Trivia: Born in South Africa, roguishly handsome leading man Louis Hayward was educated in England and the Continent. Hayward briefly managed a London nightclub before he went on stage as a protégé of playwright Noel Coward. He co-starred in the London stage productions of several Broadway plays, among them Dracula and Another Language, and in 1933 made his screen bow in the British Self Made Lady. Hayward came to Broadway in 1935 to star in Point Verlaine (1935), which won him a Hollywood contract. His first American film role of note was as the hero's father in the prologue of Warner Bros.' Anthony Adverse (1936). Hayward went on to play both heroes and heels, and sometimes a charming combination thereof. He starred as Leslie Charteris' soldier-of-fortune Simon Templar in the first and the last entries in the "Saint" "B"-picture series. He also thrived in costume swashbucklers, appearing twice as the Count of Monte Cristo and once each as D'Artagnan, Captain Blood and Dick Turpin. In 1941, he was cast in a pivotal role in Orson Welles' The Magnificent Ambersons, but his part ended up on the cutting room floor. Serving as a Marine during World War II, Hayward supervised the filming of the battle of Tarawa, winning a Bronze Star for his courage under fire. After the war, he developed one of first percentage-of-profits deals, ensuring him a steady income in perpetuity for both the theatrical and TV releases of his post-1949 films. In 1954, Hayward produced and starred in the 39-week TV series The Lone Wolf (aka Streets of Danger), after buying exclusive rights to several of Louis Joseph Vance's original "Lone Wolf" stories. His later TV projects included the British series The Pursuers (1966) and the American The Survivors (1970). The first of Louis Hayward's three wives was actress Ida Lupino; the others were Peggy Morrow and June Blanchard.

Trivia: The title of actress Joan Bennett's 1970 autobiography is The Bennett Playbill, in reference to the fact that she came from an old and well-established theatrical family: her father was stage star Richard Bennett and her sisters were screen actresses Constance and Barbara Bennett. Though she made an appearance as a child in one of her father's films, Joan Bennett did not originally intend to pursue acting as a profession. Honoring her wishes, her father bundled her off to finishing school in Versailles. Alas, her impulsive first marriage at 16 ended in divorce, leaving her a single mother in dire need of an immediate source of income. Thus it was that she became a professional actress, making her first Broadway appearance in her father's vehicle, Jarnegan (1928). In 1929, she began her film career in the low-budget effort Power, then co-starred with Ronald Colman in Bulldog Drummond. She was inexperienced and awkward and she knew it, but Bennett applied herself to her craft and improved rapidly; by the early '30s she was a busy and popular ingénue, appearing in such enjoyable programmers as Me and My Gal (1932) and important A-pictures like Little Women (1933) (as Amy). During this period she briefly married again to writer/producer Gene Markey. It was her third husband, producer Walter Wanger, who made the decision that changed the direction of her career: in Wanger's Trade Winds (1938), Bennett was obliged to dye her blonde hair black for plot purposes. Audiences approved of this change, and Bennett thrived throughout the next decade in a wide variety of "dark" roles befitting her brunette status. She was especially effective in a series of melodramas directed by Fritz Lang: Man Hunt (1941), The Woman in the Window (1944), Scarlet Street (1945), and The Secret Beyond the Door (1948). In 1950, she switched professional gears again, abandoning femme-fatale roles for the part of Spencer Tracy's ever-patient spouse in Father of the Bride (1950). Though her personal life was turbulent in the early '50s -- her husband Walter Wanger allegedly shot and wounded agent Jennings Lang, claiming that Lang was trying to steal his wife -- Bennett's professional life continued unabated on both stage and screen. Her television work included the 1959 sitcom Too Young to Go Steady and the "gothic" soap opera Dark Shadows (1965-1971). In failing health, Joan Bennett spent her last years in retirement with her fourth husband, media critic David Wilde.

Trivia: Suave film leading man Warren William was the son of a Minnesota newspaper publisher. William's own plans to pursue a journalistic career were permanently shelved when he enrolled at the American Academy of Dramatic Arts. After serving in World War I, William remained in France to join a touring theatrical troupe. He worked on Broadway in the 1920s and also appeared in serial star Pearl White's last chapter play, Plunder (1923). His talkie career began with 1931's Honor of the Family. Typically cast as a ruthless business executive or shyster lawyer, William effectively carried over some of his big city aggressiveness to the role of Julius Caesar in DeMille's Cleopatra (1934). He also had the distinction of starring in three whodunit film series of the 1930s and 1940s, playing Perry Mason, Philo Vance, and the Lone Wolf. Off camera, William was unexpectedly shy and retiring; his co-star Joan Blondell once noted that he "was an old man even when he was a young man." Warren William was only in his early fifties when he died of multiple myeloma. With the advent of the twenty-first century -- more than 50 years after his death -- Warren William's popularity experienced a resurgence, owing to the repertory programming at New York's Film Forum, which began running a surprisingly large number of his movies, offering the actor variously as villain, hero, or anti-hero. By the summer of 2011, "The King of the Cads," as he was once again known, was sufficiently well-recognized so that that New York's leading repertory theater was programming "Warren William Thursdays" as part of a pre-Code Hollywood series, and selling out many of those shows.

Trivia: The son of esteemed actor Rudolph Schildkraut, he trained for the stage under Albert Basserman -- his father's rival. Accompanying his father on tour, he went to the U.S. in 1910 and remained till 1913; there he enrolled at the American Academy of Dramatic Arts. Back in Germany, Schildkraut joined his father in the Berlin stage company of Max Reinhardt and quickly rose to stardom. He moved to the U.S. in 1920; within a year he was a major matinee idol on Broadway. Meanwhile, having appeared in a small number of German films, he began playing suave leading men in American silents; by the mid 1930s he had moved into character roles, often villainous. He remained a busy screen actor (between stage roles) until 1948, when he took a decade off from movies; he returned to the screen to reprise his stage role in the film version of The Diary of Anne Frank (1959), following which he appeared in only two more movies. For his portrayal of Captain Dreyfus in The Life of Emile Zola (1937), he won a Best Supporting Actor Oscar. He authored an autobiography, My Father and I (1959).

Trivia: The son of an English manufacturer, Miles Mander had dabbled in several careers before making his screen bow as an extra in 1918. He'd been a farmer, a novelist, a playwright, a stage director and a cinema exhibitor -- and, if all the stories can be believed, a fight promoter, horse and auto racer, and aviator. He was billed as Luther Miles in his earliest film appearances, reserving his real name for his screenwriting credits. In Hollywood from 1935 on, the weedy, mustachioed Mander made a specialty of portraying old-school-tie Britishers who, for various reasons, had fallen into disgrace. He was never more unsavory than when he portrayed master criminal Giles Conover in the 1945 "Sherlock Holmes" entry The Pearl of Death. Mander also showed up in two separate versions of The Three Musketeers, playing Louis XIII in the 1935 version and Richelieu in the 1939 edition (he also played Aramis in the Musketeers sequel The Man in the Iron Mask [1939]). Shortly after wrapping up his scenes in Imperfect Lady (1947), 57-year-old Miles Mander died of a sudden heart attack.

Trivia: Mountainous American actor Bert Roach reportedly launched his film career at the Keystone Studios in 1914. The porcine Mr. Roach remained in comedy during his years of comparative prominence in the '20s, providing jovial support to the romantic leads in such films as Tin Hats (1927). In talkies, Roach occasionally enjoyed a substantial role, notably as Leon Waycoff's whining roomate in Murders in the Rue Morgue (1932). In general, Bert Roach's talkie career consisted of featured and bit parts, often as a sentimental inebriate (e.g. 1932's Night World and 1934's The Thin Man).

Trivia: One of the busiest members of Hollywood's British colony, actor Walter Kingsford inaugurated his stage career in London. Seldom a leading man (he wasn't tall enough), the august Kingsford provided support for such theatrical giants as John Barrymore, Ethel Barrymore, and Fay Bainter. His first American film was 1934's The Pursuit of Happiness, a Revolutionary-era comedy in which Kingsford had appeared on Broadway. Most of the actor's film characters were unsympathetic; he had the air of a disgraced aristocrat who'd been caught misappropriating trust funds or selling government secrets. Often appearing in brief, uncredited roles, Kingsford enjoyed good billing and steady work as Dr. Walter Carew, the snobbish, ultra-conservative head of Blair General Hospital in MGM's Dr. Kildare series. As Hollywood began turning out fewer and fewer films in the '50s, Walter Kingsford secured steady work in television: In the pilot film of Amos 'n' Andy, Kingsford has the first line in the first scene as a rare-coin assessor.

Trivia: The brassiest platinum blonde of them all, Marion Martin turned up in numerous films of the 1930s and 1940s, usually only for a moment or two but long enough to make an impression. Reportedly hailing from Philadelphia's Main Line, Martin had made her Broadway bow in a 1927 revival of Lombardi Ltd. but was rather more noticeable in burlesque where she vowed 'em with a voluptuous body and with a throaty singing voice to match. She began popping up in films around 1935 and went on to play a host of characters named Blondie, Fifi, Lola, and Dixie, rarely awarded a last name and usually only a line or two. But she almost always made the line count, as in Sinner in Paradise (1938), when he-man Bruce Cabot introduces himself with a terse "the name is Malone." "Does it make you happy," she quips, with that bored look she had come to favor. Martin's screen career lasted well into the 1950s but by then her once-statuesque build had turned quite blowsy. In her later years as the wife of a Southern California physician, she occasionally expressed a desire to return to show business but no projects materialized.

Trivia: Burly, military-mustached British actor Montague Love may well have been the finest villain of the silent screen. Love's first important job was as a London newspaper cartoonist; assigned to cover the Boer War, Love gained popularity by virtue of his vivid battle sketches. After launching his stage career in Britain, Love came to the U.S. in a 1913 road-company production of Cyril Maude's Grumpy. His film career commenced at New Jersey's World Studios in 1915. Concentrating on villainy in the 1920s, Love menaced Valentino in Son of the Sheik (1926), John Barrymore in Don Juan (1926), and Lillian Gish in The Wind (1928). Despite the sinister nature of his roles, the offscreen Love was highly respected for his courteous nature and his courage under pressure. During the talkie era, Love's bad-guy activities diminished to the point that he was avuncular and likeable in such films as A Damsel in Distress (1937) and Gunga Din (1939). He was often called upon to portray historic leaders, notably Henry VIII in The Prince and the Pauper (1937), King Philip II in The Sea Hawk (1940), and two American presidents: Jefferson in Alexander Hamilton (1931) and Washington in The Remarkable Andrew (1942). Montague Love's final film, The Constant Nymph, was released three years after his death in 1943.

Trivia: American actress Doris Kenyon was the daughter of well-to-do writer and publisher James B. Kenyon, the editor of The Standard Dictionary and one-time protege of Henry Wadsworth Longfellow. While attending an Authors Club meeting with her father, 16-year-old Doris was invited to sing; she so impressed one of the guests, composer Victor Herbert, that she was cast in Herbert's stage musical Princess Pat. In 1916, one year after her stage debut, Kenyon entered films with The Hidden Hand. A pretty ingenue who matriculated into an interesting if not outstanding actress, Kenyon did quite well in silent films, at one point costarring with Rudolph Valentino in Monsieur Beaucaire. In 1927, she married Milton Sills, a major star with whom Kenyon had first appeared in The Rack (1916); Sills and his wife appeared together in seven films, all of them moneymakers. Kenyon was playing tennis with Milton in 1930 when he suddenly was felled by a fatal heart attack. She was disconsolate and planned retirement, but was talked out of it by actor George Arliss, who arranged for Kenyon to have strong co-starring roles in his films Alexander Hamilton (1931) and Voltaire (1933). No longer a romantic leading lady, Kenyon had matured enough to convincingly play John Barrymore's truculent society-climbing wife in Counsellor at Law (1933). The actress yearned at this point to return to her singing career (she had, after all, appeared with the Metropolitan Opera at one point in the teens); while retraining her voice, she began writing magazine articles for women's magazines, a venture which proved successful. Rounding out her film career with Man in the Iron Mask (1939), Kenyon spent the war years singing with the USO and lecturing to women's clubs. Doris Kenyon was almost completely retired the last quarter century of her life, appearing only in a handful of TV shows as favors to her show-business friends; one such friend was Efrem Zimbalist Jr., who in 1958 cast Kenyon as a Norma Desmond-type faded star desperate for a comeback on 77 Sunset Strip. Now that program REALLY required the delightfully non-desperate Doris Kenyon to put on an act!

Trivia: A graduate of Bowdoin college, Albert Dekker made his professional acting bow with a Cincinnati stock company in 1927. Within a few months he was featured in the Broadway production of Eugene O'Neill's Marco Millions. After a decade's worth of impressive theatrical appearance, Dekker made his first film, 1937's The Great Garrick. Usually cast as villains, Dekker was starred in the Technicolor horror film Dr. Cyclops (1940) and played a fascinating dual role in the 1941 suspenser Among the Living. Dekker's offscreen preoccupation with politics led to his winning a California State Assembly seat in 1944; during the McCarthy era, Dekker became an outspoken critic of the Wisconsin senator's tactics, and as a result the actor found it hard to get work in Hollywood. He returned to Broadway, then made a movie comeback in 1959. During his last decade, Dekker alternated between film, stage and TV assignments; he also embarked on several college-campus lecture tours. In May of 1968, Dekker was found strangled to death in his Hollywood home. His naked body was bound hand and foot, a hypodermic needle was jammed into each arm, and obscenities were scrawled all over the corpse. At first, it seemed that Dekker was a closet homosexual who had committed suicide (early reports suggested that the writings on his body were his bad movie reviews) or had died while having rough sex. While the kinky particulars of the case were never officially explained, it was finally ruled that Albert Dekker had died of accidental asphyxiation.

Trivia: According to his official studio bio, Boyd Irwin appeared for 17 years on stages in both his native England and Australia. He embarked on a screen career in the latter country in 1915, as a leading man with J.C. Williamson Prod., Southern Cross Feature Film Co., and Haymarket Pictures Corp. In America from 1919, Irwin was relegated to character roles, often villainous in nature, and can be seen as Rochefort in Douglas Fairbanks' The Three Musketeers (1921). He also played the Duc de Guise in Norma Talmadge's Ashes of Vengeance (1923) and Levasseur in Vitagraph's Captain Blood (1924) before returning to Australia. Irwin was back in Hollywood after the changeover to sound, however, lending his ramrod-straight presence to playing scores of military officers, noblemen, and even hotel clerks in films ranging from Madam Satan (1930) to Forever Amber (1947).

Trivia: In films from 1936, Dorothy Vaughan spent the next 14 years playing scores of bits and featured roles. Vaughan was at one time or another practically everyone's "mom" or "grandma," devoting the rest of the time to playing nurses, maids, governesses, and charwomen. In Westerns, she could be seen playing such no-nonsense matriarchs as the Commodore in Trail to San Antone (1947). From 1939 to 1942, Dorothy Vaughan was a regular in The Glove Slingers, a two-reel comedy series produced at Columbia.

Trivia: An effort by a Films in Review writer of the '60s to catalogue the film appearances of American actor Harry Woods came a-cropper when the writer gave up after 400 films. Woods himself claimed to have appeared in 500 pictures, further insisting that he was violently killed off in 433 of them. After a lengthy and successful career as a millinery salesman, Woods decided to give Hollywood a try when he was in his early thirties. Burly, hatchet-faced, and steely eyed, Woods carved an immediate niche as a reliable villain. So distinctive were his mannerisms and his razor-edged voice that another memorable movie heavy, Roy Barcroft, admitted to deliberately patterning his performances after Woods'. While he went the usual route of large roles in B-pictures and serials and featured parts and bits in A-films, Harry Woods occasionally enjoyed a large role in an top-of-the-bill picture. In Cecil B. De Mille's Union Pacific (1939), for example, Woods plays indiscriminate Indian killer Al Brett, who "gets his" at the hands of Joel McCrea; and in Tall in the Saddle (1944), Woods is beaten to a pulp by the equally muscular John Wayne. Comedy fans will remember Harry Woods as the humorless gangster Alky Briggs in the Marx Brothers' Monkey Business (1931) and as the bullying neighbor whose bratty kid (Tommy Bond) hits Oliver Hardy in the face with a football in Block-Heads (1938).

Trivia: A genuine westerner, Lane Chandler, upon leaving Montana Wesleyan College, moved to LA and worked as a garage mechanic while seeking out film roles. After several years in bit parts, Chandler was signed by Paramount in 1927 as a potential western star. For a brief period, both Chandler and Gary Cooper vied for the best cowboy roles, but in the end Paramount went with Cooper. Chandler made several attempts to establish himself as a "B" western star in the 1930s, but his harsh voice and sneering demeanor made him a better candidate for villainous roles. He mostly played bits in the 1940s, often as a utility actor for director Cecil B. DeMille. The weather-beaten face and stubbly chin of Lane Chandler popped up in many a TV and movie western of the 1950s, his roles gradually increasing in size and substance towards the end of his career.

Trivia: Jack Hoxie's long-nosed, homely sidekick in several Universal Westerns of the 1920s, Robert Milasch (sometimes spelled Milash) had appeared on stage with the legendary James K. Hackett in The Prisoner of Zenda. According to one account, Milasch, who had begun his screen career in the peep show days of the late 1890s, later played one of the robbers in the groundbreaking The Great Train Robbery (1903) and appeared in several of Thomas A. Edison's early "talking picture" experiments. He continued in films until the early '50s -- albeit in increasingly smaller roles -- something of a longevity record. "I'm six feet, six inches tall, so all they let me play are heavies, atmosphere, and character parts," Milasch complained to a reporter in 1939. He died at the Motion Picture Country House and Hospital.

Trivia: Imperious, intellectual-looking British actor Peter Cushing studied for a theatrical career under the guidance of Cairns James at the Guildhall School of Music and Drama. Cushing supported himself as a clerk in a surveyor's office before making his first professional stage appearance in 1935. Four years later, he came to America, where he was featured in a handful of Broadway plays and Hollywood feature films. He had a small part in The Man in the Iron Mask (1939) and also doubled for Louis Hayward in the "twin" scenes; he was among the rather overaged students in Laurel and Hardy's A Chump at Oxford (1940); and he was second male lead in the Carole Lombard vehicle Vigil in the Night (1940). After closing out his Hollywood tenure with They Dare Not Love (1941), he returned to stage work in England. His next film appearance was as Osric in Laurence Olivier's Hamlet (1948), which also featured his future co-star Christopher Lee in a nonspeaking bit (Cushing and Lee's paths would cross again cinematically in Moulin Rouge [1952], though, as in Hamlet, they shared no scenes).In the early '50s, Cushing became a TV star by virtue of his performance in the BBC production of George Orwell's 1984. Still, film stardom would elude him until 1957, when he was cast as Baron Frankenstein in Hammer Films' The Curse of Frankenstein. It was the first of 19 appearances under the Hammer banner; Cushing went on to play Van Helsing in Horror of Dracula (1958) and Sherlock Holmes in The Hound of the Baskervilles (1959), roles which, like Baron Frankenstein, he would repeat time and again. Though his horror film appearances brought him fame and fortune, Cushing ruefully commented that he'd prefer not to be so tightly typecast: It is significant that his entry in the British publication Who's Who in the Theatre lists all of his theatrical credits, but only one title -- Hamlet -- in his film manifest. In 1975, after a decade's absence, Cushing made a return to the theater in Washington Square, ironically playing the role originated on Broadway by fellow Sherlock Holmes interpreter Basil Rathbone. Many of Cushing's later film assignments were in the tongue-in-cheek category, notably his sneeringly evil Governor Tarkin in Star Wars (1977) and his backwards-talking librarian in Top Secret! (1984). Retiring from the screen in 1986, Peter Cushing penned two volumes of memoirs: An Autobiography (1986) and Past Forgetting (1988).

Trivia: Gray-haired and dignified, Reginald Barlow was a busy presence in Hollywood films of the 1930s. Having toured with a minstrel group from the age of nine, Barlow later served in no less than three wars, including World War I, during which he was made a colonel. Returning to acting in 1916, Barlow appeared in a few silent films, most prominently perhaps the low-budget Love's Flame (1920), for which he billed himself "Colonel Reginald Barlow." Turning to films permanently after the changeover to sound, the now veteran performer usually played men of means, military officers, senators, and bankers -- turning up as a chaplain in Ann Vickers (1933), the Duke of Newcastle in Last of the Mohicans (1936), the sheriff in Tower of London (1939), and the professor ostracizing mad scientist George Zucco in The Mad Monster (1942).

Trivia: In films from 1915 to 1948, British stage veteran Wyndham Standing's heyday was in the silent era. During this time, Standing appeared in stiff-collar, stuffed-shirt roles in films like The Dark Angel and The Unchastened Woman (both 1925). His early-talkie credits include the squadron leader in Hell's Angels (1931) and Captain Pyke in A Study in Scarlet (1933). Thereafter, Standing showed up in such one-scene bits as King Oscar in Madame Curie (1943); he was also one of several silent-screen veterans appearing as U.S. senators in Capra's Mr. Smith Goes to Washington (1939). Wyndham Standing was the brother of actors Sir Guy Standing and Herbert Standing.

Trivia: A former lawyer, Irish-born D'Arcy Corrigan came to films with a varied background that included a stint as private secretary for a member of Parliament and as a stock company leading man. In Hollywood from 1925, Corrigan played everything from barristers to opium addicts to cockneys to undertakers. Rarely onscreen for more than a minute or two, he usually made every second count. He is especially memorable as the morgue keeper in Bela Lugosi's Murders in the Rue Morgue (1932), the blind man in John Ford's The Informer, and as the Spirit of Christmas Future in A Christmas Carol (1938).

Trivia: Born in Kansas and raised in Colorado, Dwight Frye studied for a career in music, and by his mid-teens was a talented concert pianist. He switched to acting when he joined the O.D. Woodward stock company in 1918. During his years on Broadway, Frye specialized in comedy parts. When Hollywood called, however, the actor found himself typed as a neurotic villain. The role that both made and broke him was the bug-eating lunatic Renfield in 1931's Dracula. Though he begged producers to allow him to play comic or "straight" parts, he was hopelessly typed as Renfield, and spent the bulk of his career portraying murderers, grave robbers, crazed hunchbacks and mad scientists. When the first "horror" cycle subsided, Frye found himself accepting nondescript bit roles in films like The People vs. Dr. Kildare (1939). During the 1940s, Frye bounced from one "B" factory to another, doing his usual in such cheap thrillers as Dead Men Walk (1942). In between acting jobs, he supported himself and his family as a designer in an aircraft factory. Dwight Frye was about to undertake the stereotype-breaking role of Secretary of War Newton D. Baker in the lavish 20th Century-Fox biopic Wilson when he died of a sudden heart attack at the age of 44.

Trivia: Cadaverous British actor Nigel De Brulier is most closely associated with classical roles. His first film (after decades of stage work) was a 1915 adaptation of Henrik Ibsen's Ghosts; six years later he was in another Ibsen adaptation, A Doll's House. In Douglas Fairbanks' 1921 version of The Three Musketeers De Brulier played the cunning Cardinal Richelieu, a role he repeated briefly in the 1929 sequel The Iron Mask. He was also prominently featured in the Lon Chaney Hunchback of Notre Dame as Dom Claude, the head priest. Possessed of a rich theatrical voice, Nigel de Brulier made the transition to sound with ease, but most of his '30s roles were mere character bits; an exception was the 1935 Three Musketeers, in which he played Richelieu again. Towards the end of his career, and without complaint or regret, the venerable actor accepted one-day parts in "B" pictures, short subjects, westerns and serials. The best of Nigel De Brulier's latter-day assignments was as the robed, white-bearded Shazam, the ancient mystic who gives young Billy Batson (Frank Coghlan Jr.) superhuman powers in the Republic serial The Adventures of Captain Marvel (1941).

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.