Trivia: Zaftig blonde comic actress Maureen Arthur gained a degree of fame on TV in the early 1960s for her dead-on impersonation of Marilyn Monroe. She was seen in this characterization on variety programs, talk shows and TV commercials until the real Monroe's death in 1962. Thereafter, Maureen trafficked in dumb-broad characters, notably as the "kept" secretary Hedy LaRue in How to Succeed in Business Without Really Trying (1967). A poster from the 1968 spy flick A Man Called Dagger, depicting a bikinied Maureen chained and shackled to leading man Paul Mantee, has become a valuable collector's item in certain fetishist circles. In the early 1980s, Maureen Arthur was a semi-regular on TV's Mork and Mindy, playing a flirtatious middle-aged grade-school student.

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.