Trivia: A former secretary, Julie Adams inaugurated her film career in a series of slapped-together westerns starring James Ellison and Russell Hayden. She billed herself under her real name of Betty Adams until she was signed by Universal in 1949; she then became Julia Adams, which was modified to Julie by the early 1950s. Fans of the 1953 horror film Creature From the Black Lagoon tend to believe that Julie became a leading lady on the strength of her role in this film as the imperiled--and fetchingly underclad--heroine. In fact, she had been cast in good parts as early as 1950, notably the wealthy fiancee of newly blinded GI Arthur Kennedy in Bright Victory (1951). Curiously, some of her largest roles of the 1950s, in films like The Private War of Major Benson (1955) and Away All Boats (1956), were her least interesting. She cut down on her film appearances in the early 1960s to concentrate on television, a medium that permitted her to hold out for meatier acting assignments. Though she still tended to be cast in such negligible roles as the star's wife in The Jimmy Stewart Show (1971), Julie was proud of her many powerful guest-star appearances on dramatic programs: she was particularly fond of her performance as a middle-aged pregnant woman on a 1969 installment of Marcus Welby MD. Julie Adams was at one time married to actor/director Ray Danton.

Trivia: The daughter of a Portland doctor, Sally Ann Struthers left home at 18, determined to become a star. The 5' 1", frizzy-haired Ms. Struthers attended classes at the Pasadena Playhouse, then worked as a singer, dancer and commercial actress before the breaks began arriving in rapid succession in 1970. By the end of that year, she had been seen on TV as a comedy-ensemble player on The Smothers Brother Comedy Hour and a chorus girl (in fact, the only chorus girl) on The Tim Conway Comedy Hour; she'd played a small but attention-grabbing role in the Jack Nicholson film Five Easy Pieces; and she'd provided the voice for Pebbles Flintstone on the animated Pebbles and Bamm Bamm Show. Oh, before we forget: also in 1970, Struthers was cast as Gloria Bunker Stivic on the groundbreaking TV sitcom All in the Family. During her seven-season stint as Gloria, she shared a 1972 "Best Supporting Actress" Emmy with The Mary Tyler Moore Show's Valerie Harper. She also took time out to deliver an image-busting performance as the sluttish wife of kidnap victim Jack Dodson in Sam Peckinpah's The Getaway (1972), and to star in such made-for-TV films as Aloha Means Goodbye (1974), Hey, I'm Alive (1975) and The Great Houdinis (1976). In 1975, Struthers very nearly walked off All in the Family over a much-publicized salary dispute; she left the series when her contract ended in 1978, returning briefly to appear in an episode titled "California Here We Are"--and winning a second Emmy as a result. Though big things were predicted for Struthers, her post-Family years were rough. Her TV-movie appearances began playing to ever-diminishing ratings, while her highly touted 1981 Broadway debut in Wally's Café was a bust. It was a frightened, insecure Sally Struthers who returned to series television in 1982 as the star of Gloria, an All in the Family spin-off which recast the actress in the role that made her famous. Despite initially good ratings, Gloria tanked after a year. After another foredoomed Broadway appearance in a female version of Neil Simon's The Odd Couple, Sally accepted the role of klutzy divorcee Marsha McMurray Shrimpton in the 1986 syndicated sitcom 9 to 5. Around this same time, Struthers began showing up as the TV spokesperson for a charitable organization serving malnourished Third-World children. While none could doubt the actress' sincerity, her strident, lachrymose fund-raising appeals were treated with merciless derision by the many sketch-comedy TV series of the period. Though her career may never again reach the heights of her All in the Family days, Sally Struthers has kept busy in a variety of show-business ventures, including voiceover assignments on such series as Talespin and Dinosaurs, and a recent touring production of the musical Grease, in which she co-starred with another TV favorite of yore, The Monkees' Davy Jones.

Trivia: A graduate of Northwestern University, actor James Olson did stage work in and around Chicago before his 1956 film bow in The Sharkfighters. Angular and sandy-haired, Olson was well suited to classical stage roles. In films and on television, it was his lot to portray a long line of understanding husbands, doubting doctors, mystery killers and corporate bigwigs. James Olson garnered some of his best reviews for his performance as Joanne Woodward's autumn romance in Rachel, Rachel (1967), under the direction of Paul Newman.

Trivia: American actor Hugh O'Brian accrued his interest in acting while dancing with movie starlets at the Hollywood Canteen during his wartime Marine days. O'Brian attended the University of Cincinnati briefly, and later supported himself selling menswear door-to-door. He made his first film, Never Fear, in 1950, working but sporadically during the next five years; what few acting parts he received were on the basis of his broad shoulders and six-foot height. In one film, Fireman Save My Child (1954), O'Brian was cast because he and costar Buddy Hackett physically matched the previously filmed long shots of Fireman's original stars, Abbott and Costello. Answering a cattle-call tryout for the new ABC TV western Wyatt Earp in 1955, O'Brian was almost instantly chosen for the leading role by author Stuart Lake, who'd known the real Wyatt and had been his biographer for many years (reportedly Earp's widow also okayed O'Brien after a single glance). O'Brian became a major TV star thanks to Wyatt Earp, which ran for 249 episodes until 1961. The series was not only tough on the actor but on his fans; reportedly there was a sharp increase in gun accidents during Wyatt Earp's run, due to young would-be Earps who were trying to emulate Wyatt's fast draw (this despite the fact that the TV Earp, like the real one, used his firearms only when absolutely necessary). Like most western TV stars, O'Brian swore he was through with shoot-em-ups when Earp ceased production, and throughout the '60s he worked in almost every type of film and theatrical genre but westerns. He showed considerable skill in the realm of musical comedy, and became a top draw in the summer-stock and dinner theatre circuit. In 1972, O'Brian starred in the computer-happy secret-agent TV series Search, which lasted only a single season. As he became the focus of hero worship from grown-up Baby Boomers, O'Brian relaxed his resistance toward Wyatt Earp and began showing up on live and televised western retrospectives. The actor reprised the Earp role in two 1989 episodes of the latter-day TV western Paradise, opposite Gene Barry in his old TV role of Bat Masterson. He was Earp again in the 1991 TV movie The Gambler Returns: The Luck of the Draw, in which he managed to shine in the company of several other cowboy-show veterans (including Barry, again) and was permitted to walk into the sunset as an offscreen chorus warbled the Wyatt Earp theme music! Hugh O'Brian's most recent turn at Ol' Wyatt was in a hastily assembled CBS movie mostly comprised of clips from the old Earp series, and released to capitalize on Kevin Costner's big-budget Wyatt Earp film of 1994. O'Brian died in 2016, at age 91.

Trivia: Attended high school with John F. Kennedy Jr. and actor David Duchovny. Father Renato Beghe was a U.S. Tax Court Judge, appointed by President George H.W. Bush. Once involved in Scientology, where he was featured in a promotional advertising campaign, but has since become a vocal critic of the church. Claims to have donated $1 million to Scientology during his 12 years as a member. Once spent three-and-a-half weeks in a coma following a car accident. Best man at David Duchovny's 1997 marriage to Téa Leoni, and Duchovny was his best man when he wed in 2000.

Trivia: Angela Lansbury received an Oscar nomination for her first film, Gaslight, in 1944, and has been winning acting awards and audience favor ever since. Born in London to a family that included both politicians and performers, Lansbury came to the U.S. during World War II. She made notable early film appearances as the snooty sister in National Velvet (1944); the pathetic singer in The Picture of Dorian Gray (1945), which garnered her another Academy nomination; and the madam-with-a-heart-of-gold saloon singer in The Harvey Girls (1946). She turned evil as the manipulative publisher in State of the Union (1948), but was just as convincing as the good queen in The Three Musketeers (1948) and the petulant daughter in The Court Jester (1956). She received another Oscar nomination for her chilling performance as Laurence Harvey's scheming mother in The Manchurian Candidate (1962) and appeared as the addled witch in Bedknobs and Broomsticks (1971), among other later films. On Broadway, she won Tony awards for the musicals Mame (1966), Dear World (1969), the revival of Gypsy (1975), Sweeney Todd (1979) and, at age 82, for the play Blithe Spirit (2009). Despite a season in the '50s on the game show Pantomime Quiz, she came to series television late, starring in 1984-1996 as Jessica Fletcher in Murder, She Wrote; she took over as producer of the show in the '90s. She returned to the Disney studios to record the voice of Mrs. Potts in Beauty and the Beast (1991) and to sing the title song and later reprised the role in the direct-to-video sequel, The Enchanted Christmas (1997). Lansbury is the sister of TV producer Bruce Lansbury.

Trivia: While growing up in Chicago, Tom Bosley dreamed of becoming the star left-fielder for the Cubs. As it turned out, the closest Bosley got to organized athletics was a sportscasting class at DePauw University. After additional training at the Radio Institute of Chicago and two years' practical experience in various dramatic radio programs and stock companies, he left for New York in 1950. Five years of odd jobs and summer-theater stints later, he landed his first off-Broadway role, playing Dupont-Dufort in Jean Anouilh's Thieves' Carnival. Steadier work followed at the Arena Theatre in Washington, D.C.; then in 1959, Bosley landed the starring role in the Broadway musical Fiorello!, picking up a Tony Award, an ANTA Award, and the New York Drama Critics Award in the bargain. In 1963, he made his film bow as Natalie Wood's "safe and secure" suitor Anthony Colombo in Love With the Proper Stranger. Occasionally cast as two-bit criminals or pathetic losers (he sold his eyes to blind millionairess Joan Crawford in the Spielberg-directed Night Gallery TV movie), Bosley was most often seen as a harried suburban father. After recurring roles on such TV series as That Was the Week That Was, The Debbie Reynolds Show, and The Sandy Duncan Show, Bosley was hired by Hanna-Barbera to provide the voice of flustered patriarch Howard Boyle on the animated sitcom Wait Til Your Father Gets Home (1972-1973). This served as a dry run of sorts for his most famous series-TV assignment: Howard Cunningham, aka "Mr. C," on the immensely popular Happy Days (1974-1983). The warm, familial ambience of the Happy Days set enabled Bosley to weather the tragic death of his first wife, former dancer Jean Elliot, in 1978. In addition to his Happy Days duties, Bosley was narrator of the syndicated documentary That's Hollywood (1977-1981). From 1989 to 1991, he starred on the weekly series The Father Dowling Mysteries, and thereafter was seen on an occasional basis as down-to-earth Cabot Cove sheriff Amos Tupper on Murder, She Wrote. Reportedly as kind, generous, and giving as his Happy Days character, Tom Bosley has over the last 20 years received numerous honors for his many civic and charitable activities.

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