, and star.On June 29, 2003 Katharine Hepburn died of natural causes in Old Saybrook, Connetticut. She was 96.

Trivia: Comedian Garry Shandling was best known for his top-rated, award-winning parody of television talk shows The Larry Sanders Show, which aired on the HBO cable network from 1993 to 1998. He started out as a comedy writer for other sitcoms and as a standup comedian. He landed his first television show, the It's Garry Shandling's Show, on Fox in 1985. The show was heavily autobiographical, to the point of replicating his apartment on a soundstage. Shandling, however, made his biggest impression with Larry Sanders, a show about the trials, tribulations, and double-dealing that goes on behind the scenes of a latenight talk show. Much of the show's material was drawn from experiences Shandling endured or witnessed on The Tonight Show with Johnny Carson, where he was a popular guest star.In addition to performing live and on television, Shandling has also played character roles in feature films, beginning with The Night We Never Met in 1993 and continuing with such varied projects as Hurly Burly and Dr. Doolittle, both in 1998. The actor tried his hand at starring with the 2000 extra-terrestrial comedy What Planet Are You From, a box-office dud Shandling also produced and wrote.As the decade wore on, Shandling's significant big screen roles were limited to the 2001 Warren Beatty picture Town & Country, before emerging in 2006 by lending his voice to the animated adventure Over the Hedge and appearing in a supporting part in Trust the Man. Meanwhile, on the small screen, he kept television viewers laughing as host of the 52nd and 55th Annual Prime Time Ammy Awards in 2000 and 2003 respectively. Though brief cameos in Iron Man 2 and Captain America: The Winter Soldier and Sacha Baron Cohen's The Dictator followed, the one-time comedy superstar largely continued to maintain a low-profile in his later years. He died suddenly in 2016, at age 66.

Trivia: A go-getter from an early age, actress Chloe Webb, at 16 years old, attended the Boston Conservatory of Drama and Music. Harnessing her gift for mimicry and satire, Webb helped write several sessions of the popular New York review Forbidden Broadway; she appeared prominently in these irreverent productions, as well as many other major stage presentations on both coasts. Webb's film debut was as self-destructive Nancy Spungen in Sid and Nancy (1988), co-starring with great aplomb as Nancy to Gary Oldman's punk rocker Sid Vicious. Webb has continued to essay offbeat performances in offbeat films like The Belly of an Architect (1987), and has been equally effective in such "normal" efforts as Twins (1988), Ghostbusters 2 (1989) (unbilled as a highly suspect alien-abduction victim), and Heart Condition (1990). After partaking in a small part in 1991's Queens Logic alongside Kevin Bacon and John Malkovich, Webb landed a starring role in the acclaimed television feature Lucky Day. In 1992, the actress participated in Alien 3 and went on to play a major supporting role in A Dangerous Woman with Debra Winger. However, Webb wouldn't be seen in a major film role until the next year, when she played the unlucky-in-love Mona Ramsey in director Alastair Reid's lavishly praised Tales of the City. Webb's work in the later half of the '90s was sparse -- she appeared as a supporting actress in Love Affair with Warren Beatty and Annette Bening in 1994, and wouldn't be seen on the big screen again until the 1998 release of modern Western The Newton Boys.

Trivia: Moving to London with his family at an early age, Irish-born actor Pierce Brosnan made ends meet as a commercial illustrator and cab driver before turning to acting full-time. After training at the London Drama Centre, Brosnan made his West End stage bow in 1976, and appeared in his first film, The Long Good Friday, four years later. American audiences got their first glimpse of the charismatic, muscular young actor in the 1981 network miniseries The Manions of America. The following year, he was cast as the suave adventurer hero of the weekly TV series Remington Steele. Brosnan's casual panache and his gift for quippery led the producers of the James Bond movies to select him as the new Bond upon the departure of Roger Moore in 1986. However, at the last moment, the canceled Remington Steele was renewed, and Brosnan was contractually obligated to remain with the program, forcing him to relinquish the James Bond role to Timothy Dalton. Insult was later added to injury when it became evident that the renewal of Steele was something of a subterfuge by its producers to keep Brosnan on their leash. This professional setback was further compounded by personal tragedy seven years later when Brosnan's actress wife Cassandra Harris died after a long illness. The actor began to regain his motion picture bankability when he was cast in a choice secondary role in the 1993 comedy megahit Mrs. Doubtfire. In 1995, he finally got his chance to play Agent 007 in GoldenEye, and proved that the producer's instincts were right on target. Brosnan not only provided a much-needed boost for the ailing series, but also cemented his status as a capable leading man in a variety of roles, ranging from the title character in Daniel Defoe's Robinson Crusoe (1996) to a stuffy, love-struck professor who meets a ludicrous fate in Mars Attacks! (1996) to a courageous vulcanologist trying to save a town threatened by a reawakened volcano in Dante's Peak (1997). Brosnan played Bond for the second time in Tomorrow Never Dies (1997), essaying the role with great success. Following his turn as the titular thief in the stylish 1999 remake of The Thomas Crown Affair, the actor went on to his third Bond outing in The World is Not Enough, again proving that saving the world was most convincingly done by those with convincing tans, straight teeth, and plenty of fun gadgets. And the world isn't the only thing Bond saved. While, the next half-decade found Brosnan stumbling with disappointments like The Tailor of Panama and The Laws of Attraction, he found box office success with the Bond franchise yet again 2002 with his final film in the franchise, Die Another Day. He soon followed this with a critically acclaimed comedic performance in the sleeper hit The Matador, before signing on for the highly anticipated film adaptation of the Abba inspired musical Mama Mia!. Next up, Brosnan would appear in some more dramatic fare like Remember Me before lightening up once more for the romantic comedy I Don't Know How She Does It.

Trivia: Though she'd always harbored a hankering to become an actress, Kate Capshaw put these plans in mothballs to earn a master's degree in special education at the University of Missouri. She taught exceptional-ed classes for two years before finally heading to New York to seek out acting jobs. Capshaw played small roles in commercials and soap operas, then in 1982 made her film bow in A Little Sex. Two years later, she was cast as the heroine in Indiana Jones and the Temple of Doom and while playing the female character in the "Indiana Jones" series, she met producer/director Steven Spielberg , whom she would eventually marry in 1991. Capshaw's roles improved with each subsequent film; in 1995 she was showered with critical acclaim for her performance in How to Make an American Quilt. In addition to her theatrical-film work, Kate Capshaw has been seen in such made-for-TV movies as Missing Children: A Mother's Story (1982), Her Secret Life (1987) and Showtime's Duke of Groove (1996); she was also a regular on the brief 1993 series Black Tie Affair.

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: Brooklynite Brenda Vaccaro was raised in Texas, where she began acting in amateur theatricals. She returned to New York to study at the Neighborhood Playhouse, securing stage and TV roles from 1961 onward. Vaccaro's first important film appearance was as Jon Voigt's "intellectual" vis-à-vis in the latter portions of Midnight Cowboy (1969). In 1971 she co-starred in Summertree with her longtime lover Michael Douglas; the eventual breakup of this relationship was made doubly traumatic by the disproportionate amount of press coverage it received. Shortly after earning an Oscar nomination for 1975's Once Is Not Enough, Brenda Vaccaro briefly became a weekly TV star, playing a 19th century frontier schoolteacher in Sara; she later appeared in another short-lived series, 1979's Dear Detective.

Trivia: Though he's occasionally cast as eccentric urbanites, rotund character actor Glenn Shadix actually spent his childhood in rural Alabama. After acting in regional theater and waiting tables in New York, he moved to Los Angeles in his early twenties. He made his film debut with a bit part in the 1981 film remake of The Postman Always Rings Twice, but most of his time in the '80s was spent on-stage. One of his first starring roles was in drag as the famed American writer Gertrude Stein in Dr. Faustus Lights the Lights at the West Coast Ensemble Studio Theater. He earned an LA Weekly award for his performance. Young filmmaker Tim Burton saw the play and decided to cast him in his next film, Beetlejuice. The Deetz's vain interior designer Otho continues to be one of his most recognizable roles.Joining Burton's circle of regulars, Shadix provided the voice of the mayor of Halloween Town in The Nightmare Before Christmas. He also developed a friendship with another young filmmaker named Michael Lehmann during a comedy improvisation project. He was cast in two of Lehmann's films: the black comedy Heathers, as funeral orator Father Ripper, and the suburban satire Meet the Applegates. After appearing in some of the biggest cult films of the early '90s, Shadix increased his exposure by guest starring on the popular television sitcoms Seinfeld and Cheers. He eventually played the regular role of gentle giant Typhon on the syndicated adventure series Hercules: The Legendary Journeys. Back on the big screen, he played various eccentrics in family-friendly films like Bingo, It Runs in the Family, and Dunston Checks In. He also occasionally appeared in horror films (Sleepwalkers), science fiction (Demolition Man), and thrillers (Dark Side of Genius). Harking back to his stage roots, Shadix then appeared in two talky obscurities: the feminist film Men and the psychological drama The Empty Mirror. Moving toward more independent projects, he played a strange Southern sheriff in the crime comedy Rose's and a loud alcoholic in the drama Shut Yer Dirty Little Mouth. In 2001, he re-teamed with Burton to play Sentator Nado in the remake of Planet of the Apes. Working the convention circuit in support of his cult film status, Shadix traveled around the world. He also underwent gastric bypass surgery in order to lose over 100 pounds. In 2003, he appeared as an aging wardrobeman in Ruby Romaine Trailer Tales and as an stubborn councilman in Carnivàle, both on HBO.

Trivia: Barry Miller has played leads and supporting roles on stage, screen, and television. In movies, he made his debut at age 16 playing the younger version of notorious gangster Louis "Lepke" Buchalter (played by Tony Curtis). One of his best-known film roles is that of the depressed Bobby C., who drunkenly falls off the Verrazano Narrow Bridge after accidentally impregnating a girl in Saturday Night Fever (1977). Miller debuted on Broadway in 1980 and five years later earned a Tony and a Drama Desk Award for his role in Neil Simon's Biloxi Blues (1985). The son of actors Sidney Miller and Dorothy Green, Miller is frequently cast in "ethnic" roles.

Trivia: His long and fruitful association with Canada's Second City comedy troupe has led some to assume that Harold Ramis was Canadian; actually he hailed from the original "Second City," Chicago. After college, Ramis worked as editor of the Party Jokes page of Playboy magazine. He later performed with Chicago's Second City aggregation, and was a cast member of the Broadway revue National Lampoon's Lemmings, a major spawning ground of most of Saturday Night Live's cast. Ramis didn't join the SNL folks, but instead headed for Edmonton, where he was a writer/performer on the weekly Second City TV sketch comedy series. Like the rest of his talented co-stars, Ramis played a rich variety of roles on the series, the most prominent of which was TV station manager Moe Green (a character name swiped from the second Godfather movie); his other characters tended to be nerdy or officious types. Ramis' film activities have included screenwriting (National Lampoon's Animal House) and directing (1980s Caddyshack and 1984's Club Paradise). His best remembered screen appearance was as paranormal troubleshooter Egon Spengler in the two Ghostbusters flicks. Retaining close ties with his Second City compadres (on both sides of the U.S.-Canadian border), Ramis directed the 1993 Bill Murray vehicle Groundhog Day and the 1995 Al Franken starrer Stuart Saves His Family. Though Groundhog Day was generally lauded as one of the most fresh and original comedies to come down the pipe in quite some time, Stuart Saves His Family didn't prove any where near as successful despite some generally positive critical nods. To be fair, audiences had certainly had their fill of SNL spinoff movies by this point and the movie did have a somewhat hard time balancing its drama with comedy, but with well written characters and a smart script many eventually succumbed to its charm when the film was released on home video shortly thereafter. Where Stuart Saves His Family had scored with critics and bombed with the masses, Ramis' next film, the Michael Keaton comedy Multiplicity, did almost the exact opposite. Generally regarded as only a mediocre effort by the press, audiences seemed to enjoy the idea of multiple Keatons and the film performed fairly well at the box office. It seemed that Ramis was a director in need of balancing critical and mass reception, and with his next film he seemed to do just that. An inventive comedy that paired Robert DeNiro and Billy Crystal as a troubled mob boss and his tentative psychiatrist respectively, Analyze This seemed to get a fair shake from just about everybody. As one of DeNiro's first straight comedies, audiences had a cathartic blast watching him gleefully deconstruct the hardened, fearsome persona he had been perfecting since the early days of his career. Ramis next stepped behind the camera for Bedazzled - a remake of the beloved Dudley Moore/Peter Cooke comedy classic. Unfortunately the film proved to be one of the director's biggest failures to date. Opting next to stick with more familiar, but again not altogether original ground, Ramis headed up the sequel to Analyze This - amusingly titled Analyze That - in 2002. Though it may not have been the most necessary sequel in the history of film, fans were generally pleased and the film proved a moderate success. Sure all of Ramis' work as a director left little time for other endeavors, but the busy filmmaker somehow found time to serve as a producer on many of his own projects (in addition to such non-Ramis directed films as The First $20 Million Is Always the Hardest) as well as step in front of the camera for such efforts as As Good As It Gets (1997), Orange County (2002), Knocked Up (2007), Walk Hard: The Dewey Cox Story (2007), and Year One (2009), which he also wrote and directed. Ramis died at age 69 in 2014.

Trivia: Tall, instantly identifiable Eastern European actor Elya Baskin fit the bill in Hollywood for ethnic character portrayals, especially characters with a Slavic background and an amiable demeanor; he also frequently exhibited a slightly zany undercurrent that became something of a trademark. A native of Latvia in the former USSR, Baskin attended Moscow's Theatre and Performing Arts College, then built a formidable reputation on the European stage. He achieved his international breakthrough, however, at the hands of Hollywood giant Paul Mazursky, who cast him opposite Robin Williams as the clownish Russian circus performer Anatoly in the masterful seriocomedy Moscow on the Hudson (1984). (When coupled with the sad demeanor that Baskin projected in that role, the actor's birdlike arm-flapping -- a symbol of the character's need for freedom -- became one of the film's most poignant and memorable images). An additional collaboration with Mazursky followed, the 1989 smash Enemies: A Love Story; in the meantime, Baskin began to rack up a litany of roles in additional A-list projects, including 2010: The Year We Make Contact (1984), Vice Versa (1988), and Love Affair (1994). The Pickle (1993) re-teamed Baskin and Mazursky for a third occasion; unfortunately, it failed to match the critical or commercial success of its predecessors. Baskin remained in full flower through the end of the following decade, with a memorable comedic turn as Vladimir on the sitcom Mad About You and prominent roles in the big-screen projects Spider-Man 3 and The Dukes (both 2007).

Trivia: He was never considered among the Soviet Union's great thespians, nor was he a dashingly handsome hunk, but a lack of looks and dramatic talent did not prevent Savely Kramarov from becoming one of his country's most popular comedians of the '60s and '70s. Back then audiences adored his goofy crossed eyes and stupid, slack-jawed portrayal of the everyday Joe. Of the 42 Soviet films in which he appeared, his most popular were Trembita (1968), The Twelve Chairs (1970), Gentlemen of Fortune (1972, featuring one of his largest roles), Ivan Vasilyevich Changes His Profession (1973), the television mini-series Long Recess (1976). Kramarov began his career after graduating from the Soviet State Film School. At the peak of his popularity in 1979, Kramarov shocked his fans by publicly announcing his desire to leave Russia and live in Israel. The authorities allowed him to leave in the early '80s, but instead of emigrating to Israel, he moved to the U.S. Just before leaving, Kramarov called himself "a prisoner of my own success" and claimed that no one would be allowed to see his films and television shows after he departed. Kramarov was right. As with all celebrities considered traitors of enemies of the state, Kramarov became persona non grata in the Soviet Union. His name was removed from film credits, and no biographies or mention of his name in print was allowed until the late Perestroika period (late '80s). By the time of his death in 1995, Kramarov's films were again becoming popular in Russia.During the 13 years he spent in the United States, Kramarov underwent surgery to repair his crossed eyes, and then forged a sporadic, and largely non-descript career as a character actor. His most famous roles in American films included that of a KGB operative/hot-dog vendor in Moscow on the Hudson (1984), and a cosmonaut in 2010 (1984). Kramarov made his final appearance playing a Russian seaman in Love Affair (1994).

Trivia: Supporting and occasional leading actress Carey Lowell made her feature film debut playing a fashion model in Club Paradise (1986). Since then, she has played a number of small but interesting roles including a Bond Girl to Timothy Dalton's 007 in License to Kill and her personal favorite, Tom Hank's dead wife in Sleepless in Seattle (1993). Lowell also starred in the short-lived CBS television series A League of Their Own, which was based on Penny Marshall's popular film of the same name.

Trivia: "Professional sidekick" Ed McMahon attended 15 schools while growing up in Detroit, New Jersey, New York City and Massachusetts; his father was a part-time plumber and entertainer, whose work in both fields kept the family forever on the go. The 15-year-old McMahon's first appearance before a microphone was as the "caller" at a bingo game in Maine; he was 15 years old. He spent the next three years touring the state fair and carnival circuit then worked his way through Boston College as a jack-of-all-trades at a Lowell, Massachusetts radio station. After World War II service, McMahon found work as a sidewalk pitchman, which paid his tuition at Catholic University in Washington D.C. As a journeyman television performer in the 1950s, McMahon delivered vegetable-slicer TV commercials, hosted a late-night interview show in Philadelphia and briefly appeared as a clown on the CBS kiddie show Big Top. In 1959, MacMahon was hired as the announcer/straight man on Who Do You Trust?, a daytime quiz program hosted by Johnny Carson. When Carson succeeded Jack Paar on NBC's Tonight Show, he took MacMahon with him; both men remained with Tonight until Carson's retirement in 1992. On his own, MacMahon has continued making commercial appearances for a multitude of products, starred in straw-hat theatre productions (The Music Man is his favorite), played straight supporting roles in such films as The Incident (1967) and Slaughter's Big Rip-Off (1973), lent a comedic turn to the Larry Cohen horror comedy Full Moon High (1982), and hosted the popular TV talent contest Star Search. McMahon died in June 2009 at age 86; though no cause of death was officially given, he had been suffering from cancer and pneumonia.

Trivia: Forever associated with his ongoing voice work as Homer J. Simpson on Matt Groening and James L. Brooks' long, long-running Fox animated sitcom The Simpsons, Dan Castellaneta is well-reputed for his modest, unassuming presence in real life and his paradoxical ability to spin characters -- seemingly from out of nowhere -- that instantly take on lives of their own. Groening once famously remarked that "Dan can do everything, and he practically does....You might never notice him, but then he opens his mouth and he completely creates one character after another.'' Born in 1957, Castellaneta grew up in the small town of Oak Grove, IL, in the northwestern corner of the state, near the Iowa border. As a self-described introvert who developed and honed a facility for slipping into the guise of characters to entertain and make social situations easier (read: class clown), Castellaneta nevertheless diverged from this path in college and worked toward a career as a high-school art teacher via his studies at Northern Illinois University. Then, one of Castellaneta's professors (perhaps sensing some dissatisfaction) wisely admonished him to only work at a field, and in a job, that he loved. Castellaneta reasoned that acting fit the bill, and auditioned for the infamous sketch comedy troupe Second City shortly after graduation. The troupe hired him, and in time, the skills that the actor projected led to his involvement on the then-fledgling Fox network's sketch comedy series The Tracey Ullman Show, which premiered on Sunday, April 5, 1987. Castellaneta joined Ullman, Julie Kavner, Joe Malone, Sam McMurray, and for a time Anna Levine in live-action skits that parodied all aspects of Western culture.As a most unusual aspect of her program, Ullman opted to feature crudely animated, offbeat segments as Monty Python-style transitions between the individual sketches. The episodes in question were drawn by Gabor Csupo and Groening (at that time, comic-strip artist of growing infamy known for his Life Is Hell series starring a buck-toothed, bug-eyed rabbit named Bucky). Although the subjects of the shorts initially varied, within a few months they began to focus exclusively on a hyper-dysfunctional blue-collar family called the Simpsons; Kavner and Castellaneta voiced parents Homer and Marge Simpson, respectively. Those segments gained such massive popularity that they eventually outshone that of the Ullman show itself (which wrapped in September 1990), and executive producer James L. Brooks, following this cue, decided to spin off the Simpsons into their own weekly animated series. Kavner and Castellaneta, of course, followed Brooks to the new program, joined in time by longtime Brooks acquaintance Harry Shearer, as well as Nancy Cartwright, Yeardley Smith, Hank Azaria, and numerous others.The Simpsons premiered on Fox on December 17, 1989, and became not simply a hit but a phenomenon. It shot up to instantly become one of the highest-rated series on television, and attained iconic status. The program scored as a cause célèbre not simply with children (as expected) but with adult viewers as well, who appreciated the show's ability to skewer all aspects of society and culture. (It generated a billion-dollar marketing boom as well -- an onslaught of Bart Simpson-themed T-shirts, watches, dolls, beach towels, and everything else under the sun.) The program also drew an onslaught of celebrity guests -- everyone from Larry King to Tony Bennett to Beverly D'Angelo and Linda Ronstadt. Castellaneta himself will forever be tied to Homer Simpson -- the lunkheaded, potbellied, beer-swilling, donut-loving nuclear-plant worker with not a whole lot upstairs, and a thoroughly crass lifestyle, but also a big, soft heart (a quality which Castellaneta's co-workers insist that he alone brought to the character). But hardcore Simpsons cultists and even its less attentive devotees will realize that Castellaneta voices not only Homer (as mentioned), but also the gravelly voiced, booze-swilling, womanizing clown Krusty; local drunk Barney Gumble; Scottish elementary-school groundskeeper Willie; the octogenarian family patriarch Grampa Simpson; and innumerable others. Certainly, it would be difficult to imagine a program that took fuller advantage of Castellaneta's versatility with characterizations.Alongside The Simpsons, Castellaneta has also pursued a career as a live-action film and television performer, and spent most of the late '80s, '90s, and 2000s vacillating between the two mediums. His career on the big screen began at least a year prior to his involvement with Ullman and co., when he debuted with a bit part as Brian in the now-forgotten Garry Marshall dramedy Nothing in Common (1986), starring Jackie Gleason, Tom Hanks, Eva Marie Saint, and Sela Ward. In 1989, Castellaneta landed bit parts in two wildly different films: one as a maître d' in the Jim Belushi cop comedy K-9, and another (as one of Danny DeVito's clients) in the James L. Brooks-produced jet-black marital farce The War of the Roses. Castellaneta temporarily withdrew from live-action cinematic work in the early '90s, before returning to audiences as the narrator in Super Mario Bros. (1993) and Phil in Warren Beatty's Love Affair (1994). As the Castellaneta's career continued, he then segued into cinematic animated voice-over work (doubtless encouraged by the ongoing success of The Simpsons), doing voices in such features as 2000's Rugrats in Paris (under the aegis of old colleague Gabor Csupo) and Hey Arnold! The Movie (2002). In 2007, Castellaneta extended his Homer characterization to the big screen with his work on The Simpsons Movie -- the first cinematic appearance of Groening's famous animated family.As for television, Castellaneta appeared as a supporting actor in numerous sitcoms during the 1990s. These included ALF (as Steve Michaels in the 1990 episode "Stayin' Alive"), Married...with Children (as Pete in the 1990 episode "The Dance Show"), Wings (as George Wexler in the 1994 episode "Moonlighting"), and Murphy Brown (as Tony Lucchesi in the 1995 episode "Specific Overtures.") He also voiced Genie (inheriting the role from Robin Williams) on the animated Aladdin TV series. Of the Simpsons cast, Castellaneta is one of the only actors to regularly do on-stage comedic improvisation alongside his series work. He is married to Simpsons writer Deb Lacusta, whom he wed in 1987.He continued to work steadily in animated films such as Rugrats in Paris: The Movie and Hey Arnold! The Movie, and landed traditional acting parts every once in a while in movies as diverse as the indie comedy I Want Someone to Eat Cheese With and the Will Smith drama The Pursuit of Happyness. In 2007 he voiced nearly 20 different parts in The Simpsons Movie. He also landed a part in JJ Abrams 2011 Spielberg-influenced family sci-fi film Super 8.

Trivia: New Jersey native Jeffrey Nordling attended Wheaton College in Illinois before beginning his professional acting career, making small appearances in movies like Working Girl and Shooter in the early '80s. He would continue to work regularly as the years passed, eventually becoming particularly well known to audiences for parts like ex-husband Jake on Now and Again, and Brent Barrow on Dirt, as well as FBI agent Larry Moss on the seventh season of 24. He joined the cast of Desperate Housewives in that show's sixth season, and in 2010 he could be seen on the big-screen in Tron: Legacy.

Trivia: Born two years after her father divorced Marilyn Monroe, the multi-talented Rebecca Miller is the only child of renowned playwright Arthur Miller and photographer Inge Morath. After an enviable childhood growing up in a family of artists, she studied painting at Yale before acting in theater productions on the East Coast. Following a small part in the NBC movie The Murder of Mary Phagan, she made her feature film debut with a sizable role in the West German film Georg Elser -- Einer aus Deutschland. She started her filmmaking career in 1990, making the short film Florence and directing a production of her father's play After the Fall for the New York stage. She continued acting throughout the early '90s, playing Harrison Ford's mistress in Regarding Henry, Kevin Spacey's wife in Consenting Adults, and Cliff Robertson's daughter in Wind. She played a couple of other supporting film roles (including a portrayal of commercial artist Neysa McMein in Mrs. Parker and the Vicious Circle) before making the full-fledged turn to writing and directing. Her debut feature Angela was a lyrical drama that won a Gotham Award and got her a Filmmaker's Trophy at Sundance, but its originality proved to be unmarketable for distribution. The next year, she married actor Daniel Day-Lewis, whom she met during pre-production of Nicholas Hytner's film adaptation of her father's play The Crucible. She then had two children and published a collection of short stories called Personal Velocity on Grove Press. After being approached by the InDigEnt production company, she adapted her book for the screen by focusing on only three of the original stories. Shot in digital video on Sony cameras in the PAL format, Personal Velocity: Three Portraits won the Grand Jury Prize at Sundance and received a limited theatrical release. In 2004 she directed the coming-of-age drama The Ballad of Jack & Rose.

Trivia: Actor Frank Campanella's physical form almost single-handedly defined his Hollywood typecasting. A 6' 5" barrel-chested Italian with a great, hulking presence and memorably stark facial features, Campanella excelled as a character player, almost invariably appearing as toughs and heavies. Born to a piano builder father who played in the orchestras of Eddie Cantor, Jimmy Durante, and Al Jolson, Campanella studied music exhaustively as a young man, and trained as a concert pianist, but discovered a rivaling passion for drama and entered Manhattan College as an acting major. Campanella's career as an actor began somewhat uncharacteristically, on a light and jovial note, by playing Mook the Moon Man during the first season of the Dumont network's infamous and much-loved kiddie show Captain Video and his Video Rangers (1949-1954). One- and two-episode stints on many American television programs followed for Campanella, most on themes of crime and law enforcement, including Inside Detective (1952), The Man Behind the Badge (1954), Danger (1954), and episodes of the anthology series Playwrights '56 (1956), Studio One (1956), and Suspicion (1957) that called for gritty, thuggish, urban types. During the 1960s, Campanella sought out the same kinds roles in feature films -- a path he pursued for several decades. Turns included John Frankenheimer's 1966 Seconds (as the Man in the Station); Mel Brooks' 1968 The Producers (as a bartender); 1970's The Movie Murderer (as an arson lieutenant); the Steve Carver-directed, Roger Corman-produced gangster film Capone (1975, as Big Jim Colosimo); Ed Forsyth's 1976 Chesty Anderson -- U.S. Navy (as the Baron); Conway in Warren Beatty's 1978 Heaven Can Wait; and Judge Neal A. Lake in Michael Winner's 1982 Death Wish 2. Campanella teamed with director Garry Marshall seven times: as Col. Cal Eastland in The Flamingo Kid (1984), Remo in Nothing in Common (1986), Captain Karl in Overboard (1987), Frank the Doorman in Beaches (1988), Pops in Pretty Woman (1990), a retired customer in Frankie and Johnny (1991), and a Wheelchair Walker in Exit to Eden (1994). Campanella re-teamed with Warren Beatty for the first time since 1978 as Judge Harper in Dick Tracy (1990) and again as the Elevator Operator in Love Affair (1994). Additional series in which Campanella appeared during the 1970s and '80s included Maude, Hardcastle & McCormick, Quincy, M.E., The Love Boat, Barnaby Jones, The Rockford Files, The Fall Guy, St. Elsewhere, and many others. In middle age, Campanella parlayed his early musical training into two career choices that blended music and drama: a part on a commercial that required him to play the piano and a job as co-host of a musical program on KCSN Radio called "Offbeat Notes on Music." He also appeared on Broadway in such musicals as Guys and Dolls and Nobody Loves an Albatross. After many years of inactivity, Frank Campanella ultimately died at his home in the San Fernando Valley, of unspecified causes. He was 87. Survivors included his brother, actor Joseph Campanella, his sister-in-law, and 13 nephews and nieces.

Trivia: Wendie Jo Sperber was born in Hollywood in 1962 and aimed for a performing-arts career from high school onward. She attended the Summer Drama Workshop at California State University, Northridge, during the '70s, and began her screen career at age 15 when she was cast in the small role of Kuchinsky in Matthew Robbins' teen comedy Corvette Summer (1978), starring Mark Hamill. Her talent for comedy was showcased far better in Robert Zemeckis' period comedy I Wanna Hold Your Hand (1978), as the irrepressible Beatles fan Rosie Petrofsky, stealing a big chunk of the movie with her performance. Sperber was a large woman (over 200 pounds), yet she was also very pretty and as physically dexterous as any gymnast -- and as funny as any comic actress this side of Lucille Ball. She played the title role in the made-for-television feature Dinky Hocker (1979) and got to show off her physical comedy in Steven Spielberg's gargantuan 1941 (1979). Zemeckis (who also worked on 1941) brought Sperber back to the big screen in 1980 with a role in his offbeat comedy Used Cars, but it was on television that year when Sperber finally began getting some serious acknowledgement. She was cast in the role of Amy Cassidy -- a character that was funny, romantic, and exuberant -- in the series Bosom Buddies, starring Tom Hanks and Peter Scolari. It was a fair bet that she'd steal almost any scene in which she was featured. Following its cancellation in 1982, Sperber appeared in the offbeat comedy The First Time (1983) and did a year on the series Private Benjamin before resuming her feature work in the Hanks theatrical vehicle Bachelor Party, directed by Neal Israel, who used her again in Moving Violations (1985). That same year, she finally got to appear in a successful movie with her portrayal of Linda McFly in Zemeckis' Back to the Future. Sperber's roles grew larger in the wake of the goofy sci-fi adventure film, and over the next decade she starred in the series Babes (a comedy about three zoftig women) and had a major supporting part in the series Hearts Afire, as well as numerous big-screen comedies, interspersed with the occasional drama. By her own account, however, she prefers comedy if given the choice. As she told TV Guide in 1990, "I'm an actress who likes to say something funny -- everybody laughs and your job is done." In 1998, Sperber was diagnosed with breast cancer, which seemed to go into remission following treatment. She revealed in April of 2002, though, that the cancer had reappeared and spread throughout her body. She continued to work in television and movies during this period, including episodes of Unhappily Ever After, Home Improvement, Will & Grace, and the movies Desperate but Not Serious (1999) and Sorority Boys (2002).

Trivia: Upon her election by The New York Times as a "top celebutante" in 1986 (due to her popularity in N.Y.C.'s club scene), then-19-year-old Lisa Edelstein reportedly grew wary of "fame for fame's sake" and spent years grounding her celebrity in a series of well-respected, if minor, acting assignments. She made a small-scale debut in a prestigious film -- the role of the makeup artist in Oliver Stone's controversial Jim Morrison biopic The Doors (1991) -- and thereafter was often pigeonholed in sitcom appearances, typically as a comically eccentric girlfriend or wife. This typecasting characterized Edelstein's appearances on Seinfeld, Mad About You, Sports Night, Frasier, and a myriad of other programs. There were exceptions, though, as the actress also starred on the short-lived but critically acclaimed drama Relativity in the mid-'90s as Rhonda Roth, a lesbian whose complex, non-sensationalized portrayal marked a step forward for homosexual characters on network TV. Edelstein also garnered recurring roles on such series as The West Wing (playing a law student whom Rob Lowe's character romances until he finds out she moonlights as a call girl), Felicity, and Ally McBeal (appearing as a transsexual who dates a lawyer played by James LeGros). Edelstein would score her biggest break to date with a lead role on the hit medical drama House in 2004. She would stick with the hugely successful show until 2011, in addition to roles on other shows throughout the 2000's, like American Dad!, The Good Wife, House of Lies and Castle.

Trivia: Competed in the 1970 Miss America pageant as Miss South Dakota and finished in the Top 10. Had her legs insured by Lloyd's of London for $2 million, but only for one day as part of a publicity stunt. In 1991, the New England Journal of Medicine published an article linking a patient's seizures to the sound of the Entertainment Tonight host's voice; the incident was later parodied in a 1992 episode of Seinfeld. Has appeared as herself in numerous TV series, including All of Us, JAG, Frasier and Coach. After helming Entertainment Tonight for almost 30 years, announced in August 2010 that the upcoming season would be her last. Speaks Danish and Swedish fluently.

Trivia: One of the father's of contemporary soul, Ray Charles has become an American musical institution. Born Ray Charles Robinson in a small Georgia town, Charles contacted glaucoma at the age of six and lost his sight, but this has not stopped him from launching an active and productive career that has continued through the 1990s and on. He has often appeared in music documentaries and has performed in feature films, where he usually appears as himself. He has also been on television, either hosting his own specials, or acting as a guest artist on those of others.