Trivia: An actress whose first big screen gig also proved to be her breakthrough, Anne Hathaway became a familiar face to millions of moviegoers thanks to her starring role in Garry Marshall's 2001 hit The Princess Diaries. Cast as a clumsy high school girl who finds out she is the princess of a small country, Hathaway was able to prove her comedic timing opposite no less than Julie Andrews.Hailing from Brooklyn, where she was born November 12, 1982, Hathaway became involved in the theater at a young age, and as a teenager performed with the Barrow Group, a prestigious New York theatre company. She did her first industry work in the short-lived but critically praised TV series Get Real before auditioning for Marshall, who, according to legend, cast the actress as the accident-prone princess after she fell off a chair during her audition. The success of The Princess Diaries opened a number of doors for Hathaway, but she chose the one that led to Vassar College, where she enrolled in 2000, taking some time off from film.Though a supporting performance in the 2002 box-office disappointment Nicholas Nickleby offered Hathaway little chance to shine, a lead performance as the eponymous character in thefantasy-themed romantic comedy Ella Enchanted (2004) found her stepping into some big slippers for another Cinderella-style story not unlike the obligatory Princess Diaries 2 that same year. As if to anounce her acendancy out of the teen fantasy ghetto, Hathaway plunged into edgier territory with the gritty teen drama Havoc (also 2004), although the explicit film merited only a video release. It was her next two roles, however, that would announce the young actor's arrival into adulthood. As one of the two quietly suffering wives in Ang Lee's acclaimed Brokeback Mountain, Hathaway exhibited an irrepressible rodeo-girl spirit broken down over the course of a sham marriage. As the co-star of the chick-lit adaptation The Devil Wears Prada in 2006, she entered the world of contemporary, high-fashion power players, suffering the slings and arrows of a deliciously evil (and Oscar-nominated) Meryl Streep. The film played throughout the summer, becoming a bona-fide sleeper hit. Although initially cast in 2007's runaway summer comedy, Knocked Up, Hathaway backed out of the role that eventually went to Katharine Heigl. She chose instead to follow the period-romance path with Becoming Jane, a Shakespeare in Love-style speculative fiction on the life and one true love of Jane Austen.2008 turned out to be a banner year for the actress who scored a box office hit starring opposite Steve Carell in the big-screen adaptation of Get Smart, and garnered the best reviews of her career thus far for her work as a recovering addict in Jonathan Demme's Rachel Getting Married. That role earned her a number of year-end critics awards, as well as Best Actress nominations from the Screen Actors Guild and the Academy. Hathaway would subsuquently find herself free to enjoy leading lady status, appearing in a number of iconic projects over the coming years, like the White Queen in Alice in Wonderland and a slinky Selina Kyle/Catwoman inThe Dark Knight Rises. In 2012 she landed the part of Fantine in Tom Hooper's adaptation of the phenomenally successful stage musical Les Miserable. Getting to deliver the production's most beloved song, "I Dreamed a Dream", Hathaway made the most of the small but juicy part and was rewarded with the Oscar for Best Supporting Actress.In 2014, Hathaway appeared in the indie film Song One and reteamed with her Dark Knight Rises director Christopher Nolan for the sci-fi epic film Interstellar. She next starred in The Intern, opposite Robert De Niro, and reprised her role Alice Through the Looking Glass.

Trivia: The British actress, comedienne, singer and dancer Julie Andrews stakes a claim to fame for having one of the single most astonishing voices (four octaves!) of any entertainer alive. Yet the breadth of this raw ability is often hugely obscured by Andrews's milquetoast image and onscreen persona. Thus, in the late '60s, Andrews - who began her film career rooted firmly in family-oriented material - traveled far out of her way to expand her dramatic repertoire, with decidedly mixed results. A music-hall favorite since childhood, Andrews spent the war years dodging Nazi bombs and bowing to the plaudits of her fans. Thanks to her own talents and the persistence of her vaudevillian parents, Andrews maintained her career momentum with appearances in such extravaganzas as 1947's Starlight Roof Revue. It was in the role of a 1920s flapper in Sandy Wilson's satire The Boy Friend (1953) that brought Andrews to Broadway; and few could resist the attractively angular young miss warbling such deliberately sappy lyrics as "I Could Be Happy With You/If You Could Be Happy With Me." Following a live-TV performance of High Tor, Andrews regaled American audiences in the star-making role of cockney flower girl Eliza Doolittle in the 1956 Broadway blockbuster My Fair Lady. The oft-told backstage story of this musical classic was enough to dissuade anyone from thinking that Andrews was an overnight success, as producer Moss Hart mercilessly drilled her for 48 hours to help her get her lines, songs and dialect in proper working order. In 1957, Andrews again enchanted TV audiences in the title role of Rodgers & Hammerstein's musical adaptation of Cinderella. Later, Alan Jay Lerner and Frederick Loewe -- also the composers of My Fair Lady -- developed the role of Guinevere in their 1960 musical Camelot with Andrews in mind, and the result was another Broadway triumph, albeit not as profitable as Fair Lady. Although a proven favorite with American audiences thanks to her frequent TV variety show appearances (notably a memorable 1962 teaming with Carol Burnett), Andrews did not make a motion picture until 1964. As Mary Poppins, Andrews not only headlined one of Walt Disney's all-time biggest moneymakers, but also won an Oscar -- sweet compensation for having lost the Eliza role to Audrey Hepburn for the adaptation of My Fair Lady. Andrews hoped that Mary Poppins would not type her in "goody-goody" parts, and, to that end, accepted a decidedly mature role as James Garner's love interest in The Americanization of Emily (1964). However, Andrews' next film, The Sound of Music (1965) effectively locked her into sweetness and light parts in the minds of moviegoers. On the strength of the success of Music, Andrews was signed to numerous Hollywood projects, but her stardom had peaked.Perhaps recognizing this, Andrews started to branch out fairly aggressively by the late '60s, with such "adult-oriented" pictures as Alfred Hitchcock's espionage thriller Torn Curtain. That film, and others (Hawaii, Star!) all flopped. In the late '60s, Andrews fell in love with and married the then white-hot American director Blake Edwards; her decision to collaborate with Edwards on a professional level, to boot, waxed incredibly strategic. Today, many view Edwards in a negative light for cranking out moronic studio fodder such as A Fine Mess and Sunset). In 1969, however, he sat among Hollywood's creme-de-la-creme, notorious for crafting mature genre pictures for adult audiences (The Days of Wine and Roses, Breakfast at Tiffany's, Experiment in Fear and sophisticated slapstick comedies unafraid to take chances (the Pink Panther series, The Party). By marrying Edwards and aligning herself with him creatively, then, Andrews was also consciously or unconsciously bucking to change her image. Unfortunately, the two began at a low ebb to end all low ebbs. The WWI musical farce Darling Lili (1970) featured Rock Hudson, electric musical numbers, stunning dogfight sequences, and - significantly - a semi-erotic striptease number by Andrews. Apparently audiences didn't buy this sort of behavior coming from Mary Poppins: the film tanked at the box office, as did the spy thriller The Tamarind Seed, also starring Andrews.Aside from a couple of televised musical specials, Andrews stuck with her husband for each successive film - for better or worse, as they say. Their next collaborations arrived in the late '70s and early '80s, first with the smash Dudley Moore sex farce '10' (1979) and then with the Hollywood satire S.O.B. (1981). In the former, Andrews took a backseat to sexy bombshell Bo Derek, who catches the infatuation of Moore but delivered a finely-modulated comic performance nonetheless; the latter - an unapologetically 'R' rated comedy about a nutty director who attempts to turn a family-friendly stinker into a porno musical -- exposed a topless Andrews to the world for the first time. This rank, cynical and angry "satire" represented the couple's creative nadir; one critic rightly pointed out that Andrews could have used it as grounds for divorce. The 1982 transvestite musical Victor/Victoria (with Andrews in the lead) fared better; it was followed by Edwards's 1983 Truffaut remake, The Man Who Loved Women (with Andrews as the lover of sculptor Burt Reynolds). Andrews's attempts at image-extending here are obvious in each case; the individual films have various strengths and weaknesses, but - love 'em or hate 'em -- they broadened the appeal of Andrews only slightly - with many perceiving her as either an onscreen accessory to her husband or as an okay straight man in mediocre romantic comedies. The couple fared a thousand times better with the excellent mid-life crisis comedy-drama That's Life! (1986), starring Andrews and Jack Lemmon. Two esteemed dramatic roles sans Edwards - that of a frustrated multiple sclerosis victim in Duet for One (1986), and that of a grieving mother of an AIDS victim in Our Sons (1991) - did what the prior films were supposed to have done: they secured Andrews's reputation as an actress of astonishing versatility. Yet, as Andrews aged, she ironically began to segue back into the types of roles that originally brought her infamy, with a series of sugar-coated, grandmotherly parts in family-friendly pictures. Notably, she co-starred in the first two installments of The Princess Diaries as Queen Clarisse Rinaldi, a European monarch of a tiny duchy, who tutors her "hip" teen granddaughter (Anne Hathaway) in the ways of regality. Andrews also used her polished and cultured British diction to great advantage by voicing Queen Lillian in the second and third and fourth installments of Dreamworks's popular, CG-animated Shrek series: Shrek 2, Shrek the Third, and Shrek Forever After. She also maintained her status as a family-film icon by narrating Enchanted, voicing Gru's mother in the animated Despicable Me, and playing opposite The Rock in Tooth Fairy.

Trivia: An actor of seemingly boundless range, New York-born Hector Elizondo began his career as a dancer. His initial training was at the Ballet Arts school of Carnegie Hall, from which he moved on to the Actors Studio. After several years' stage work, Elizondo made an inauspicious movie debut as "The Inspector" in the low-budget sex film The Vixens (1969). He was shown to better advantage in his next film, Hal Ashby's The Landlord (1970), which he followed up with strong character parts in such Manhattan-based productions as The Taking of Pelham One Two Three (1974) and Thieves (1977). With Young Doctors in Love (1982), Elizondo began his long association with director Garry Marshall, who has since cast the actor in all of his films, in roles both sizable (Matt Dillon's dad in The Flamingo Kid [1984], the cafe owner in Frankie and Johnny [1991]), and microscopic (Overboard [1987]). Elizondo's screen roles have run the gamut from scrungy garbage scow captains to elegant concierges (Pretty Woman). In addition, he has been a regular on several mediocre television series: Popi, Freebie and the Bean, Casablanca (in the old Claude Rains role of Inspector Renault), a.k.a. Pablo, Foley Square, and Down and Out in Beverly Hills, In 1994, Elizondo took on a co-starring role as a demanding chief of surgery on the popular TV medical drama Chicago Hope. Other non-Marshall highlights in his filmography include Tortilla Soup, Overboard, Necessary Roughness, and Music Within.

Trivia: John Rhys-Davies is one of modern cinema's most recognizable character actors. While best known for his work as Indiana Jones' (Harrison Ford) comic sidekick, Sallah, in two of Paramount's Indiana Jones adventure films, the actor has appeared in over 100 television shows and films since the early '70s. He has built an impressive onscreen career, especially for a stage actor who once swore that he would never perform in front of a camera. Born in Wales on May 5, 1944, Rhys-Davies grew up in England, Wales, and East Africa. He studied English and History at the University of East Anglia at Norwich, where he became interested in theater while reading classical literature. Upon graduating, Rhys-Davies earned a scholarship to study acting at London's prestigious Academy of Dramatic Art. He then worked briefly as a schoolteacher before joining the Madder-Market Theatre in Norwich. The actor, who eventually advanced to the Royal Shakespeare Company, performed in over 100 plays. His theatrical credits include starring roles in Shakespeare's Othello, The Tempest, Hamlet, Macbeth, and Henry the Fourth, Ibsen's Hedda Gabler, and Moliere's The Misanthrope. Rhys-Davies was 28 when he made his television debut in 1972 as Laughing Spam Fritter in the BBC's Budgie, a comedy starring former British pop star Adam Faith as an amusing ne'er-do-well. In 1975, he joined John Hurt in the cast of the television show The Naked Civil Servant, which chronicled the rich life of Quentin Crisp. One year later, Rhys-Davies re-teamed with Hurt, as well as Derek Jacobi and Patrick Stewart, for the BBC's unforgettable three-part adaptation of Robert Graves' I, Claudius and Claudius the God. Titled I, Claudius, the television miniseries appeared on PBS's Masterpiece Theater and gave American audiences their first glimpse of the actor. He subsequently starred as Vasco Rodrigues in NBC's adaptation of James Clavell's Shogun, which told the adventures of an English sailor stranded in Japan during the early 17th century. Rhys-Davies' performance earned him both an Emmy nomination and the attention of director Steven Spielberg. In 1981, Spielberg cast Rhys-Davies as the comic, fez-wearing Sallah in Raiders of the Lost Ark, the first installment of the Indiana Jones movies. The film was an instant success and Rhys-Davies' comedic skill made Sallah an audience favorite. He went on to film Victor/Victoria (1982) with Julie Andrews, James Garner, Robert Preston, Leslie Ann Warren, and former pro-football player Alex Karras. For the next two decades, the actor worked on numerous films and television shows and made memorable guest appearances on ChiPs, The Scarecrow and Mrs. King, Murder, She Wrote, Perry Mason, Tales From the Crypt, Star Trek: Voyager, and The Secret Adventures of Jules Verne. In 1987, he portrayed Front de Boeuf in the television adaptation of Sir Walter Scott's Ivanhoe that starred James Mason and Sam Neill. That same year, he played the evil Russian General Koskov in the Timothy Dalton-helmed James Bond film The Living Daylights. 1989 saw Rhys-Davies playing Joe Gargery in the Disney Channel's adaptation of Dickens' Great Expectations, starring in the miniseries version of War and Remembrance with Robert Mitchum, David Dukes, and Jane Seymour, and returning as Sallah in Indiana Jones and the Last Crusade. In 1990, he wrote and starred in the safari adventure film Tusks. In 1991, he hosted the documentary Archaeology. In 1993, he signed onto the series The Untouchables, based on Brian De Palma's hit film. The show was short-lived and Rhys-Davies did not work on a successful television series until 1995's Sliders with Jerry O'Connell. The sci-fi venture accrued a rather large fan base: Audience members were openly upset when Rhys-Davies' character, the bombastic Professor Maximillian P. Arturo, left the series after only three seasons. After appearing with Damon Wayans in The Great White Hype (1996), Rhys-Davies recorded voice work for the animated films Aladdin and the King of Thieves (1996) and Cats Don't Dance (1997). The actor has done additional voice work for Animaniacs, Batman: the Animated Series, Gargoyles, Pinky and the Brain, The Fantastic Four, and The Incredible Hulk. He has also branched out to other medias, starring in video games such as Wing Commander III: Heart of the Tiger, Dune 2000, and Baldur's Gate: Dark Alliance, and the CD-ROM game Quest for Glory IV. In 1999, Rhys-Davies read for the minor character of Denethor in the second installment of Peter Jackson's highly anticipated three-film adaptation of J.R.R. Tolkien's The Lord of the Rings trilogy. Jackson offered him the role of the warrior dwarf Gimli, a major figure in all three pictures. As Gimli, Rhys-Davies is utterly unrecognizable: The part required that he wear heavy facial prosthetics and perform on his knees in order to portray the 4'2" dwarf (the actor, himself, is over six feet tall). The three films -- The Fellowship of the Ring (2001), The Two Towers (2002), and The Return of the King (2003) -- were shot simultaneously over an 18-month period in New Zealand, after which Rhys-Davies was asked to return to the set and record the voice of Treebeard, a computer-generated character in the second picture. In 2001, in the midst of attending press junkets for the release of The Fellowship of the Ring, Rhys-Davies began work on the Jackie Chan film Highbinders (2002) and the Eric Roberts B-picture Endangered Species (2002). Besides being an actor, Rhys-Davies is also a serious vintage car collector and a thriving investor. In the '80s, he invested heavily with his earnings and purchased a company that conducts genetic engineering feasibility studies. The actor resides in both Los Angeles and the Isle of Man.

Trivia: Born in 1982 and raised on the East Coast, child actress Heather Matarazzo took the role of Helen Keller in a local production of The Miracle Worker, and began taking roles in television with appearances in Nickelodeon's The Adventures of Pete and Pete, before her breakthrough role in the 1995 indie hit Welcome to the Dollhouse. Appearing in numerous critically praised independent films, and often displaying an impressive range of abilities and characterizations, Matarazzo seems at her best while taking on roles of bravely defiant but awkward characters who often find themselves in adverse situations.Though Matarazzo stuck to the small screen for the sci-fi series Now and Again (1999), her film roles began to become more regular and substantial over the years, taking roles in mainstream films and playing the keeper of a key piece of evidence in the final episode of the Scream trilogy. Having cemented herself in the movie scene, Matarazzo would appear in everything from broad comedies like The Princess Diaries and Sorority Boys to acclaimed favorites like Saved! and Magnus!. Matarazzo would also appear on shows like The L Word and Exes & Ohs.

Trivia: After a series of supporting roles in productions including The Princess Diaries 2: Royal Engagement (2004), Just My Luck (2006), and Smokin' Aces (2007), actor Chris Pine shot up to lead billing when he signed for the coveted lead part of Captain Kirk in J.J. Abrams' much-anticipated reboot of the Star Trek franchise, released in 2009. He followed up that smash hit playing opposite Denzel Washington and a runaway train in Unstoppable. In 2011 he participated in the Star Trek documentary The Captains, and the next year he was in the romantic comedy This Means War, and the drama People Like Us.

Trivia: Cast in 2000's Young Blades, his first movie, only three weeks after graduating from the Mountview Academy of Theatre Arts. Starred in 2004's The Princess Diaries 2: Royal Engagement with Julie Andrews and Anne Hathaway. Played the recurring role of Major Zod, a younger incarnation of General Zod, during the ninth season of Smallville.

Trivia: Though many casual observers perceive that comic actor Tom Poston was "discovered" by Steve Allen in 1956, Poston had in fact been a performer long before Allen ever set foot on a stage. At age 9, Poston was a member of the Flying Zebleys, an acrobatic troupe. After Air Force service in World War II, he began his formal acting training at the AADA. Poston made his "legit" New York stage debut in Jose Ferrer's Cyrano de Bergerac (1947). With several years of stage work under his belt, Poston was engaged to host the local New York TV variety series Entertainment (1955), and it was this effort that brought him to the attention of Steve Allen. The story goes that Poston was so flustered at his audition for Allen's TV variety series that he forgot his own name when asked. From 1956 through 1960, Poston was seen along with Louis Nye and Don Knotts as a member of the Allen stock company; appropriately, he was most often cast as a "man on the street" interviewee who could never remember his name. Poston won an Emmy for his work on Allen's show in 1959, and that same year hosted the weekday TV game show Split Personality; this gig led to a long tenure as a guest panelist on other quiz programs. In films from 1953, Poston starred in a pair of offbeat William Castle-directed comedies, Zotz (1962) and The Old Dark House (1963). Poston's TV sitcom credits include such roles as prison guard Sullivan on On the Rocks (1975), absentminded Damon Jerome on We've Got Each Other (1977), cantankerous neighbor Franklin Delano Bickley on Mork and Mindy and Ringo Crowley on Good Grief (1990). In 1982, Poston beat out Jerry Van Dyke for his most famous prime-time TV role: caretaker George Utley on Newhart. Poston died at age 85 in April 2007, of undisclosed causes. Until the time of his death, he was married to Suzanne Pleshette of The Bob Newhart Show.

Trivia: Born to Australian parents. Debuted on American TV in Charles & Diana: A Love Story (1982). Performed on stage in starring roles with the prestigious Royal Shakespeare Company, Royal National Theater and Royal Court. Emerged in the U.S. in two Steven Spielberg films: as the wife of Peter Banning in Hook; and the wife of Oskar Schindler in Schindler's List. Met cinematographer husband Nicola Pecorini on the set of Cliffhanger. He is the co-founder of the Steadicam Operators Association. Played a Queen of England (Mists of Avalon), British Prime Minister (Me & Mrs. Jones) and First Lady (Chasing Liberty) in a three-year span from 2001-2004.

Trivia: A capable comic actor whose regular-guy looks and sharp wit have made him a popular character performer in both movies and television, Larry Miller was born on October 15, 1953 on Long Island, NY. Miller grew up with a keen interest in music, and graduated with honors from Amherst College, receiving a degree in music. Hoping to make a career as a musician, Miller moved to New York City and began playing the nightclub circuit as a pianist and drummer. Working the clubs inspired Miller to take a stab at comedy, and he began performing occasional sets at comedy clubs such as the Comic Strip and Catch a Rising Star. Within two years, Miller had put his musical career on the back burner and was touring full-time as a comic. Miller made his film debut in 1978 in the film Take Down, but it would be several more years before Miller found himself before the camera again; as his career as a standup comic rose, Miller began landing occasional television guest shots and bit parts in films, as well as appearing on several cable television specials devoted to comedians. But it was Miller's appearance in the 1990 film Pretty Woman that kick-started his screen career; playing an arrogant but all-too-eager-to-please salesman, Miller's brief moment in the film earned big laughs, and he soon became a frequent presence in movies and television. Miller was a regular on the TV series The Pursuit of Happiness, Life's Work, and Michael Hayes -- all three of which only lasted a season -- and played recurring roles on Mad About You, Dream On, DAG, and My Wife and Kids. Miller also made a surprising appearance in a dramatic role on Law & Order, in which he played a man accused of murder. Miller played a number of showy supporting roles in theatrical films, including Waiting for Guffman, The Minus Man, The Nutty Professor, Best in Show, and A Mighty Wind. His comedy chops only gaining more bite with the passing years, Miller would find only increasing success when he appeared on such small screen hits as Desperate Housewives and Boston Legal in the mid-00s. Of course Miller was still very much a feature man, with roles in the underseen sleeper Kiss Kiss Bang Bang and The Any Bully providing plenty of room for the comic talent to shine. When not busy with his acting career, Miller still performs as a standup comic, and writes a humor column for The Daily Standard.

Trivia: Sure, he may have yet to land the role that would launch him from popular child star to serious young actor, but the fact that Spencer Breslin has appeared in such notable blockbusters as Disney's The Kid, The Santa Clause 2, and The Cat in the Hat by the age of 12 certainly isn't a bad start. A native of New York City who once voiced the hope to one day study football at Notre Dame, young Breslin had traveled the globe by the time he was only ten. He'll be the first to point out that his mother has been indispensable in terms of developing his screen talents. Though he may be remarkably capable of running the gamut of emotions for such a young star, Breslin admits that the one thing that does come hard to him is the ability to cry onscreen, a weakness which only his mother could help him overcome. Following his television debut in the series Soul Man, Breslin was cast in a small role in Stephen King's television miniseries Storm of the Century. Not only did the part offer the young actor the chance to meet one of the most popular writers of contemporary horror fiction, but it also gave him the chance to hone his onscreen persona. By the time casting was underway for Disney's The Kid, Breslin was talented and confident enough to beat out nearly 2,000 other hopefuls. A brief appearance in the same year's Meet the Parents soon followed, and after a quick pair of television appearances, Breslin was back on the big screen with the boy-meets-talking-koala charmer Ozzie (2001). In 2002, Breslin ventured into the world of animation by lending his voice to the popular television cartoon Teamo Supremo, with the same year's Return to Neverland offering even more vocal work. Of course, Breslin is primarily a live-action star, and after gaining feature face time in The Santa Clause 2 (2002), the rising star signed on for the eagerly anticipated feature The Cat in the Hat. The film starred Mike Myers as the titular character and featured Breslin and Dakota Fanning as the hapless children who are sucked into his surreal world. It wasn't long before Breslin was back up on the big screen in the 2004 comedy drama Raising Helen. A brief dalliance with royalty followed when Breslin was cast as the young prince Jacques in The Princess Diaries 2: Royal Engagement, and after seeing his father literally go to the dogs in the 2006 Tim Allen comedy The Shaggy Dog, it was time to join a ragtag group of superpowered adolescents charged with the sizeable task of saving the world in the family oriented adventure Zoom.

Trivia: Elinor Donahue's mother, a theatrical costumer, moonlighted as a department store saleswoman in order to pay for her daughter's dancing lessons. Appearing in dancing-chorus film roles from the age of five, Donahue was at one point a ballet-school classmate of future Fred Astaire partner Barrie Chase. Striking out on her own at 12, Donahue attained work as a Las Vegas showgirl at 14; the fact that she was underage was discreetly covered by her agent and her co-workers, who took a paternal interest in the impressionable young dancer's career. Breaking her ankle at 16, Donahue decided to forego dancing in favor of acting; she was almost immediately cast in the role of sensitive teenager Betty Anderson in the long-running (1954-60) sitcom Father Knows Best. It was the first of many TV stints for Donahue; over the next three decades she would appear as a regular on such series as The Andy Griffith Show, Many Happy Returns, The Odd Couple, Mulligan's Stew, Please Stand By and Doctor's Private Lives. She became a special favorite of writer/director Savage Steve Holland, who cast Donahue as the ditsy mother of a teen-aged secret agent on the 1987 Fox network series The New Adventures of Beans Baxter, and as the voice of a suburban mom who spends her waking hours trying to learn an indecipherable foreign language on Holland's cartoon series Eek! The Cat. This fey, eccentric quality was carried over into Donahue's performance as the eternally bathrobe-clad wife of Bob Elliot and mother of 30-year-old paperboy Chris Elliot on the 1990 Fox sitcom Get a Life. Donahue's film appearances have been less frequent; when she showed up in a cameo as a department store clerk in Gary Marshall's Pretty Women (1987), there was an audible appreciative sigh of recognition from movie audiences everywhere. Elinor Donahue was the wife of Columbia TV executive Harry Ackerman from 1961 to Ackerman's death in 1991.

Trivia: Raven-Symone earned a fond place in the hearts of Cosby Show fans around the world when she joined the cast of that seminal '80s sitcom as pint-sized Olivia Kendall, the daughter of Lt. Martin Kendall (Joseph C. Phillips) and Denise Huxtable Kendall (Lisa Bonet) during the hit program's sixth season. The series wrapped within a few years of Symone's enlistment, but the young actress continued her ascent by establishing herself as a force to be reckoned with in the multiple venues of television, pop music, and feature film.Born in Atlanta, GA, in December 1985, Raven-Symoné Christina Pearman began modeling diapers at the age of two and landed the Cosby assignment by the age of three. By 1993 (one year after Cosby took its final bow), Symone had joined the cast of yet another sitcom, ABC's Hangin' With Mr. Cooper (1992-1997), then a year into production; she would remain with Cooper until it folded in 1997, but in the mean time branched off into another venue altogether as an R&B recording artist. MCA quickly signed her and issued her rap-infused album Here's to New Dreams in 1993; unfortunately, it failed to connect with a sizeable audience, and it would be six years before Symone emerged with a sophomore recording, the R&B-flavored Undeniable (1999). That album unabashedly showcased the young performer's desire to become a teen pop sensation, and revealed her vocal skills much more transparently than its predecessor, as did its follow-up efforts. Meanwhile, Symone landed bit parts and supporting roles in movies, including Dr. Dolittle (1998) and Dr. Dolittle 2 (2001); she also voiced the character of Monique on the animated television series Kim Possible (2002) and headlined her own Disney Channel sitcom, That's So Raven. The smash program cast Symone as a 15-year-old girl whose gaffes get her family into a seemingly endless series of outrageous difficulties. Symone then starred in the hit telemovies The Cheetah Girls and The Cheetah Girls 2, lent a supporting role to the theatrical feature The Princess Diaries 2: Royal Engagement (2004), and signed to star in the big-screen outing College Road Trip, opposite funnyman Martin Lawrence. In that comedy, Symone plays a young woman on a college-scouting trip with her policeman father.

Trivia: Not to be confused with the formidable American singer/songwriter of the same name, the U.S. character actor Paul Williams emerged during the early '90s and spent the following two decades doing the preponderance of his work on television series. He voiced Mack on the MTV Beavis and Butt-Head spin-off Daria, appeared in a 2000 episode of Star Trek: Voyager, and played Lord Harmony in Garry Marshall's The Princess Diaries 2: Royal Engagement (2004).