Trivia: Swedish siren Ann-Margret immigrated to the U.S. with her family at the age of seven, settling in a Chicago suburb and later studying Drama at Northwestern University. Despite an innate bashfulness, the girl set out to become a musical entertainer, making her professional debut as a singer at the age of 17. Fortunately, she was spotted by comedian George Burns, who hired her for his Las Vegas show and arranged for several professional doors to be opened for his protégée. Her first film was Pocketful of Miracles (1961), in which she played Bette Davis' daughter; this was followed by a lead in State Fair the following year. Ann-Margret tended to be withdrawn when interviewed, which earned her the media's "Sour Apple" award as least cooperative newcomer. But she was able to overcome this initial bad press via a show-stopping appearance at the 1962 Academy Awards telecast, which turned her into an "overnight" national favorite and encouraged the producers of Bye Bye Birdie (1963) to build up her role. Perhaps the best indication of her total public acceptance was her animated appearance in a 1963 episode of The Flintstones (as Ann Margrock). Ann-Margret's career faltered in the mid-'60s thanks to a string of forgettable pictures like Made in Paris (1966) and Kitten With a Whip (1964). (One of the few highlights of this period, however, was her appearance in Elvis Presley's Viva Las Vegas in 1964, which led to an offscreen relation with The King.) Her career in doldrums, Ann-Margret marshalled a comeback in the early '70s thanks to the tireless efforts of her husband and manager, former actor Roger Smith. Sold-out Las Vegas and concert performances were part of her career turnabout, although the most crucial aspect was her Oscar nomination for a difficult role in 1971's Carnal Knowledge. But the comeback nearly ended before it began in 1972 when the entertainer was seriously injured in a fall during her Vegas act. With the help of physical rehabilitation and plastic surgery (not to mention the loving ministrations and encouragement of Smith), the actress made a complete recovery and went on to even greater career heights. She received her second Oscar nomination for her bravura performance in the rock-opera film Tommy (1975), where, in one of the high points of '70s cinema bizarre, she sang a number while swimming in baked beans. Ann-Margret was equally impressive (though in a less messy manner) in such powerhouse TV movies as Who Will Love My Children? (1983) and A Streetcar Named Desire (1984). The low point of Ann-Margret's early-80s career doubtless arrived when she agreed to act in Hal Ashby's lousy 1982 gambling drama Lookin' to Get Out (aside a scream-happy Jon Voight) -- and probably regretted it for years afterward. A few triumphs marked the 1980s as well, however, such as the actress's turn as Steffy Blondell in Neil Simon's enjoyably bittersweet comedy-drama I Ought to Be in Pictures, and her role as a barmaid who strikes up an extramarital affair with - and later weds - Gene Hackman, in Bud Yorkin's finely-wrought domestic drama Twice in a Lifetime (1985). After Newsies (1992), Disney's glaringly awful attempt to revive the period musical, Ann-Margret took time out of her packed schedule to write her 1993 autobiography Ann-Margret: My Story, a work revelatory about herself and her own personal demons that nonetheless evinces respect toward her show-business mentors and co-workers. She exuded warmth as the bon vivant who falls in-between bickering Walter Matthau and Jack Lemmon in the 1993 box office hit Grumpy Old Men and its lackluster 1995 sequel, Grumpier Old Men (and played a satisfying straight man throughout). Yet the high profile of the Old Men releases made them exceptions to the actress's output in the mid-late nineties and early 2000s, which - though of varying quality - placed infinitely greater weight on television work than Ann-Margret had at any earlier point in her career. (In fact, for a period of about ten years, she became a veritable telemovie staple on par with Mary Tyler Moore and Meredith Baxter-Birney). These titles include but are not limited to: Nobody's Children (1994), Scarlett (1994), Seduced by Madness: The Diane Borchardt Story, Life of the Party: The Pamela Harriman Story (1998), Happy Face Murders (1999), Blonde (2001) and A Place Called Home (2004). One big-screen exception arrived in the late 1999 football drama Any Given Sunday, where Oliver Stone gave Ann-Margret her meatiest role since Carnal Knowledge, as the alcoholic mother of team owner Christina Pagliacci (Cameron Diaz. It entailed only a small part amid a massive ensemble cast (Dennis Quaid, Al Pacino, Jamie Foxx, James Woods, others), but provided an excellent showcase for the actress's craftsmanship. She landed a bit part as Wendy Meyers, the mother of Jennifer Aniston's character, in the Aniston-Vince Vaughn romantic comedy The Break-Up, and joined Tim Allen and Martin Short for that same year's Buena Vista holiday sequel Santa Clause 3: The Escape Clause. As the new decade began, she continued to appear regularly in projects as diverse as The 10th Kingdom, Taxi, The Break-Up, and Old Dogs. In 2011 she starred in the comedy All's Faire in Love as the queen of a Renaissance fair.

Trivia: For a long time, Matt Dillon was a teen idol known mostly for his Tiger Beat-ready looks, but he was able to make a successful transition from pubescent star to adult actor. As he grew, his physical attributes -- the dark, pretty-boy eyes and glacier-cut cheekbones -- matured with him, making him well-suited to portray characters whose golden-boy pasts have been eclipsed by adult experience. A native of New Rochelle, NY, where he was born on February 18, 1964, Dillon was a product of a pop-culture milieu. The nephew of comic-strip artist Alex Raymond, creator of Flash Gordon, Jungle Jim, and Rip Kirby, he was named for the protagonist of the TV Western Gunsmoke. Dillon was raised as the second oldest of the five sons and one daughter of a stockbroker and a homemaker. He began acting in elementary school, and, at the age of 14, he was discovered by Warner Bros. talent scouts while cutting class. After making a memorable impression on casting director Vic Ramos with an eerily accurate impersonation of the character he was asked to audition for, Dillon won the part and made his film debut as a school bully in Jonathan Kaplan's 1979 teenage drama Over the Edge. His work in the film opened the floodgates for roles in similar teen movies, and over the next few years, Dillon could be seen as the photogenic mouthpiece for adolescent discontent in such films as My Bodyguard (1980), Little Darlings (1980), Tex (1982), Rumble Fish (1983), and that seminal exploration of teenage alienation, The Outsiders (1983). By the mid-'80s, Dillon sought to move beyond the teen mold and began taking more adult roles. His breakthrough into the grown-up realm came with his somber, unheroic portrayal of a junkie trying to come clean in Gus Van Sant's acclaimed Drugstore Cowboy (1989). His status as an adult performer firmly established, Dillon went on to star in films of varying quality, doing some of his most memorable work in Singles (1992), as the egocentric slacker head of a terrifically bad grunge band; To Die For (1995), as the well-meaning but tragically dim husband of a psychotic weather girl (Nicole Kidman); Kevin Spacey's Albino Alligator (1995), as a small-time New Orleans crook; and Beautiful Girls (1996), in which Dillon was perfectly cast as a small-town snow plower unable to make good on the promise of his high-school glory days.Dillon had pivotal roles in several Hollywood hits between 1997 and 1998. The first, In & Out, called for him to caricature himself as a peroxided movie star who unwittingly outs his ex-high school teacher on national television. The following year, he again proved his capacity for bottom-dwelling when he played a woefully unqualified high-school guidance counselor in the delightfully trashy Wild Things and once more when he starred alongside then-girlfriend Cameron Diaz in There's Something About Mary as a sleazy personal investigator, only to drop off the radar for three years before starring in the disappointing One Night at McCool's (2001) with John Goodman and Liv Tyler. The year 2002 found Dillon in the director's chair as well as on the big screen in The City of Ghosts, in which he played a young man under suspicion of insurance fraud. Though the film -- which Dillon also helped write -- received mixed reviews critically, Dillon was lauded for a nonetheless impressive directorial debut. The same year featured Dillon as a mobster in director Scott Kalvert's Deuces Wild and later as an interviewee in the documentary Rockets Redglare!, which also included Steve Buscemi and Willem Dafoe. After participating in 2003's Breakfast With Hunter, which centered on gonzo writer Hunter S. Thompson, Dillon went on to film 2004's Employee of the Month with Steve Zahn and Christina Applegate, which screened at that year's installment of the Sundance Film Festival.2005 would prove to be quite a big year for Dillon, with him appearing a no less than four films of varying size. In addition to the lead in the low-budget Charles Bukowski adaptation Factotum, the actor could also be seen in two ensemble dramas: the Kevin Bacon-directed Loverboy and Crash, a film from Million Dollar Baby scribe Paul Haggis about the intertwining lives of a group of Los Angelenos that would earn Dillon his first Oscar nomination. He also appeared as the villain in the rebirth of Disney's classic Lovebug series, Herbie: Fully Loaded.Dillon would spent the coming years appearing in a wide variety of projects, like the Oscar winning ensemble drama Crash, the wacky comedy You, Me and Dupree, and the action thriller Armored.

Trivia: Offbeat, highly individualistic British character player Peter Serafinowicz broke into film courtesy of radio, with a head-turning contribution to a tongue-in-cheek documentary about the music industry on England's Radio 1, entitled The Knowledge. That led, in turn, to a wealth of voice assignments on various Radio 4 series, including Grievous Bodily Radio, Harry Hill's Fruit Corner, and Weekending. Serafinowicz segued into features with a plum role in 1997's Murder Most Horrid before making a splash as Brian May on the spoof-heavy BBC sketch comedy program Comedy Nation in the late '90s, alongside Sacha Baron Cohen and others; unfortunately, it was somewhat short-lived, though successive projects afforded Serafinowicz greater exposure. He found his bread and butter on British television, in series including Spaced and World of Pub, but broke into features with roles in the outrageous horror comedy spoof Shaun of the Dead (2004) and the gentle period coming-of-age drama Sixty Six (2006).

Trivia: Best known for his 2005 live-action rendering of the Bill Cosby character Fat Albert on the big screen -- a character he brought to life with the aid of a trusty fat suit and the trademark, "Hey, Hey, Hey!" -- wunderkind comic Kenan Thompson honed his skills as a small fry by entertaining classmates with uproarious comedy routines on the playground in his childhood home of Atlanta. Thompson landed his big break by auditioning at age 15 for All That, a Nickelodeon sketch comedy series that (like The Mickey Mouse Club of years prior) functioned as a kind of unofficial petri dish for burgeoning young talent. Series producer and director Brian Robbins reportedly viewed Thompson's audition, tagged his ability to mimic and his comic timing as "dead-on," and hired the young man on the spot. The young comic wowed Nickelodeon, and network heads not only offered him his own sitcom within a year, co-starring another young schtickmeister, Kel Mitchell, but a network-produced movie, the 1997 Good Burger (also starring Mitchell). Numerous additional film roles ensued, and though Mitchell began with goofy, schtick-heavy comedies (Master of Disguise [2002], My Boss' Daughter [2003]), he periodically revealed an interest in stretching his ability into other genres, such as avant-garde/experimental video (Public Lighting [2004]) and action-saturated horror (Snakes on a Plane [2006]). In 2008, however, Thompson hearkened back to comedy by voicing one of the titular primates in the goofy live-action fantasy Space Chimps. Meanwhile, alongside his film work, Thompson achieved even greater success on the small screen. His debut series, All That, had been conveniently described by more than one critic as "SNL for the small set," and paved the way for Thompson's involvement in the real Saturday Night Live; he joined the SNL cast in 2003.

Trivia: Attended several Broadway shows while growing up in New Jersey, and this inspired her to start taking acting classes.Adopted the mantra "Work hard" as she honed her acting skills and took on challenging roles in productions in high school, such as the M.C. in Cabaret.Made her feature film debut in Bryan Wizemann's experimental feature Sense in 1998.Performed on Broadway from October 2009 to January 2010, playing Mrs. Daldry in Sarah Ruhl's play In The Next Room at the Lyceum Theatre.Made her professional directing debut with productions of the Lizzie Vieh's The Loneliest Number in 2018.

Trivia: Worked as a landscaper after college in order to save money to move to New York City and pursue his acting career. In 2007, played the role of Phelim O'Shaughnessy in the Broadway production of Mark Twain's Is He Dead? Played Hamlet in the Gallery Players' production of Hamlet in 2010. In 2012, performed in the Bridge Project's worldwide tour of Richard III starring Kevin Spacey. Has narrated several audiobooks, including the Beyonders series written by Brandon Mull.

Trivia: Parents are both Trinidadian. Was born in London; her family moved to Trinidad for five years during her childhood before settling in Toronto. Her parents wanted her to pursue a career in medicine. Studied acting at the Playhouse Acting School in Vancouver, Canada. Formed her own production company, Sugar 'n Spice, with director Maxine Bailey and actor Sharon Lewis in the early '90s.