Trivia: Born in the Bronx, NY, to an upper-middle-class Irish family, Carroll O'Connor's father was a well-connected attorney and his mother was a school teacher. The family lived well, in the Forest Hills section of Queens, until O'Connor's father ran afoul of the law and was convicted of fraud. Despite this setback in the family's well-being, O'Connor managed to attend college and considered a career as a sportswriter, but those aspirations were interrupted by the outbreak of World War II. Rejected by the United States Navy, he enrolled instead in the Merchant Marine Academy, but he later abandoned that pursuit, instead becoming a merchant seaman. After the war, O'Connor considered journalism as a career, but a trip to Dublin in 1950 changed the course of his life, as he discovered the acting profession. While attending college in Dublin, he began appearing in productions of the Gate Theater and also at the Edinburgh Festival, where he played Shakespearean roles. Returning to New York in 1954, he and his wife worked as substitute schoolteachers while he looked for acting work, which he found, after a long dry spell in which he despaired of ever getting a break, in Burgess Meredith's production of James Joyce's Ulysses. O'Connor got a role in which he received favorable notice from the critics, and that, in turn, led to his breakthrough part, as a bullying, greedy studio boss in an off-Broadway production of The Big Knife. O'Connor jumped next to television, at the very tail-end of the era of live TV drama in New York. Beginning in 1960 with his portrayal of the prosecutor in the Armstrong Circle Theater production of The Sacco-Vanzetti Story, he established himself on the small screen as a good, reliable character actor, who was able to melt into any role with which he was presented. Over the next decade, O'Connor worked in everything from Westerns to science fiction. He played taciturn landowners, likable aliens, enemy agents (on The Man From U.N.C.L.E., in "The Green Opal Affair"), and other character roles with equal aplomb. He also appeared in several unsold television pilots during the 1960s, including The Insider with David Janssen, and Luxury Liner starring Rory Calhoun, playing character roles; and he did a pilot of his own, Walk in the Night -- directed and co-written by Robert Altman -- in which he co-starred with Andrew Duggan. O'Connor's movie career followed quickly from his television debut, starting with appearances in three dramatic films (most notably Lonely Are the Brave) in 1961. He was one of many actors who managed to get "lost" in the sprawling 20th Century Fox production of Cleopatra, but he fared better two years later in Otto Preminger's epic-length World War II drama In Harm's Way. O'Connor, playing Commander Burke, was very visible in his handful of scenes with John Wayne and Kirk Douglas, and Preminger thought enough of the actor to mention him by name along with the other stars in the film's trailer. He had major supporting roles, serious and comedic, respectively, in such high-profile movies as Hawaii and What Did You Do in the War, Daddy?, of which the latter proved critical to his subsequent career. O'Connor had been in demand for television roles since the early '60s. In an episode of The Outer Limits, he revealed his flexibility by playing a somewhat befuddled alien investigator from Mars, masquerading as a pawnshop owner in a seedy section of New York, and jumping from a slightly affected, carefully pronounced diction in one line to a working-class dialect and manner in the same shot (for benefit of a human onlooker in the scene). He had also given a very warm, memorable, and touching performance in "Long Live the King," an episode of Voyage to the Bottom of the Sea, and producer Irwin Allen had wanted O'Connor for the role of Dr. Smith on Lost in Space early in the character's conception, when the Smith figure was thoroughly villainous. Although he didn't get the part of Dr. Smith, O'Connor later appeared in "The Lost Patrol" episode of Allen's science fiction series The Time Tunnel. He had also been up for the role of the Skipper in Sherwood Schwartz's series Gilligan's Island, a role that was finally won by Alan Hale Jr. At the end of the 1960s, while O'Connor was busying himself in movies ranging from Westerns to crime films and mysteries, including Warning Shot, Waterhole No. 3, Marlowe, and For Love of Ivy, and distinguishing himself in all of them, CBS began preparing a television series called Those Were the Days. Adapted from a British series, it dealt life from the point-of-view of Archie Bunker, a fed-up, bigoted working-class resident of New York's outer borough of Queens. The network had tried for a big name, approaching Mickey Rooney to play the part, but he turned it down, and then co-producer Bud Yorkin remembered O'Connor's blustery comic performance as General Bolt in What Did You Do in the War, Daddy? O'Connor was offered the role and accepted. He was as busy as ever with movie work, including his portrayal of a memorably boisterous and comical general in Kelly's Heroes, which was shot in Europe in 1970, and the series -- now called All in the Family -- didn't seem a likely or essential prospect for success. Within weeks of All in the Family's premiere in January of 1971, however, O'Connor had become one of the most recognizable and popular leading men on television. O'Connor had never played more than major supporting roles in movies, so there were no feature films to license starring the new pop culture hero; but CBS did pull Walk in the Night, the unsold pilot from three years earlier, starring O'Connor as a detective in a race against time to save a man's life, and aired it with the kind of fanfare normally reserved for major feature films. From 1971 on, O'Connor never looked back: He got star billing the next year in the network television production Of Thee I Sing (1972), and got his first chance to star in a feature film in Law and Disorder, in 1974. O'Connor would play nothing but leads from then on, and command a leading man's salary, a matter that led to a contractual dispute in 1974 that resulted in the actor absenting himself from All in the Family for a series of shows before it was resolved. From then on, entire productions, such as the TV-movie adaptation of The Last Hurrah (1977), would be built around him. He also returned to the theater periodically with far less success, starring in and directing a handful of theatrical productions that seldom got good notices or lingered long on-stage. O'Connor earned four Emmy awards as Archie Bunker, a recognition of the convincing mixture of warmth and anger that he brought to the character, and such was his popularity in the role, that he was able to parlay it into a spin-off series for four seasons called Archie Bunker's Place. It seemed for a time in the 1980s that O'Connor would be forever locked into the role, until 1987 when he got the part of laconic small-town Southern police chief Bill Gillespie in the television series In the Heat of the Night. Taking over a part originated on screen by Rod Steiger, O'Connor rebuilt the character from the ground up, making Gillespie a strong-willed, yet soft-spoken, flawed, sometimes crude, even occasionally bigoted man who was learning to be better. His work in the series earned O'Connor an additional Emmy, and he eventually took over control of the production, transforming In the Heat of the Night from a routine cop show into one of the better dramatic series of its era, with police work only incidental to its content (and hardly a car chase in sight), in a run lasting through 1994.

Trivia: Each and every week from 1971 to 1980, the popular TV sitcom All in the Family was heralded by the glass-shattering offkey singing of Edith Bunker, aka "Dingbat." This tended to obscure the fact that Jean Stapleton, the woman who so brilliantly portrayed Edith not only possessed a lilting, well-modulated singing voice, but also was as far removed as possible from a "dingbat" in real life. While attending Hunter College, Stapleton began her performing career as a member of the Robert Shaw Chorale. She made her professional stage debut in 1941, then went on to fruitful work-study associations with the American Apprentice Theater, the American Actors Company, the American Theater Wing, and director-acting coach Harold Clurman. Her first Broadway appearance was in the 1953 production In the Summer House; the following year, she made her TV bow as a semi-regular on the daytime drama Woman With a Past. She endeared herself to Broadwayites with her wistfully funny characterizations in the SRO musicals Damn Yankees, Bells Are Ringing, and Funny Girl, roles that she would carry over into the film versions of these hits. In 1958, she made her first appearance at the Totem Pole Playhouse in Fayetteville, PA, a summer-stock operation managed by her husband, Bill Putch. Most of Stapleton's onscreen work in the 1960s and 1970s could be found in New York-based movies (Something Wild, Up the Down Staircase, Klute) and TV series (Car 54, Where Are You, The Defenders, The Patty Duke Show). Her earliest association with producer-director Norman Lear occurred in the 1969 theatrical feature Cold Turkey, in which she played a neurotic housewife named Edith. When Lear began assembling the cast for his upcoming TV sitcom All in the Family, he immediately thought of Stapleton for the role of slow-witted, strident, essentially kindhearted Bronx housewife Edith Bunker. Before leaving the series in 1980, Stapleton earned three Emmy Awards for her portrayal of Edith -- not to mention the undying affection of millions. Once free of All in the Family, she sought out roles that she hoped would demonstrate her versatility: She played the distraught mother of a drug-addicted teenager (enacted by her real-life son, John Putch) in the made-for-TV Angel Dusted (1981), and effectively portrayed Mrs. Eleanor Roosevelt in the 1982 TV biopic Eleanor: First Lady of the World. Stapleton kept her comic skills sharpened by appearing in the made-for-cable productions of Shelley Duvall: She was terrific as a no-nonsense Fairy Godmother ("Trust me. This is important.") in Duvall's Faerie Tale Theater adaptation of Cinderella, and even better as the title characters in Mother Goose Rock 'n' Rhyme and Mrs. Piggle-Wiggle. In 1990, she briefly returned to weekly television as co-star (with Whoopi Goldberg) of the offbeat sitcom Bagdad Café. Jean Stapleton was then an infrequent but always welcome TV guest-star presence; in 1995, she startled (and delighted) her Edith Bunker fans with her con brio portrayal of Lea Thompson's sex-starved aunt in an episode of Caroline in the City. In 1998 she had a major part in the romantic comedy You've Got Mail, and that same year she voiced a character in Pocahontas II: Journey to a New World. Stapleton retired from acting on screen in 2001. She passed away in 2013 at the age of 90.

Trivia: For a time at the tail-end of the 1960s and the beginning of the 1970s, Marcia Rodd seemed poised for stardom, either on the big-screen or on television. She was, at the outset of the 1970s, the ideal "gently" liberated woman. Rodd was one of the first actresses who looked good in the briefly fashionable, close-cropped female hairstyle (a sort of attractive version of the "Moe Howard" cut) of the period, conveying intelligence and sensitivity as well as independence. What's more, her first two film appearances included a starring role in Alan Arkin's fashionable black comedy Little Murders (1971) and a major supporting role in Herbert Ross' high-profile adult romance T.R. Baskin, and she was also a recipient of choice roles from television producer Norman Lear. Rodd was born in Lyons, KS, and attended Northwestern University at the end of the 1950s and the start of the 1960s as a drama major, studying under Alvina Krause; her fellow undergraduates included Richard Benjamin and Paula Prentiss. Arriving in New York during the early '60s, she made her off-Broadway debut at the Provincetown Playhouse in Oh Say Can You See! in 1962, which got her onto her first cast album as part of a quartet called "the Girls"; she also appeared in the showcase Talent 64. She made her Broadway debut in the replacement cast of Oh! What a Lovely War and later appeared in The Mad Show. In 1968, she managed to appear in two different adaptations of Shakespeare's Twelfth Night, Love and Let Love, and Your Own Thing (as Olivia), and played Bobbi Mitchell in Last of the Red Hot Lovers, working opposite James Coco. In 1970, she was cast as the doomed Patsy Newquist in Little Murders (1971), Alan Arkin's dark comedy of life in New York City, based on Jules Feiffer's off-Broadway play. Her supporting role in T.R. Baskin followed later in 1971, and then Rodd began her first foray into television, principally through the work of Norman Lear in the second season of All in the Family; she played a harried single mother driven to desperate measures to make a decent life for her young son, and in episode No. 37, which was the pilot for the series Maude, Rodd played Carol, the divorced daughter of the title character. Rodd declined to portray the role when the series was picked up, however, and the part went to the more physically endowed but less professionally adept Adrienne Barbeau. Rodd busied herself in New York theater during the early '70s, including a production of The Merry Wives of Windsor at The New York Shakespeare Festival. She was also very briefly in the cast of the ill-fated musical Mack and Mabel as Mabel Normand (succeeded by Kelly Garrett and then Bernadette Peters). She then moved to Los Angeles, where she continued her stage work and also acted in two successive films by director Jonathan Demme, Citizens Band (1977) and The Last Embrace (1979). By the 1980s, she was no longer in the running for starring roles, but was a busy working actress in television, portraying Jack Weston's wife in the short-lived series The Four Seasons and playing the wife of Dr. Stanley Riverside on Trapper John, M.D. During the 1990s, Rodd returned to doing occasional feature films. She has also done a one-woman play about the life of Diana Vreeland, and guest starred on such series as Home Improvement and Sisters.

Trivia: American actor Bob Dishy was trained in the demanding art of improvisational comedy. So certain of Dishy's skills were the producers of the 1968 TV adaptation of Arsenic and Old Lace that they allowed the actor--essaying the role of a cop with playwrighting aspirations--to "wing" most of his dialogue. Among Dishy's film credits are The Tiger Makes Out (1967), Lovers and Other Strangers (1970), First Family (1980), Brighton Beach Memoirs (1986) and Critical Condition (1987). Bob Dishy also appeared as part of a comic repertory company (which included such notables as Peter Bonerz, Paul Sand, Hamilton Camp and Melinda Dillon) on the largely ad-libbed 1971 syndicated TV series Story Theatre.

Trivia: With his bald-headed, slightly toothy appearance, and New York accent, Bernie West was born to play comedy on-stage and in movies, and he later graduated to writing and producing it on television. The Bronx-born actor emerged on-stage in the 1950s, then made a feature film, the Arthur Freed-produced, Vincente Minnelli-directed adaptation of Bells Are Ringing at MGM, starring Judy Holliday. He played a rather prominent role as one of the Holliday character's more eccentric answering service clients, Dr. Joe Kitchell, a dentist who composes songs on his office's air hose. West also appeared in the role of Feinschveiger in the 1962 musical All-American, but it was on television that he was most visible in the 1960s, surfacing in small comedic roles on series such as Gomer Pyle, U.S.M.C.. In the early '70s, he entered into association with television producer Norman Lear. West served as a producer on All in the Family and also appeared onscreen, portraying a repairman in the pilot episode for the series Maude. He was later the producer of the Maude spin-off series Good Times, and then one of the co-creators and producers of the All in the Family spin-off The Jeffersons. West left Lear's orbit later in the 1970s to work with producer Donald Taffner, first serving as executive producer of Three's Company and later its spin-off series The Ropers. As a producer, he is sometimes credited as Bernard West. He later became one of the most frequently interviewed figures involved with television comedy of the 1970s and early '80s, and appeared in various documentaries about entertainment and popular culture, prior to his death from Alzheimer's-related complications in 2010.

Trivia: Tall, deep-voiced American actress Beatrice Arthur, born Beatrice Frankel, was best known for her television work on the long-running series Maude and The Golden Girls, but she also occasionally appeared in films. Her most famous film is 1973's Mame in which she played Vera Charles, the role she originated on Broadway.

Trivia: During his first few decades as an actor, Bill Macy took whatever was readily available: poetry-reading jobs, movie bits, comedy-record gigs (he's the operatic cabdriver in the classical music lampoon The Wurst of PDQ Bach) and off-Broadway stage assignments. While appearing in the 1969 "nudie" musical Oh! Calcutta, the 45-year-old Macy gained attention, critical and otherwise, for appearing au naturel in one of the comedy sketches. Evidently he enjoyed the sensation; even in his days of TV prominence, Macy was known to disrobe at parties and public functions whenever he'd been too generous in his participation at the bar. In the early 1970s, Macy was cast in several small roles in the TV properties of producer Norman Lear; this led to a lengthy (72-78) engagement as Walter Findlay, husband of fiery feminist Maude Findlay (Bea Arthur) on the popular sitcom Maude. Since that time, Bill Macy has thrived in film and stage character parts, and has co-starred in two TV weeklies, Hanging In (79) and Nothing in Common (87).

Trivia: As the son of multi-talented comedic genius Carl Reiner (Your Show of Shows), Rob Reiner instantly outgrew his father's legacy to establish himself as an independent force in multiple facets of the entertainment industry. Born in the Bronx in 1945, Reiner moved to Los Angeles with his folks at the age of 12 (not coincidentally, the very same year that the NYC-based Caesar's Hour, with Carl Reiner as a regular contributor, wrapped) and soon began acting in regional theater and improv ensembles. After appearing on various episodes of Alfred Hitchcock Presents from the age of 16 and studying drama at UCLA, Reiner co-founded the improvisational comedy troupe The Session, then made his onscreen cinematic debut in his father's Enter Laughing (1967) and contributed scripts (in his dad's vein) to CBS's controversial The Smothers Brothers Comedy Hour. His first massive break arrived when he landed the role of Mike "Meathead" Stivic, the liberal, Polish son-in-law to Carroll O'Connor's racist working stiff Archie Bunker, on Norman Lear's groundbreaking network hit All in the Family. In 1971, Reiner wed Penny Marshall (the sister of another comic demagogue, Garry Marshall); the marrieds frequently appeared together on ABC's The Odd Couple. Reiner earned two Emmys for All in the Family, but ended his role in 1978 (after seven seasons) as the series transitioned into Archie Bunker's Place. A now-forgotten telemovie followed -- the romantic comedy More Than Friends, written by and starring Reiner and Marshall (and directed by future Cheers progenitor James Burrows) -- but by that point, the Reiners' marriage was in disarray; a divorce ensued in 1979, followed by several years of inactivity on Reiner's end.Reiner bounced back as a director, however (and then some) in 1984, with the hysterical mockumentary This Is Spinal Tap, ostensibly a spoof of The Song Remains the Same, The Kids Are Alright, The Last Waltz, and other mid-'70s concert films, about a gleefully moronic glam rock band (Christopher Guest, Michael McKean, and Harry Shearer) whose hits include "Sex Farm," "Smell the Glove," and "Hellhole." The picture became a sensation (a massive cult hit), led to several Reiner-less follow-ups with the principal cast (Waiting for Guffman, Best in Show, A Mighty Wind), and -- most importantly -- launched Reiner as a directorial force. He helmed a cute and charming sophomore effort, the teen comedy The Sure Thing (1985), which boasts two superb lead performances by John Cusack and Daphne Zuniga, and demonstrates great taste and sensitivity, but failed to make a splash despite solid reviews (Roger Ebert declared it "a small miracle" and Variety assessed it as "sweetly old fashioned" and "appealing.") The following year, the director struck box-office gold with his third effort, Stand by Me (1986). In this coming-of-age saga, adapted from a Stephen King short story by Ray Gideon and Bruce A. Evans, Reiner successfully blends comedy, drama, and sentiment, and elicits exemplary performances from an ensemble of teenage performers including River Phoenix and Wil Wheaton, in his story of a bunch of adolescent boys who venture out to find a local boy's corpse. For his fourth effort, Reiner helmed the legendary William Goldman's adaptation of his own 1973 fantasy novel, The Princess Bride (which had purportedly floated around Hollywood for 13 years), and scored in the process -- especially with young viewers, who immediately warmed to Cary Elwes' dashing adventurer and Robin Wright's heroine. (The picture's neat comic turns by Billy Crystal, Wallace Shawn, and Andre the Giant stretched its appeal to older viewers, as well.) Reiner followed this up with another four-star blockbuster, and one of the most lucrative (and affable) pictures of 1989, the romantic comedy When Harry Met Sally, written by Nora Ephron. It sports exceptional lead performances by Crystal and Meg Ryan, and -- in one of the most infamous movie bits of the past few decades, a cameo by Reiner's own mother, Estelle, who provides the film's funniest line.Reiner began the 1990s with another Stephen King outing: Misery, a claustrophobic horror picture adapted from a 1987 King novel. In directing the picture, Reiner elicited exceptional performances from James Caan and Kathy Bates. The latter won a Best Actress Academy Award for her portrayal of the psychopathic ex-nurse Annie Wilkes, who confines Caan's author in her home and forces him to write a new manuscript under the duress of torture and threatened homicide. With a trio of A-list actors including Jack Nicholson, Tom Cruise, and Demi Moore, the director's late 1992 courtroom thriller A Few Good Men (adapted by Aaron Sorkin from his play) earned a Best Picture Oscar nomination and another Golden Globe nomination for Reiner. Unfortunately, this marked the beginning of a decline, of sorts, for Reiner. He then helmed 1994's god-awful family-friendly comedy North (reviled by just about everybody). The following year's The American President charmed audiences, but 1996's Ghosts of Mississippi struck most viewers as uneven. In 1999, Reiner produced, directed, and co-starred in The Story of Us, a romantic comedy starring Michelle Pfeiffer and Bruce Willis, but it opened up to mediocre reviews. (Ebert gave it one star and moaned, "Watching it is like taking a long trip in a small car with the Bickersons"; Janet Maslin observed that it "offers such an arthritic vision of middle-aged marriage that it feels like the first Jack Lemmon comedy made expressly for the baby-boom generation.") Perhaps riled by these disappointments -- and seeking greater immersion in California politics -- Reiner took several years off as a director, until 2003's Alex & Emma, a romantic comedy about writer's block starring Luke Wilson and Kate Hudson. With one or two exceptions, critics universally panned the picture (giving Reiner his most terrible reviews to date). 2005's Rumor Has It..., yet another romantic comedy starring Jennifer Aniston as a woman who goes off in search of her family's roots, also opened to dismal reviews and lackluster box office, despite the star appeal of Aniston and her male lead, Kevin Costner. In 1987, Reiner co-founded Castle Rock Productions (the company's name refers to a fictional town created by Stephen King). In addition to directing and producing, Reiner has also pursued an acting career on the side, with supporting roles and cameos in such films as Postcards From the Edge (1990), Sleepless in Seattle (1993), Bullets Over Broadway (1994), The First Wives Club (1996), Primary Colors (1998), EDtv (1999), The Muse (1999), The Story of Us (1999), and The Majestic (2001). Later, he delivered a performance as Wirschafter in his own Alex & Emma (2003) and cameo'd as himself in the 2003 David Spade comedy Dickie Roberts: Former Child Star. Between 2004 and 2006, Reiner joined Whoopi Goldberg, Mandy Patinkin, William H. Macy, and others to voice the late Christopher Reeve's CG-animated feature Everybody's Hero, about a boy who attempts to retrieve a talking baseball bat from a crooked security guard. In 2007 he had one of his biggest late-career successes directing Jack Nicholson and Morgan Freeman in The Bucket List. Three years later he made the little-seen comedy Flipped. Reiner married his second wife, Michele Singer Reiner, in 1989.

Trivia: The daughter of a Portland doctor, Sally Ann Struthers left home at 18, determined to become a star. The 5' 1", frizzy-haired Ms. Struthers attended classes at the Pasadena Playhouse, then worked as a singer, dancer and commercial actress before the breaks began arriving in rapid succession in 1970. By the end of that year, she had been seen on TV as a comedy-ensemble player on The Smothers Brother Comedy Hour and a chorus girl (in fact, the only chorus girl) on The Tim Conway Comedy Hour; she'd played a small but attention-grabbing role in the Jack Nicholson film Five Easy Pieces; and she'd provided the voice for Pebbles Flintstone on the animated Pebbles and Bamm Bamm Show. Oh, before we forget: also in 1970, Struthers was cast as Gloria Bunker Stivic on the groundbreaking TV sitcom All in the Family. During her seven-season stint as Gloria, she shared a 1972 "Best Supporting Actress" Emmy with The Mary Tyler Moore Show's Valerie Harper. She also took time out to deliver an image-busting performance as the sluttish wife of kidnap victim Jack Dodson in Sam Peckinpah's The Getaway (1972), and to star in such made-for-TV films as Aloha Means Goodbye (1974), Hey, I'm Alive (1975) and The Great Houdinis (1976). In 1975, Struthers very nearly walked off All in the Family over a much-publicized salary dispute; she left the series when her contract ended in 1978, returning briefly to appear in an episode titled "California Here We Are"--and winning a second Emmy as a result. Though big things were predicted for Struthers, her post-Family years were rough. Her TV-movie appearances began playing to ever-diminishing ratings, while her highly touted 1981 Broadway debut in Wally's Café was a bust. It was a frightened, insecure Sally Struthers who returned to series television in 1982 as the star of Gloria, an All in the Family spin-off which recast the actress in the role that made her famous. Despite initially good ratings, Gloria tanked after a year. After another foredoomed Broadway appearance in a female version of Neil Simon's The Odd Couple, Sally accepted the role of klutzy divorcee Marsha McMurray Shrimpton in the 1986 syndicated sitcom 9 to 5. Around this same time, Struthers began showing up as the TV spokesperson for a charitable organization serving malnourished Third-World children. While none could doubt the actress' sincerity, her strident, lachrymose fund-raising appeals were treated with merciless derision by the many sketch-comedy TV series of the period. Though her career may never again reach the heights of her All in the Family days, Sally Struthers has kept busy in a variety of show-business ventures, including voiceover assignments on such series as Talespin and Dinosaurs, and a recent touring production of the musical Grease, in which she co-starred with another TV favorite of yore, The Monkees' Davy Jones.