"Bi" the Way

Megan Denise Fox was born on May 16, 1986 in Oak Ridge, Tennessee and raised in Rockwood, Tennessee to Gloria Darlene Tonachio (née Cisson), a real estate manager and Franklin Thomas Fox, a parole officer. She began her drama and dance training at age 5 and at age 10, she moved to Port St. Lucie, Florida where she continued her training and finished school. Megan began acting and modeling at age 13 after winning several awards at the 1999 American Modeling and Talent Convention in Hilton Head, South Carolina. At age 17, she tested out of school using correspondence and eventually moved to Los Angeles, California. Megan made her film debut as Brianna Wallace in the Mary-Kate Olsen and Ashley Olsen film, Holiday in the Sun (2001). Her best-known roles are as Sam Witwicky's love interest, Mikaela Banes in Transformers (2007) and Transformers: Revenge of the Fallen (2009), as April O'Neil in the remake Teenage Mutant Ninja Turtles (2014) and its sequel Teenage Mutant Ninja Turtles: Out of the Shadows (2016), and as Jennifer Check in the horror comedy Jennifer's Body (2009).

Evan Rachel Wood was born September 7, 1987, in Raleigh, North Carolina. Her father, Ira David Wood III, is a theatre actor, writer and director, and her mother, Sara Wood, is an actress and acting coach. She has two older brothers--Dana Wood, a musician, and Ira David Wood IV, who has also acted. Evan and her brothers sometimes performed at Theatre In The Park in Raleigh, which her father founded and where he serves as executive director.

At the age of five she screen-tested against Kirsten Dunst for the lead role in Interview with the Vampire (1994) after a long auditioning process. She moved to Los Angeles with her mom and brother Ira in 1996 and has had success ever since, appearing in a TV series, TV movies and feature films. She has appeared in Practical Magic (1998), starred in the comedy S1m0ne (2002) as Al Pacino's daughter, and followed that with Thirteen (2003), with Holly Hunter. Her breakout role as Tracy in "Thirteen" garnered her a Golden Globes nomination for Best Performance by an Actress in a Motion Picture: Drama and for a Screen Actors Guild Award nomination for Outstanding Performance by a Female Actor in a Leading Role. At the time of this SAG nomination, she was the youngest actress to be nominated in the Leading Role category. She received a Golden Globe and Emmy nomination for "Outstanding Supporting Actress in a Miniseries or Movie" for her portrayal of Veda Pierce in the HBO miniseries Mildred Pierce (2011).

She also earned acclaim for her powerful performance as Stephanie, Mickey Rourke's estranged daughter, in Darren Aronofsky's The Wrestler (2008).

Billie Joe Armstrong was born in Piedmont, California, a small town surrounded by the city of Oakland, and was raised in Rodeo, California, the youngest of six children of Ollie (Jackson) and Andrew "Andy" Marsicano Armstrong. His father worked as a jazz musician and truck driver for Safeway Inc. to support his family. He died of esophageal cancer on September 10, 1982. The song "Wake Me Up When September Ends" is a memorial to his father. He has five older siblings: David, Alan, Marci, Hollie, and Anna. His mother worked at Rod's Hickory Pit restaurant in El Cerrito. Armstrong and Mike Pritchard's first live performance was at Rod's Hickory Pit in 1987; their first performance under the name Green Day was in Davis, a college town approximately an hour's drive northeast of San Francisco Bay.

Armstrong's interest in music started at a young age. He attended Hillchest Elementary School in Rodeo, where a teacher encouraged him to record a song titled "Look for Love" at the age of five on the Bay Area label Fiat Records. After his father died, his mother married a man whom her children disliked, which resulted in Armstrong's further retreat into music. At the age of 10, Armstrong met Mike Dirnt in the school cafeteria and they immediately bonded over their love of music. He became interested in punk rock after being introduced to punk rock by his brothers. Armstrong has also cited Minneapolis-based bands The Replacements and Husker Du as major musical influences.

Armstrong attended John Swett High School, also in Crockett, and later Pinole Valley High School in Pinole, California, but then dropped out to pursue his musical career.

In 1987, aged 15, Armstrong formed a band called Sweet Children with his childhood friend Mike Pritchard. In the beginning, Pritchard and Armstrong both played guitar, with John Kiffmeyer on drums, and Sean Hughes on bass. After a few performances, Hughes left the band in 1988; Pritchard then began playing bass and they became a three-piece band. They changed their name to Green Day in April 1989, choosing the name because of their fondness for marijuana. That same year, they released their debut EP 1,000 Hours through Lookout Records. They recorded their debut studio album 39/Smooth and the extended play Slappy in 1990, which were later combined with 1,000 Hours into the compilation 1,039/Smoothed Out Slappy Hours in 1991. Frank Edwin Wright III eventually became Green Day's drummer in late 1990 when Sobrante left Green Day in order to go to college. California punk band Rancid's lead singer Tim Armstrong asked Armstrong to join his band, but he refused owing to the progress with Green Day. Wright made his debut on Green Day's second album, Kerplunk. With their next album, Dookie (1994), the band broke through into the mainstream, and have remained one of the most popular rock bands of the 1990s and 2000s with over 60 million records sold worldwide. In 2009, their hit American Idiot became a musical on Broadway.

Apart from working with Green Day and side-band Pinhead Gunpowder, Armstrong has collaborated with many artists over the years. He has co-written for The Go-Go's ("Unforgiven") and former Avengers singer Penelope Houston ("The Angel and The Jerk" and "New Day"), co-written a song with Rancid ("Radio"), and sung backing vocals with Melissa Auf der Maur on Ryan Adams' "Do Miss America" (where they acted as the backing band for Iggy Pop on his Skull Ring album ("Private Hell" and "Supermarket"). Armstrong has produced an album for The Riverdales. He has also been confirmed to be part of a side project called The Network, which released an album called Money Money 2020. Money Money 2020 was released on Adeline Records, a record label co-owned by Armstrong. Armstrong also provided lead guitar and backing vocals on 3 songs for The Lookouts' final extended play IV (1989).

Hoping to clear his head and develop new ideas for songs, Armstrong traveled to New York City alone for a few weeks, renting a small apartment in the East Village of Manhattan. He spent much of this time taking long walks and participating in jam sessions in the basement of Hi-Fi, a bar in Manhattan. However, the friends he made during this time drank too much for his liking, which was the catalyst for Armstrong's return to the Bay Area. After returning home, Armstrong was arrested on DUI charges on January 5, 2003, and released on $1,200 bail.

In 2010, Armstrong joined the cast of American Idiot, which won two Tonys, for one week in the role of St. Jimmy. He replaced the original Broadway cast member Tony Vincent from September 28 to October 3. (American Idiot is an adaption of Green Day's concept album of the same name). Armstrong returned to the role of St. Jimmy for 50 performances beginning January 1, 2011.

On Thursday, July 26, 2012 it was announced he joined Season 3 of NBC's The Voice as a mentor for Christina Aguilera. He will mentor the artists on Aguilera's team where she serves as a coach.

In 1990, Armstrong met Adrienne Nesser at one of Green Day's early performances in Minneapolis, Minnesota. They married on July 2, 1994, and the day after their wedding, Adrienne discovered she was pregnant. Their first child, Joseph Marciano Armstrong, who was born on February 28, 1995, now plays drums in a Berkeley-based band named Emily's Army. Their second child, Jakob Danger Armstrong, was born on September 12, 1998. Billie Joe is the co-owner of Adeline Records, along with his wife.

Mayte Michelle Rodríguez was born on July 12, 1978 in San Antonio, Texas to Carmen Milady Pared Espinal, a housewife, and Rafael Rodríguez Santiago, a U.S. Army solider. Known for tough-chick roles, Michelle is proof that there is a cross between beauty and brawn. Michelle always knew she was destined to become a star, she just didn't know how to get there. Michelle lived in San Antonio until the age of 8 when her parents divorced & moved to the Dominican Republic where she lived for two years before moving to Puerto Rico. At 11, Michelle's family relocated for the last time to Jersey City, New Jersey. Although she has been working since 1999 as an extra in such films as Summer of Sam (1999) and Cradle Will Rock (1999), it only took a magazine ad announcing an open casting call in New York for Michelle to decide to finally step into the spotlight. The role was the female lead, the movie was Girlfight (2000). Despite the lack of experience in film and boxing, Michelle auditioned, along with another 350 girls. After various trials inside an actual boxing ring and five arduous months of training in Brooklyn's Gleason's Gym, she was finally chosen to portray the role of Diana Guzman. As soon as the independent film began making the rounds at various film festivals, Michelle began gaining critical acclaim for her performance earning her awards like the Deauville Festival of American Cinema award for Best Actress and the Las Vegas Film Critics Society for Female Breakthrough performance. As Girlfight (2000) continued to gain notoriety with its September 2000 release, Michelle was already hard at work with films like 3 A.M. (2001), the blockbuster hit The Fast and the Furious (2001), and Resident Evil (2002). With Hollywood calling her name, the future for this feisty Jersey girl is as strong as the punches she throws.

Katharine Houghton Hepburn was born on May 12, 1907 in Hartford, Connecticut to a suffragist, Katharine Martha (Houghton), and a doctor, Thomas Norval Hepburn, who both always encouraged her to speak her mind, develop it fully, and exercise her body to its full potential. An athletic tomboy as a child, she was very close to her brother Tom; at 14 she was devastated to find him dead, the apparent result of accidentally hanging himself while practicing a hanging trick their father had taught them. For many years afterward, she used his November 8 birth date as her own. She became shy around girls her age and was largely schooled at home. She did attend Bryn Mawr College, where she decided to become an actress, appearing in many of their productions.

After graduating, she began getting small roles in plays on Broadway and elsewhere. She always attracted attention, especially for her role in "Art and Mrs. Bottle" (1931). She finally broke into stardom when she took the starring role of the Amazon princess Antiope in "A Warrior's Husband" (1932). The inevitable film offers followed; after making a few screen tests, she was cast in A Bill of Divorcement (1932), opposite John Barrymore. The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract. She made five films between 1932 and 1934. For her third, Morning Glory (1933), she won her first Academy Award. Her fourth, Little Women (1933), was the most successful picture of its day.

But stories were beginning to leak out, of her haughty behavior off- screen and her refusal to play the Hollywood Game, always wearing slacks and no makeup, never posing for pictures or giving interviews. Audiences were shocked at her unconventional behavior instead of applauding it, and so when she returned to Broadway in 1934 to star in "The Lake", the critics panned her, and the audiences, who at first bought up tickets, soon deserted her. When she returned to Hollywood, things didn't get much better. From 1935-1938, she had only two hits: Alice Adams (1935), which brought her her second Oscar nomination, and Stage Door (1937); the many flops included Break of Hearts (1935), Sylvia Scarlett (1935), Mary of Scotland (1936), Quality Street (1937), and the now-classic Bringing Up Baby (1938).

With so many flops, she came to be labeled "box-office poison". She decided to go back to Broadway to star in "The Philadelphia Story" (1938) and was rewarded with a smash. She quickly bought the film rights and so was able to negotiate her way back to Hollywood on her own terms, including her choice of director and co-stars. The Philadelphia Story (1940) was a box-office hit, and Hepburn, who won her third Oscar nomination for the film, was bankable again. For her next film, Woman of the Year (1942), she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. (She received her fourth Oscar nomination for the film.) Their films included the very successful Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957).

With The African Queen (1951), Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 1950s, and won more Oscar nominations for many of them, including her roles in Summertime (1955), The Rainmaker (1956), and Suddenly, Last Summer (1959). Her film roles became fewer and farther between in the 1960s, as she devoted her time to the ailing Tracy. For one of her film appearances in this decade, in Long Day's Journey Into Night (1962), she received her ninth Oscar nomination. After a five-year absence from films, she then made Guess Who's Coming to Dinner (1967), her last film with Tracy and the last film Tracy ever made; he died just weeks after finishing it. It garnered Hepburn her tenth Oscar nomination and her second win. The next year, she did The Lion in Winter (1968), which brought her her eleventh Oscar nomination and third win.

In the 1970s, she turned to making made-for-TV films, with The Glass Menagerie (1973), Love Among the Ruins (1975), and The Corn Is Green (1979). She still continued to make an occasional appearance in feature films, such as Rooster Cogburn (1975) with John Wayne and On Golden Pond (1981) with Henry Fonda. This last brought her her twelfth Oscar nomination and fourth win - the latter still the record.

She made more TV-films in the 1980s and wrote her autobiography, 'Me', in 1991. Her last feature film was Love Affair (1994), with Warren Beatty and Annette Bening, and her last TV- film was One Christmas (1994). With her health declining, she retired from public life in the mid-1990s. She died at 96 at her home in Old Saybrook, Connecticut.

Sia Kate Isobelle Furler (born 18 December 1975) is an Australian singer, songwriter, record producer and music video director. She started her career as a singer in the acid jazz band Crisp in the mid-1990s in Adelaide. In 1997, when Crisp disbanded, she released her debut studio album titled OnlySee in Australia, but it did not sell well. She moved to London, England, and provided lead vocals for the British duo Zero 7.

In 2000, Sia released her second studio album, Healing Is Difficult, the following year but was displeased with the promotion of the record. She released her next studio album, Colour the Small One, in 2004, but it struggled to connect with a mainstream audience. Sia relocated to New York City in 2005 and toured in the United States. Her fourth and fifth studio albums, Some People Have Real Problems and We Are Born, were released in 2008 and 2010, respectively. She took a hiatus from performing, during which she focused on songwriting for other artists, producing successful collaborations "Titanium" (with David Guetta), "Diamonds" (with Rihanna) and "Wild Ones" (with Flo Rida).

In 2014, Sia finally broke through as a solo recording artist when her sixth studio album, 1000 Forms of Fear, debuted at No 1 in the U.S. Billboard 200 and generated the top-ten single "Chandelier" and a trilogy of music videos starring child dancer Maddie Ziegler. In 2016, she released her seventh studio album This Is Acting, which spawned her first Hot 100 number one single, "Cheap Thrills". The same year, Sia gave her Nostalgic for the Present Tour, which incorporated performance art elements. Sia has received accolades, including ARIA Awards and an MTV Video Music Award.

In 2007, Sia released a live album entitled Lady Croissant, which included eight live songs from her April 2006 performance at the Bowery Ballroom in New York and one new studio recording-"Pictures". A year later, she left Zero 7 on friendly terms, replaced by Eska Mtungwazi as the band's frontwoman. Sia released her fourth studio album, Some People Have Real Problems on 8 January 2008. The album peaked at No. 41 in Australia and was certified gold by the Australian Recording Industry Association. It charted at No. 26 on the US Billboard 200, becoming Sia's first album to chart in the United States.

In May 2009, Sia released TV Is My Parent on DVD, which includes a live concert at New York's Hiro Ballroom, four music videos and behind-the-scene footage. At the ARIA Music Awards of 2009, Sia won the Best Music DVD category for TV Is My Parent. She also received a nomination for Best Breakthrough Artist Album for Some People Have Real Problems.

In October 2013, Sia released "Elastic Heart" featuring The Weeknd and Diplo for the soundtrack of the American film The Hunger Games: Catching Fire (2013). Sia executive produced Brooke Candy's debut EP, Opulence, released in May 2014, and co-wrote 3 songs on the EP. In July 2014, Sia released her own sixth studio album, 1000 Forms of Fear. She again collaborated with Greg Kurstin. The album debuted at No. 1 in the US Billboard 200 with first-week sales of 52,000 copies. By October 2015, it was certified gold by the RIAA denoting 500,000 equivalent-album units sold in the United States. The record peaked at No. 1 in Australia and reached the top ten of charts in numerous European regions. It was certified silver by the British Phonographic Industry and gold by the Australian Recording Industry Association. By early 2016, the album had sold 1 million copies worldwide.

In June 2016, Sia gave a concert at Red Rocks Amphitheatre in Colorado, featuring Ziegler. From May to August, Sia performed in nearly a dozen festival and other concerts in America and European and Middle Eastern countries, including Portugal, Denmark, Sweden, Finland, Hungary, Romania, Poland, the United Kingdom, Russia, Lebanon and Israel. In September 2016, she released a single, "The Greatest", with vocals from American hip hop recording artist Kendrick Lamar. A video was released the same day featuring Ziegler - the dancer's fifth video collaboration with Sia and Heffington. The two performed the song with several other dancers, and also performed "Chandelier", live the next day at the Apple annual fall event, drawing media attention. The videos that Sia has posted to her YouTube channel have accumulated a total of more than 6 billion views, and the channel has more than 10 million subscribers.

In 2017, Sia moved from RCA to Atlantic Records. She released a new album, Everyday Is Christmas, on Atlantic and Monkey Puzzle on 17 November 2017. The album features original songs co-written and co-produced with Kurstin. She promoted it by releasing the single "Santa's Coming for Us" and by the track "Snowman", which she performed during the finale of the 13th season of The Voice and on The Ellen DeGeneres Show together with Ziegler. In November 2018, Sia released the deluxe edition of the album, containing three bonus tracks, as a Target exclusive.

In 2018, Sia collaborated with English musician Labrinth and American DJ/record producer Diplo, under the name LSD, to release four songs. In November 2018, these tracks were collectively released as an EP called Mountains on Spotify.

Sia, who is a vegan, participated in an advertisement for PETA Asia-Pacific, with her dog, Pantera, to encourage pet neutering. Sia has also joined other publicly known figures for the "Oscar's Law" campaign, in protest against large-scale pet breeding. Other advocates include singers Jon Stevens, Paul Dempsey, Rachael Leahcar and Missy Higgins. She is also a supporter of the Beagle Freedom Project, performing "I'm in Here" live at the Beagle Freedom Project Gala on 9 September 2013. For her 2016 Nostalgic for the Present Tour, Sia partnered with various rescue organizations to conduct a dog adoption fair at each of her concerts. Sia was nominated for a 2016 Libby Award for "Best Voice for Animals".

Piper Kerman was born on 28 September 1969 in Boston, Massachusetts, USA. She is a writer and actress, known for Orange Is the New Black (2013), The Insider (2004) and OITNB X Color of Change: Reform, Solidarity, Action (2020). She has been married to Larry Smith since 21 May 2006.

Multi-Emmy-winning actor, writer and producer, Mike Manning, has worked with some of the biggest names in Hollywood. On TV, Manning is most known for his roles in Disney's snowboarding movie "Cloud 9," on MTV's "Teen Wolf," as 'The Manny' on NBC's popular drama "This Is Us," and playing 'Charlie Dale' on the long-running soap "Days of Our Lives". Manning's other TV credits include "Hawaii Five-0" on CBS, "Major Crimes" on TNT, "Crash & Bernstein" on Disney XD, Tyler Perry's "The Haves and the Have Nots," and "The Bay" (Peacock), for which Manning won two Emmy Awards and was also nominated for an Independent Series Award.

Manning has been recognized for his noteworthy performances in the civil rights feature film "Son of the South" executive produced by Oscar-winner Spike Lee, and the third installment of the "God's Not Dead" faith-based blockbuster. Other credits include "The Call" featuring Lin Shaye and Tobin Bell, the Shudder Original "Slapface," and "Eyes in the Trees" with Oscar-winner Sir Anthony Hopkins, which Manning also co-wrote.

Growing up in Colorado, Manning showed an interest in acting at an early age, getting involved in high school theatre productions like "Oliver!" and "The Secret Garden." He has since performed at the Santa Monica Playhouse in Lisa Visca's original "Climax" opposite Rae Dawn Chong, and later as the lead in "Raise Me Up." Mike is also a voiceover actor, working on some of the largest foreign Netflix shows in the world, including the worldwide Spanish hit "Money Heist," the French hit "Lupin," Mexico's "Unstoppable," Italy's "Generation 56K" and the Spanish Sci-Fi "Welcome to Eden."

In 2014, Mike executive produced the Showtime documentary "Kidnapped for Christ" alongside Tom DeSanto ("X-Men"). That year, the New York Post referred to Manning as an actor becoming "an up-and-coming producer to remember," and he's been creating meaningful content ever since. In 2022, Manning launched Mannifest Productions, aiming at continuing his producing endeavors, with a focus on representation and using storytelling to illuminate certain social causes.

After producing "An Act of Love" with actress Pauley Perrette ("NCIS"), Mike later produced the homeless youth documentary "Lost in America," featuring Oscar-winner Halle Berry, Tiffany Haddish, Grammy-winner Jewel and Rosario Dawson. Manning also helped produce "The Death and Life of Marsha P. Johnson," directed by Oscar-nominated David France, which was a Netflix Original after premiering at the Tribeca Film Festival. Other producing credits include: the SXSW thriller "M.F.A.," the Tribeca comedy "Folk Hero & Funny Guy" with Wyatt Russell and Melanie Lynskey, the SXSW award-winning drama "Jinn" and the Lionsgate film "Powder Pup," which Manning co-wrote.

Mike works with nonprofits that advocate for the poor, the environment, and equal rights. In 2010, Manning lobbied Congress on behalf of The Human Rights Campaign while on MTV's "The Real World." Since then, Mike has received proclamations from the New York City Council and other political organizations for his cause-related work. He's on the board of Boo2Bullying, Legacy Youth Leadership, and the world's largest youth-led clean water organization Thirst Project.

Laurette Taylor was born on 1 April 1883 in New York City, New York, USA. She was an actress, known for Peg o' My Heart (1922), Happiness (1924) and One Night in Rome (1924). She was married to J. Hartley Manners and Charles A. Taylor. She died on 7 December 1946 in New York City, New York, USA.

Andy Dick is an American actor, producer and comedian. He is known for playing Boingo from Hoodwinked! (2005) and Hoodwinked Too! Hood vs. Evil (2011), Kramer from Inspector Gadget (1999), Mr. Sheepman from Clone High (2002), Mambo from Happily N'Ever After (2006), Dylan from The Reef (2006) and The Reef 2: High Tide (2012), Barry from Old School (2003), and Nuka from The Lion King II: Simba's Pride (1998) and The Lion Guard (2015). He was married to Ivone Kowalczyk and has 3 children.

Since melting filmgoers' hearts at the tender age of six in Steven Spielberg's beloved sci-fi blockbuster, E.T. the Extra-Terrestrial (1982), Drew Barrymore has emerged as one of the most iconic and singularly gifted talents of her generation. Born in Culver City, California to John Drew Barrymore and Jaid Barrymore, the clutches of fame were virtually inescapable for young Drew, her father being a member of the esteemed showbiz dynasty fronted by stage star Maurice Barrymore, his thespian wife Georgiana, and their three children: Lionel Barrymore, Ethel Barrymore, and John Barrymore.

In the wake of a challenging era fuelled by addiction and media vitriol, an industrious Barrymore threw herself into her work during the early-mid nineties, first with an assortment of "bad girl" parts in cultish B-pics like Poison Ivy (1992), Guncrazy (1992), Doppelganger (1993), and - befittingly - Bad Girls (1994); then, warmly received supporting roles in mainstream fare such as Boys on the Side (1995), Batman Forever (1995), Woody Allen's Everyone Says I Love You (1996), and Wes Craven's game-changing horror megahit, Scream (1996). Equal portions of goofball - The Wedding Singer (1998), Never Been Kissed (1999), Charlie's Angels (2000) - and gravitas - Riding in Cars with Boys (2001), Donnie Darko (2001), Confessions of a Dangerous Mind (2002) - came next, with a Golden Globe-grabbing pièce de résistance - her divine incarnation of Edith Bouvier Beale in Grey Gardens (2009) - confirming that her skill set was every bit as broad and robust as imagined.

Having already birthed an array of projects through Flower Films, the production house she co-formed with Nancy Juvonen in '95, Barrymore fastened an additional string to her bow when she spearheaded the sports dramedy Whip It (2009), her richly appraised directorial debut. Following a steady run of star vehicles at the front end of the 2010s, her tour de force turn as walking-dead suburban realtor Sheila Hammond - on Netflix's Santa Clarita Diet (2017) - saw her step with trademark resolve into newer territory still: the flourishing world of small screen entertainment, a metamorphosis she continues to espouse with her role as compère of spirited daytime staple, The Drew Barrymore Show (2020).

Mike White was born Michael Christopher White on June 28, 1970 in Pasadena, California. He is a writer, director and producer, mostly acknowledged for his award-winning HBO series The White Lotus (2021). He wrote and produced the HBO series Enlightened (2011), and wrote and co-produced Year of the Dog (2007) in which he made his directorial debut. Earlier works include Chuck & Buck (2000), Orange County (2002), The Good Girl (2002) and School of Rock (2003). He also wrote two episodes of the NBC series Freaks and Geeks (1999).

Angelina Jolie is an Academy Award-winning actress who rose to fame after her role in Girl, Interrupted (1999), playing the title role in the "Lara Croft" blockbuster movies, as well as Mr. & Mrs. Smith (2005), Wanted (2008), Salt (2010) and Maleficent (2014). Off-screen, Jolie has become prominently involved in international charity projects, especially those involving refugees. She often appears on many "most beautiful women" lists, and she has a personal life that is avidly covered by the tabloid press.

Jolie was born Angelina Jolie Voight in Los Angeles, California. In her earliest years, Angelina began absorbing the acting craft from her actor parents, Jon Voight, an Oscar-winner, and Marcheline Bertrand, who had studied with Lee Strasberg. Her good looks may derive from her ancestry, which is German and Slovak on her father's side, and French-Canadian, Dutch, Polish, and remote Huron, on her mother's side. At age eleven, Angelina began studying at the Lee Strasberg Theatre Institute, where she was seen in several stage productions. She undertook some film studies at New York University and later joined the renowned Met Theatre Group in Los Angeles. At age 16, she took up a career in modeling and appeared in some music videos.

In the mid-1990s, Jolie appeared in various small films where she got good notices, including Hackers (1995) and Foxfire (1996). Her critical acclaim increased when she played strong roles in the made-for-TV movies True Women (1997), and in George Wallace (1997) which won her a Golden Globe Award and an Emmy nomination. Jolie's acclaim increased even further when she played the lead role in the HBO production Gia (1998). This was the true life story of supermodel Gia Carangi, a sensitive wild child who was both brazen and needy and who had a difficult time handling professional success and the deaths of people who were close to her. Carangi became involved with drugs and because of her needle-using habits she became, at the tender age of 26, one of the first celebrities to die of AIDS. Jolie's performance in Gia (1998) again garnered a Golden Globe Award and another Emmy nomination, and she additionally earned a SAG Award.

Angelina got a major break in 1999 when she won a leading role in the successful feature The Bone Collector (1999), starring alongside Denzel Washington. In that same year, Jolie gave a tour de force performance in Girl, Interrupted (1999) playing opposite Winona Ryder. The movie was a true story of women who spent time in a psychiatric hospital. Jolie's role was reminiscent of Jack Nicholson's character in One Flew Over the Cuckoo's Nest (1975), the role which won Nicholson his first Oscar. Unlike "Cuckoo," "Girl" was a small film that received mixed reviews and barely made money at the box office. But when it came time to give out awards, Jolie won the triple crown -- "Girl" propelled her to win the Golden Globe Award, the SAG Award and the Academy Award for best leading actress in a supporting role.

With her newfound prominence, Jolie began to get in-depth attention from the press. Numerous aspects of her controversial personal life became news. At her wedding to her Hackers (1995) co-star Jonny Lee Miller, she had displayed her husband's name on the back of her shirt painted in her own blood. Jolie and Miller divorced, and in 2000, she married her Pushing Tin (1999) co-star Billy Bob Thornton. Jolie had become the fifth wife of a man twenty years her senior. During her marriage to Thornton, the spouses each wore a vial of the other's blood around their necks. That marriage came apart in 2002 and ended in divorce. In addition, Jolie was estranged from her famous father, Jon Voight.

In 2000, Jolie was asked to star in Lara Croft: Tomb Raider (2001). At first, she expressed disinterest, but then decided that the required training for the athletic role was intriguing. The eponymous character was drawn from a popular video game. Lara Croft was a female cross between Indiana Jones and James Bond. When the movie was released, critics were unimpressed with the final product, but critical acclaim wasn't the point of the movie. The public paid $275 million for theater tickets to see a buffed up Jolie portray the adventuresome Lara Croft. Jolie's father Jon Voight appeared in the movie, and during filming there was a brief rapprochement between father and daughter.

One of the Lara Croft movie's filming locations was Cambodia. While there, Jolie witnessed the natural beauty, culture and poverty of that country. She considered this an eye opening experience, and so began the humanitarian chapter of her life. Jolie began visiting refugee camps around the world and came to be formally appointed as a Goodwill Ambassador for the United Nations High Commissioner for Refugees (UNHCR). Some of her experiences were written and published in her popular book "Notes from My Travels" whose profits go to UNHCR.

Jolie has stated that she now plans to spend most of her time in humanitarian efforts, to be financed by her actress salary. She devotes one third of her income to savings, one third to living expenses and one third to charity. In 2002, Angelina adopted a Cambodian refugee boy named Maddox, and in 2005, adopted an Ethiopian refugee girl named Zahara. Jolie's dramatic feature film Beyond Borders (2003) parallels some of her real life humanitarian experiences although, despite the inclusion of a romance between two westerners, many of the movie's images were too depressingly realistic -- the movie was not popular among critics or at the box office.

In 2004, Jolie began filming Mr. & Mrs. Smith (2005) with co-star Brad Pitt. The movie became a major box office success. There were rumors that Pitt and Jolie had an affair while filming Mr. and Mrs. Smith. Jolie insisted that because her mother had been hurt by adultery, she herself could never participate in an affair with a married man, therefore there had been no affair with Pitt at that time. Nonetheless, Pitt separated from his wife Jennifer Aniston in January 2005 and, in the months that followed, he was frequently seen in public with Jolie, apparently as a couple. Pitt's divorce was finalized later in 2005.

Jolie and Pitt announced in early 2006 that they would have a child together, and Jolie gave birth to daughter Shiloh that May. They also adopted a three-year-old Vietnamese boy named Pax. The couple, who married in 2014 and divorced in 2019, continue to pursue movie and humanitarian projects, and now have a total of six children. She was appointed Honorary Dame Commander of the Order of St. Michael and St. George at the 2014 Queen's Birthday Honours for her services to United Kingdom foreign policy and the campaign to end warzone sexual violence.

Saffron Burrows, known for her work in critically acclaimed films, this fall reprises her role in the hit Netflix show YOU, season 3. Burrows previously starred in the Golden Globe winning Amazon series Mozart in the Jungle. In 2019 Burrows directed the short films: Michael & Indigo, starring Jason Isaacs & Richard Wilson. On stage Burrows starred in award-winning playwright Tom Dugan's one-woman drama Jackie Unveiled at the Wallis Annenberg Center for the Performing Arts. The searing drama is set against two of Jackie's most seminal life moments, examining the deeply personal struggles of a woman who seemed to have it all. Burrows' film credits include Henry Mason's Love Lies Bleeding; Noah Pritzker's Quitters; Bill Guttentag's Knife Fight; Jonas Åkerlund's Small Apartments; Jonas Pate's Shrink; Roger Donaldson's The Bank Job; Amy Redford's The Guitar; Peter Howitt's Dangerous Parking; Hal Hartley's Fay Grim; Mike Binder's Reign Over Me; Wolfgang Petersen's Troy; Raoul Ruiz's Klimt; Gerardo Herero's El Misterio Galíndez; Paul McGuigan's Gangster No. 1; Michael Apted's Enigma; Mike Figgis' Timecode, and his film adaptation of the classic play, Miss Julie, in the lead role; Pat O'Connor's Circle of Friends; and Jim Sheridan's In the Name of the Father. On the small screen, Burrows recurred on the ABC drama Marvel's Agents of S.H.I.E.L.D., CBS' comedy The Crazy Ones, NBC's drama series My Own Worst Enemy, as well as the award-winning series Boston Legal, earning her two cast SAG nominations. For the BBC, she starred opposite Albert Finney and Julie Christie in the production of Dennis Potter's Karaoke. In Los Angeles, Burrows starred in Melissa James Gibson's This for the Kirk Douglas Theater. She played Janey Morris in The Earthly Paradise for the Almeida Theatre, London; and in Neil LaBute's Some Girls(s) on the West End stage. Burrows' theater work includes Jeanette Winterson's The PowerBook for the Royal National Theatre. Burrows' theater debut was for the Bush Theatre, London, in the play Two Lips, Indifferent Red directed by Vicky Featherstone.

Missy Higgins was born on 19 August 1983 in Melbourne, Victoria, Australia. She is an actress, known for Tomorrow, When the War Began (2010), Bran Nue Dae (2009) and Total Control (2019).

Vanessa Carlton was born on August 16, 1980, the first of two children (she has a sister and a brother) born to Ed and Heidi Carlton. Raised in Milford, Pennsylvania, her mother was a piano teacher, and exposed Vanessa to classical music from a young age. By age two, she began playing the piano, and at age 9 became obsessed with ballet. She joined the School of American Ballet at age 14, living in a dorm at Lincoln Center and enrolling in the Professional Children's School. During her time at the academy, she continued playing the piano and writing songs, nurturing her blossoming songwriting skills. Upon graduation, she moved to Hell's Kitchen, where she waitressed five nights a week and performed at local clubs on open mic nights, honing her craft and developing a stage presence. At home, she would often stay up until 4 a.m. recording demos on a four-track machine, and was signed to A&M Records in 2001. Her first video, for the song "A Thousand Miles," was released even as she continued recording her debut album, and it became an instant smash on MTV, as well as cracking the American Top Ten. This lead Rolling Stone magazine to name her as one of the 'Top Ten Artists to Watch in 2002.' Her debut album, titled 'Be Not Nobody,' was released in April of 2002, and her second single, "Ordinary Day," was both a hit on the charts and with MTV viewers, via the video she made for the song. She'll spend the rest of 2002 and early 2003 on tour, and then plans to enroll in Columbia University full-time in the fall of 2003. Carlton maintains she'll have no problem juggling a music career with a full plate of school studies.

Joan Crawford was born Lucille Fay LeSueur on March 23, 1906, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).

Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.

By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")

Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 71 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.

Margaret Cho was born on December 5, 1968 in San Francisco. Her grandfather was a Methodist minister who ran an orphanage in Seoul during the Korean War. Ignoring the traditions of her patriarchal culture, her mother bravely resisted an arranged marriage in Korea & married Margaret's father, who writes joke books in Korean.

What she did know is that she didn't love being a kid. Racing toward adulthood to escape bullying, she began writing jokes for stand up at 14 & professionally performing at 16. Getting picked on & feeling disenfranchised's a subject that's very near to her heart. She has become a sort of patron saint for outsiders, speaking for them when they are not able to speak for themselves.

Soon after starting her career, she won a comedy contest where first prize was opening for Jerry Seinfeld. She moved to Los Angeles in the early '90s & hit the college circuit, where she immediately became the most booked act in the market, garnering a nomination for Campus Comedian of The Year. She performed over 300 concerts within 2 years. Arsenio Hall introduced her to late night audiences, Bob Hope put her on a prime time special & seemingly overnight, she became a national celebrity.

Her groundbreaking, controversial & short-lived ABC sitcom All-American Girl soon followed. Oddly, while chosen because of who she was-a non-conformist Korean-American woman w/ liberal views-the network decided it wanted her to tone it down for the show. Challenging her feelings for both who she was & how she looked, she soon realized that though she was an executive producer, it was a battle she wouldn't win.

The experience was a traumatic one, bringing up unresolved feelings left over from childhood. She developed an eating disorder as a response to criticism about her body. She was so obsessive in her goal to try to be what she thought others wanted, she landed in the hospital w/ kidney failure. Throughout a period of self-abuse, she continued performing to sold-out audiences across the country in comedy clubs, theaters & on college campuses, working to channel her anger in to something more positive.

In 1999, her groundbreaking, off-Broadway one-woman show, I'm The One That I Want, garnered national acclaim. It was made into a best-selling book & feature film. After her experience w/ All-American Girl, she wanted to make sure she would only have to answer to herself, making sure she was responsible for the distribution & sales of her film, taking a page from what music artist Ani DiFranco did w/ her Righteous Babe Records. The concert film, which garnered incredible reviews, broke records for most money grossed per print in movie history. In 2001, after the success of her first tour, she launched Notorious C.H.O., a smash-hit 37-city national tour that culminated in a sold-out concert at Carnegie Hall. It was recorded & released as a feature film, hailed by the New York Times as "Brilliant!" Both films were acquired by Showtime Cable Networks & produced by her production company, a testament to the success of her bold business model.

In March of 2003, she embarked on her third sold-out national tour, Revolution. It was heralded by the Chicago Sun Times as "Her strongest show yet!" The CD recording was nominated for a Grammy for Comedy Album of the Year. In 2005, she released Assassin, which The Chicago Tribune crowed "Packs passion in to each punch." The concert film premiered in select theaters as well as on the gay & lesbian premium channel Here! TV in late 2005.

In 2007, she hit the road w/ Cyndi Lauper, Debbie Harry & Erasure, along w/ indie faves The Dresden Dolls & The Cliks, to host the True Colors Tour, benefiting the Human Rights Campaign. A true entertainment pioneer, she also created & starred in The Sensuous Woman, a live variety show featuring vaudevillian burlesque & comedy, which she took for an extended off-Broadway run that fall.

She returned to TV in 2008 on the VH1 series, The Cho Show. It followed her, her real parents & her eccentric entourage through a series of irreverent & outrageous experiences shaped by her 'anything goes' brand of stand-up. It was beloved for the audience it was intended for, the ones who maybe don't quite fit in.

The aptly titled Beautiful came next, exploring the good, bad & ugly in beauty as well as the unattractive politicians & marketers who shape our world. The concert premiered in Australia at The Sydney Theater, marking the first time she debuted a tour abroad. While touring through the U.S., the concert was filmed at the Long Beach theater, aired as a special on Showtime in 2009, then released as both a DVD & a book.

In 2009, she nabbed a starring role in the comedy/drama series Drop Dead Diva, which aired on Lifetime. She enjoys being part of a team, not necessarily having the sole responsibility for keeping things afloat.

Never one to shy away from a challenge, she stepped right up to the proverbial plate when asked to do Season 11 of Dancing with the Stars. Paired w/ pro Louie Van Amstel, she was on 1 of the show's most controversial seasons, dancing alongside Mike "The Situation" Sorrentino, David Hasselhoff, Jennifer Grey & Bristol Palin among others.

She got a very strong reaction to her Rainbow Dancing Dress during a time when the issue of bullying, especially among gay teens, was all over the media.

2010 culminated w/ another high honor, a second Grammy Award nomination for Comedy Album of the Year for Cho Dependent, her collection of music featuring collaborations w/ Fiona Apple, Andrew Bird, Grant Lee Phillips, Tegan & Sara, Ben Lee & more. The album received critical acclaim.

She self released Cho Dependent on her own Clownery Records & was encouraged by the acclaim, as there were only a handful of people putting out albums of comedy music-"Weird" Al Yankovic, Flight of the Conchords, The Lonely Island, to name a few-but no women. While thrilled that her hard work was rewarded w/ the nomination, she wasn't finished w/musical comedy yet, claiming to have more music in her.

In 2011, she released the live concert film of Cho Dependent, which also had its cable network debut on Showtime. Audiences who caught these performances live can attest that she hasn't lost any of her edge on Cho Dependent, her sixth live concert DVD. Shot at the Tabernacle in Atlanta. She remains uncensored, but never unhinged: taking aim at the Palin family, appearing on Dancing w/ the Stars, smoking pot & living in a world w/ sexting' The DVD's no-holds-barred Margaret & instantly a classic.

She then filmed the sixth & final season on Drop Dead Diva. She returned as "Teri" Girl Friday to Brooke Elliott's Jane Bingham, whose body's inhabited by the soul of a vapid model sent back to earth after Heaven judges her as a zero-zero for having committed no good & no bad deeds. Drop Dead Diva's not only beloved on Lifetime, but by the many stars who have lined up to guest on the show such as Paula Abdul, Wanda Sykes, Rosie O'Donnell, Vivica Fox & Kim Kardashian.

Not one to rest on her laurels, she spent whatever free time she had crafting her all new stand-up show Mother, which kicked off in September 2012, including both a U.S. & European tour.

Paradox not lost, she re-scheduled some of the shows she had booked mid-September so she could attend the Emmy Awards w/ her mother, having been nominated for a Primetime Emmy for Outstanding Guest Actress in a Comedy Series for her stint on 30 Rock as gender-bending North Korean leader Kim Jong-Il.

In 2014, she filmed a pilot for FOX & was thrilled to work w/Tina Fey as well as the producing team from 30 Rock. The multi-camera comedy takes place at a women's college that had just opened its doors to men for the first time.

While thrilled w/ her 2 Grammy & recent Emmy nomination, she has never turned away from the causes that are important to her. She's active in anti-racism, anti-bullying & gay rights campaign. She has been recognized for her unwavering dedication, receiving the Victory Fund's 2008 Leadership Award & the first ever Best Comedy Performance Award at the 2007 Asian Excellence Awards. She also received the First Amendment Award from the ACLU of Southern California & the Intrepid Award from the National Organization for Women (NOW). Throughout her career, she has been honored by GLAAD, American Women in Radio & Television, the Lambda Legal Defense & Education Fund, the National Gay & Lesbian Task Force (NGLTF), the Asian American Legal Defense & Education Fund (AALDEF) & PFLAG for making a significant difference in promoting equal rights for all, regardless of race, sexual orientation or gender identity. In June 2011, she was honored by L.A. Pride w/ a Lifetime Achievement Award, recognizing an individual whose lifetime body of work has left a lasting major imprint on the LGBT community.

Through her hard work, she has had the opportunity to be heard, to extend her point of view & become regarded as a true pioneer in her field. She takes none of it for granted.

Tallulah Brockman Bankhead was born on January 31, 1902 in Huntsville, Alabama. Her father was a mover and shaker in the Democratic Party who served as Speaker of the United States House of Representatives from June 4, 1936, to September 16, 1940. Tallulah had been interested in acting and, at age 15, started her stage career in the local theater troupes of Huntsville and the surrounding areas. At age 16, she won a beauty contest and, bolstered by this achievement, moved to New York City to live with her aunt and to try her hand at Broadway. She was offered a role in Dr. Jekyll and Mr. Hyde (1920), but did not take it after she refused John Barrymore's invitation for a visit to the casting couch. Unfortunately for the young Miss Bankhead, she did not make any headway on the stages of New York, so she pulled up stakes and moved to London, in 1923, to try her luck there.

For the next several years, she was the most popular actress of London's famed West End. After starring in several well-received plays, she gained the attention of Paramount Pictures executives and returned to the United States to try her hand at the film world. Her first two films, Woman's Law (1927) and His House in Order (1928), did not exactly set the world on fire, and she returned to do more stage work. She tried film work again with Tarnished Lady (1931), where she played Nancy Courtney, a woman who marries for money but ultimately gets bored with her husband and leaves him, only to come back to him when he is broke. The critics gave it a mixed reception. Tallulah's personality did not shine on film as Paramount executives had hoped. She tried again with My Sin (1931) as a woman with a secret past about to marry into money. Later that year, she made The Cheat (1931), playing Elsa Carlyle, a woman who sold herself to a wealthy Oriental merchant who brands her like she was his own property and is subsequently murdered. The next year, she shot Thunder Below (1932), Faithless (1932), Make Me a Star (1932) (she had a cameo role along with several other Paramount stars) and Devil and the Deep (1932). The latter film was a star-studded affair that made money at the box-office due to the cast (Gary Cooper, Charles Laughton and newcomer Cary Grant). The films she was making just did not do her talent any justice, and it was back to Broadway--she did not make another film for 11 years. She toured nationally, performing in all but three states.

She was also a big hit at social affairs, where she often shocked the staid members of that society with her un-traditional behavior. She chain-smoked and enjoyed more than her share of Kentucky bourbon, and made it a habit to take her clothes off and chat in the nude. A friend and fellow actress remarked on one occasion, "Tallulah dear, why are you always taking your clothes off? You have such lovely frocks." She was also famous--or infamous--for throwing wild parties that would last for days. She returned to films in 1943 with a cameo in Stage Door Canteen (1943), but it was Lifeboat (1944) for director Alfred Hitchcock that put her back into the limelight. However, the limelight did not shine for long. After shooting A Royal Scandal (1945) she did not appear on film again until she landed a role in Die! Die! My Darling! (1965). Her film and small screen work consisted of a few TV spots and the voice of the Sea Witch in the animated film The Daydreamer (1966), so she went back to the stage, which had always been first and foremost in her heart. To Tallulah, there was nothing like a live audience to perform for, because they, always, showed a lot of gratitude. On December 12, 1968, Tallulah Bankhead died at age 66 of pneumonia in her beloved New York City. While she made most of her fame on the stages of the world, the film industry and its history became richer because of her talent and her very colorful personality. Today her phrase, "Hello, Dahling" is known throughout the entertainment world.

Helmut Berger - Austrian born film actor, mostly known for starring in Luchino Visconti's films, which are now considered modern classics. Born Helmut Steinberger in Salzburg in 1944, he turned down a prospect of running a family hotel business and went to London where he worked as waiter to pay his way through drama school. Later he attended the University of Perugia in Italy and spent some time in France. His acting career began with French and Italian commercials and showed no signs of progress until he was picked up by Luchino Visconti out of pool of "extras" during the shooting of Sandra (1965) in 1964. Berger's relationships with Visconti, whose partner he remained for 12 years, brought him to the attention of press and allowed him to act in some Visconti's films such as The Damned (1969), Ludwig (1973) and Conversation Piece (1974). Visconti is said to view Berger as the very image of his idea of a "demonic, insane and sexually perverted" man. As a matter of fact Berger often portrayed anguished souls and sinister villains. His acting career continued throughout the 1970s but was temporarily broken up in the early 80s when he battled alcohol problem. He appeared in numerous French, Italian, German films and spent one season on American soap Dynasty (1981) but few directors used his gifts with the same skill as Visconti. His autobiography "Ich" (Me), in which he famously referred to his relationships with Visconti as "marriage" and claimed to be the director's widow, appeared in 1998. Berger is still very active appearing in TV series regularly. He also very modestly attributed his acting achievements to Visconti's directing.

Brenda Benet, born Brenda Ann Nelson in Los Angeles, California, on August 14, 1945, was a classic example of the modern-day Hollywood tragedy. As a television actress with good dramatic scope, she managed to piece together a wide and impressive portfolio of guest shots in a career spanning just over 16 years before taking her life at the age of 36. She spent her childhood and early teenage years feeling awkward and self-conscious because her complexion was darker than those of her siblings. Because of this, she felt that she did not fit in with her family, and often fantasized about being adopted.

Brenda attended UCLA for a brief time, majoring in languages. In 1962 she entered show business; her breakthrough role came in 1964 when she was selected to play the part of Jill McComb in The Young Marrieds (1964). After that came stints on various comedy and drama series in the '60s and '70s, usually playing ethnic, exotic types. She was probably best known for her role as the kind-hearted prostitute in Walking Tall (1973). During this time she married and divorced actor Paul Petersen. She began a relationship with Bill Bixby and moved in with him in 1969, and they married in 1971. By the late '70s, however, they were divorced.

Brenda retired from the business in the mid-'70s to raise a family, and in late 1974 she gave birth to a boy, Christopher Sean Bixby. Tragically, Christopher died in 1981 during a winter ski vacation in California. It was believed that this and her divorce from Bixby were the events which caused Brenda's life to spin out of control. On April 7, 1982, Brenda went into the bathroom of her West Los Angeles home, lit and arranged some candles in a circle on the floor and lay down. She then placed a Colt .38-cal. revolver into her mouth and pulled the trigger. She died instantly.

David Bowie was one of the most influential and prolific writers and performers of popular music, but he was much more than that; he was also an accomplished actor, a mime and an intellectual, as well as an art lover whose appreciation and knowledge of it had led to him amassing one of the biggest collections of 20th century art.

Born David Jones, he changed his name to Bowie in the 1960s, to avoid confusion with the then well-known Davy Jones (lead singer of The Monkees). The 1960s were not a happy period for Bowie, who remained a struggling artist, awaiting his breakthrough. He dabbled in many different styles of music (without commercial success), and other art forms such as acting, mime, painting, and play-writing. He finally achieved his commercial breakthrough in 1969 with the song "Space Oddity", which was released at the time of the moon landing. Despite the fact that the literal meaning of the lyrics relates to an astronaut who is lost in space, this song was used by the BBC in their coverage of the moon landing, and this helped it become such a success. The album, which followed "Space Oddity", and the two, which followed (one of which included the song "The Man Who Sold The World", covered by Lulu and Nirvana) failed to produce another hit single, and Bowie's career appeared to be in decline.

However, he made the first of many successful "comebacks" in 1972 with "Ziggy Stardust", a concept album about a space-age rock star. This album was followed by others in a similar vein, rock albums built around a central character and concerned with futuristic themes of Armageddon, gender dysfunction/confusion, as well as more contemporary themes such as the destructiveness of success and fame, and the dangers inherent in star worship. In the mid-1970s, Bowie was a heavy cocaine abuser and sometime heroin user.

In 1975, he changed tack. Musically, he released "Young Americans", a soul (or plastic soul as he later referred to it) album. This produced his first number one hit in the US, "Fame". He also appeared in his first major film, The Man Who Fell to Earth (1976). With a permanently-dilated pupil and skeletal frame, he certainly looked the part of an alien. The following year, he released "Station to Station," containing some of the material he had written for the soundtrack to this film (which was not used). As his drug problem heightened, his behavior became more erratic. Reports of his insanity started to appear, and he continued to waste away physically. He fled back to Europe, finally settling in Berlin, where he changed musical direction again and recorded three of the most influential albums of all time, an electronic trilogy with Brian Eno "Low, Heroes and Lodger". Towards the end of the 1970s, he finally kicked his drug habit, and recorded the album many of his fans consider his best, the Japanese-influenced "Scary Monsters". Around this time, he appeared in the title role of the Broadway drama The Elephant Man, and to considerable acclaim.

The next few years saw something of a drop-off in his musical output as his acting career flourished, culminating in his acclaimed performance in Merry Christmas Mr. Lawrence (1983). In 1983, he released "Let's Dance," an album which proved an unexpected massive commercial success, and produced his second #1 hit single in the United States. According to producer Nile Rodgers, the album was made in just 17 days and was "the easiest album" he'd ever made in his life. The tour which followed, "Serious Moonlight", was his most successful ever. Faced with this success on a massive scale, Bowie apparently attempted to "repeat the formula" in the next two albums, with less success (and to critical scorn). Finally, in the late 1980s, he turned his back on commercial success and his solo career, forming the hard rock band, Tin Machine, who had a deliberate limited appeal. By now, his acting career was in decline. After the comparative failure of Labyrinth (1986), the movie industry appears to have decided that Bowie was not a sufficient name to be a lead actor in a major movie, and since that date, most of his roles have been cameos or glorified cameos. Tin Machine toured extensively and released two albums, with little critical or commercial success.

In 1992, Bowie again changed direction and re-launched his solo career with "Black Tie White Noise", a wedding album inspired by his recent marriage to Iman. He released three albums to considerable critical acclaim and reasonable commercial success. In 1995, he renewed his working relationship with Brian Eno to record "Outside." After an initial hostile reaction from the critics, this album has now taken its place with his classic albums. In 2003, Bowie released an album entitled 'Reality.' The Reality Tour began in November 2003 and, after great commercial success, was extended into July 2004. In June 2004, Bowie suffered a heart attack and the tour did not finish its scheduled run.

After recovering, Bowie gave what turned out to be his final live performance in a three-song set with Alicia Keys at the Hammerstein Ballroom in New York in November 2006. He also returned to acting. He played Tesla in The Prestige (2006) and had a small cameo in the comedy David Bowie (2006) for fan Ricky Gervais. In 2007, he did a cartoon voice in SpongeBob SquarePants (1999) playing Lord Royal Highness. He had a brief cameo in the movie ''Bandslam'' released in 2009; after a ten year hiatus from recording, he released a new album called 'The Next Day', featuring a homage cover to his earlier work ''Heroes''. The music video of ''Stars are Out Tonight'' premiered on 25 February 2013. It consists of other songs like ''Where Are We Now?", "Valentine's Day", "Love is Lost", "The Next Day", etc.

In 2014, Bowie won British Male Solo Artist at the 2014 Brit Awards, 30 years since last winning it, and became the oldest ever Brit winner. Bowie wrote and recorded the opening title song to the television miniseries The Last Panthers (2015), which aired in November 2015. The theme used for The Last Panthers (2015) was also the title track for his January 2016 release, ''Blackstar" (released on 8 January 2016, Bowie's 69th birthday) was met with critical acclaim. Following Bowie's death two days later, on 10 January 2016, producer Tony Visconti revealed Bowie had planned the album to be his swan song, and a "parting gift" for his fans before his death. An EP, No Plan, was released on 8 January 2017, which would have been Bowie's 70th birthday. The day following his death, online viewing of Bowie's music skyrocketed, breaking the record for Vevo's most viewed artist in a single day.

On 15 January, "Blackstar" debuted at number one on the UK Albums Chart; nineteen of his albums were in the UK Top 100 Albums Chart, and thirteen singles were in the UK Top 100 Singles Chart. The song also debuted at #1 on album charts around the world, including Australia, France, Germany, Italy, New Zealand and the US Billboard 200. At the 59th Annual Grammy Awards, Bowie won all five nominated awards: Best Rock Performance; Best Alternative Music Album; Best Engineered Album, Non-Classical; Best Recording Package; and Best Rock Song. The wins marked Bowie's first ever in musical categories. David Bowie influenced the course of popular music several times and had an effect on several generations of musicians.

Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.

Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.

Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."

Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.

Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.

During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.

The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.

For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.

Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience

Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.

After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.

It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.

In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.

Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.

One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.

Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.

Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.

Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.

While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.

Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.

The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.

Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.

Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.

Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.

Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.

Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.

Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.

After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.

After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.

Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.

Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.

Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.

Actor. Jack Cassidy, by his own design, defied mere definition from the day he was born in Richmond Hills, New York in 1927 until his tragic death in 1976. An actor, singer, writer, designer - the consummate showman and irrefutable creative entity - his life never followed a simple path nor did it ever lead quite where expected. Yet, in the end, his impact on the entertainment community has been unmistakable - and unforgettable. The youngest of five children born to immigrant parents, Jack Cassidy's story is one of success and inspiration. By the time he was sixteen, he'd worked fifteen jobs ranging from busboy to dishwasher to ice truck driver. His uncle, a renowned circus contortionist, showed him the show business ropes and at the tender age of sixteen, Jack stepped into the chorus of "Something for the Boys". After that point, Jack's acting talent and rich baritone voice took him from show to show. He graced the stage in several productions before landing his first lead role in "Wish You Were Here" in 1953. The reviews were outstanding and his career started to flourish including the role of Johnny O'Sullivan in "Sandhog." The role of an Irish immigrant would hit close to home and would be one of his favorites. His life had also been enriched with his marriage to dancer-choreographer Evelyn Ward in 1948 and the birth of their son David in 1950. Evelyn and Jack had met while working on a show together and their wedding was attended by a who's-who of The Great White Way. Jack started to pepper his career with appearances not only on stage but on various television shows, sharing his talent with a broader audience. He made several appearances on "Toast of the Town" and "Lux Video Theatre" and also surfaced on episodes of "The United Steel Hour," "Richard Diamond, Private Detective" and "Gunsmoke." He would even have his own television show in Great Britain. His television presence would only grow over the next 20 years reflecting not only his career but his notoriety and prominence in the industry. In 1955, Jack was cast in a State Department European tour of the Rogers and Hammerstein musical "Oklahoma!" with a young actress named Shirley Jones. Legally separated from Evelyn, Jack pursued Shirley and after their first date in Paris, he declared his intent to marry her - which he did between performances of "The Beggar's Opera" in 1956. Their marriage would be blessed with the births of three sons: Shaun, Patrick and Ryan. All four of his sons would carry on Jack's legacy in their own way - each with critically acclaimed careers in theater, film and television. Jack and Shirley would collaborate in other ways, appearing together on Broadway in "Maggie Flynn" in 1968 (Jack would receive a Tony nomination for his portrayal of "Phineas"), recording a number of albums including "Love From Hollywood" and "Brigadoon" and touring with the nightclub act "The Marriage Band" which was created by Jack and inspired by their relationship. As the country transformed through the 1960s, Jack Cassidy's career blossomed in all respects. In the theater, he took home the Tony for Best Featured Actor in 1963 for "She Loves Me" and followed that with Tony nominations for his work in "Fade Out, Fade In," "It's a Bird...It's a Plane...It's Superman" and "Maggie Flynn" and is one of the most nominated actors in Tony history. The West Coast beckoned to him and Jack started to truly establish himself in television. Whether it was a brilliant dramatic performance on "Alfred Hitchcock Presents,", "77 Sunset Strip," "Coronet Blue," "Lock Up," "Maverick" or "Wagon Train," a dazzling musical performance on "The Bell Telephone Hour" or "The Garry Moore Show" or a delightful comedic performance on "Bewitched" or "That Girl" - Jack was finally allowed to showcase his versatility and range to audiences unable to see him set foot on a stage. He even started his movie career in films such as "Look in Any Window", "The Chapman Report", "FBI Code 98" and the animated "Mr. Magoo's Christmas Carol" in 1962. Often considered "larger than life" himself - even by co-stars Paula Prentiss and Richard Benjamin - Jack brought life to the character of Oscar North in the 1968 series "He & She" to the delight of both audiences and critics. His delivery of the classic "trapped in an elevator" routine has never been matched and his superior flair and uproarious comic timing would garner an Emmy nomination in 1969. His television presence would swell in the 1970s as he became a staple of both dramatic programs and game shows. Indeed it was nearly impossible to turn on the television and not see Jack's brilliant smile or hear his infectious laughter. He frequented "Columbo" and remains one of the more popular guest stars in the show's history. Other memorable performances include appearances in "Barnaby Jones," "Matt Helm," "McCloud," "Hawaii Five-O," "Alias Smith and Jones" and "Bonanza" as well as comedic interludes in "Love, American Style", "The Carol Burnett Show", "Laugh-In" and "The Mary Tyler Moore Show." His career expanded into the television movie genre with "Your Money or Your Wife," "George M!," "June Moon," and "The Phantom of Hollywood." Yet it was his depiction of attorney Otis Baker in "The Andersonville Trial" that again brought him an Emmy nomination and critical acclaim. Jack Cassidy's film career in the 1970s was filled with wonderful, quirky roles in films such as "Bunny O'Hare" with Bette Davis and Ernest Borgnine, the Clint Eastwood action-thriller "The Eiger Sanction", "The Cockeyed Cowboys of Calico County" with Mickey Rooney and his brilliant portrayal of the legendary John Barrymore in "W.C. Fields and Me". However, he craved the solid, dramatic roles where he could truly prove his abilities on a larger scale. Tragically, he had just started receiving these offers right before his death in 1976. Like the character he'd created on "He & She," Jack Cassidy was undeniably larger than life. His notorious sense of humor made him the life of the party from private gatherings to public charity galas. It is no surprise that his friends and fans read like a roster of Hollywood's top talent. Among them, Dick Van Dyke, Jack Lemmon and Dick Van Patten have counted themselves as admirers of his talent. Jack was the superlative example of the classic leading man with his charisma, dashing grin and sparkling eyes who conducted his life with nothing less than panache and style. His golden baritone voice will forever set him apart. His talent will never be matched. His wit and humor warm the memories of the friends and family he left behind. He was a creative powerhouse who was denied the time necessary to fully express the full spectrum of his talents - some of which are only now revealed through the talent and success of his sons in many facets of the industry. Despite the brilliance of his career, he had only started to tap into the expanse of his potential. It was a life cut short and a life that deserves to be celebrated

Crystal Chappell was born on 4 August 1965 in Silver Spring, Maryland, USA. She is an actress and producer, known for Venice the Series (2009), Guiding Light (1952) and Days of Our Lives (1965). She has been married to Michael Sabatino since 6 January 1997. They have two children. She was previously married to Scott Fanjoy.