Trivia: Whenever Monte Markham guest-stars on a TV whodunit these days, chances are it was Markham who "done it." Long before he became everybody's favorite mystery killer, however, Markham was a likeable leading man in the Jimmy Stewart mode. A graduate of the University of Georgia, Markham started out as a stage actor. In 1967, he landed the starring role in his first-ever TV series, playing the dual role of a "quick-frozen" 99-year-old man and his 33-year-old grandson on The Second Hundred Years. Two years later, he essayed the Gary Cooper role in the weekly TV version of Mr. Deeds Goes to Town. And in 1973, he played the title character in the ill-advised New Perry Mason. That same year, Markham made his Broadway debut in Irene, winning a Theatre World Award for his performance. In the 1980s, he played Clint Ogden in the prime-time serial Dallas (1981) and Carter Robinson in the syndicated soap opera Rituals (1984); he also briefly hosted the daily informational series Breakaway (1984). Contemporary TV viewers know Markham as Captain Don Thorpe in Baywatch and Mr. Parker in Melrose Place. In addition to his extensive acting credits, Monte Markham has directed two feature films, Defense Play (1988) and Neon City (1992).

Trivia: Blonde, bouncy Dorothy Provine was born in South Dakota to a Seattle-based businessman and his interior decorator wife. While attending the University of Washington, Provine appeared in some 35 amateur and professional stage productions, and was cohost of a Seattle TV quiz program. She headed to Broadway at age 20, but had better luck in Hollywood, where she was given star billing in such low-budgeters as The Bonnie Parker Story (1958) and The 30 Foot Bride of Candy Rock (1959), the latter film representing Lou Costello's last screen work. Signed to a Warner Bros. contract in 1959, Provine starred on two hour-long TV series, The Alaskans and The Roaring 20s. Both programs gave the actress ample opportunity to display her considerable singing and dancing skills, as did her extended cameo in the 1965 Blake Edwards superproduction The Great Race. She also proved an apt comedienne in such films as It's a Mad Mad Mad Mad World (1963), Good Neighbor Sam (1964), and Who's Minding the Mint? (1967); she was less effective as a British secret agent in Kiss the Girls and Make Them Die (1966). Dorothy Provine retired from the screen in 1968 upon marrying cinematographer-director Robert Day, though she continued to show up in commercials and "straw hat" summer theater productions. She died in late april 2010 of emphysema.

Trivia: Long before Roseanne Barr's "domestic goddess," Phyllis Diller parlayed her life as a housewife into a profitable stand-up comedy career. The daughter of an insurance man, Phyllis Driver had hopes of becoming a concert pianist, and to that end attended Chicago's Sherwood Music Conservatory. Her zany behavior while attending Northwestern University and her 1939 elopement with her first husband Sherwood Diller put a temporary end to her musical career. Several years and many children later, a bored Diller went to work for the advertising department of a California department store, then got a writing job at an Oakland radio station. A knack for making people laugh at church and club functions prompted Diller (with her husband's encouragement) to set her sights on a comedy career. She studied acting and scrutinized the techniques of her favorite male comedians, finally making her nightclub debut in 1955 at San Francisco's Purple Onion, a progressive nightclub which presaged the "comedy workshops" of today. Eighty-nine additional weeks at the Purple Onion enabled Diller to hone her skills to perfection; her first comedy record album appeared in 1959, with numerous TV and stage appearances quickly following suit. Diller developed an outrageous comedy persona, complete with grotesque wigs, garish costumes and her trademarked cackling laugh. Though always a favorite with live audiences, Diller was never quite able to sustain her appeal on film: her 1966 TV series The Pruitts of Southhampton was unsuccessful, as was her only starring feature film, Did You Hear the One About the Travelling Saleslady? (1968). She fared somewhat better as a supporting actress in several Bob Hope comedy films of the late 1960s (Hope was a longtime Diller fan). In later years, Diller periodically altered her public personality, "improving" her plain but distinctive facial features with plastic surgery, concentrating more time on piano concerts and less on stand-up comedy and confining her TV appearances to Home Shopping programs and "psychic hotline" infotainment half-hours. Perhaps Phyllis Diller's "funny hausfrau" throne was eventually usurped by younger talents, but one must not forget that Diller was the one who stuck her neck out first, blazing the trail for the many Roseannes and Brett Butlers who followed.Her film work was sporadic but highlights include The Adding Machine and Did You Hear The One About the Traveling Salesman? as well as the documentaries Wisecracks and The Aristocrats, and the animated film A Bug's Life. Diller died in 2012 at the age of 95.

Trivia: Very early in his stage career, Richard Deacon was advised by Helen Hayes to abandon all hopes of becoming a leading man: instead, she encouraged him to aggressively pursue a career as a character actor. Tall, bald, bespectacled and bass-voiced since high school, Deacon heeded Ms. Hayes' advice, and managed to survive in show business far longer than many of the "perfect" leading men who were his contemporaries. Usually cast as a glaring sourpuss or humorless bureaucrat, Deacon was a valuable and highly regarded supporting-cast commodity in such films as Desiree (1954), Invasion of the Body Snatchers (1956), Kiss Them For Me (1957), The Young Philadelphians (1959) and The King's Pirate (1967), among many others. Virtually every major star who worked with Deacon took time out to compliment him on his skills: among his biggest admirers were Lou Costello, Jack Benny and Cary Grant. Even busier on television than in films, Richard Deacon had the distinction of appearing regularly on two concurrently produced sitcoms of the early 1960s: he was pompous suburbanite Fred Rutherford on Leave It to Beaver, and the long-suffering Mel Cooley on The Dick Van Dyke Show. Deacon also co-starred as Kaye Ballard's husband on the weekly TV comedy The Mothers-in-Law (1968), and enjoyed a rare leading role on the 1964 Twilight Zone installment "The Brain Center at Whipples." In his last decade, Richard Deacon hosted a TV program on microwave cookery, and published a companion book on the subject.