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Walter Matthau was best known for starring in many films which included Charade (1963), The Odd Couple (1968), Grumpy Old Men (1993), and Dennis the Menace (1993). He often worked with Jack Lemmon and the two were Hollywood's craziest stars.

He was born Walter Jake Matthow in New York City, New York on October 1, 1920. His mother was an immigrant from Lithuania and his father was a Russian Jewish peddler and electrician from Kiev, Ukraine. As a young boy, Matthau attended a Jewish non-profit sleep-away camp. He also attended Surprise Lake Camp. His high school was Seward Park High School.

During World War II, Matthau served in the U.S. Army Air Forces with the Eighth Air Force in Britain as a Consolidated B-24 Liberator radioman-gunner, in the same 453rd Bombardment Group as James Stewart. He was based at RAF Old Buckenham, Norfolk during this time. He reached the rank of staff sergeant and became interested in acting.

Matthau appeared in the pilot of Mister Peepers (1952) alongside Wally Cox. He later appeared in the Elia Kazan classic, A Face in the Crowd (1957), opposite Patricia Neal and Andy Griffith, and then appeared in Lonely Are the Brave (1962), with Kirk Douglas, a film Douglas has often described as his personal favorite. Matthau then appeared in Charade (1963) with Audrey Hepburn and Cary Grant. In 1968, Matthau made his big screen appearance as Oscar Madison in The Odd Couple (1968) alongside Jack Lemmon. The two were also in the sequel (The Odd Couple II (1998)) as well as Grumpy Old Men (1993) and Grumpier Old Men (1995). Matthau was in Dennis the Menace (1993), alongside Mason Gamble. On July 1, 2000, Matthau died of a heart attack in Los Angeles, California. He was 79 years old.

She was truly one mother of a mom...on stage, on film and on TV. A favorite firecracker on 80s and 90s television, tiny character player Estelle Getty became best known for her carping, meddlesome moms -- complete with bemused, cynical looks, irreverent digs and dead-pan Henny Youngman-like one-liners. Blunt and down-to-earth off-stage as she was on-, she scored big points with both the young and the old...and all those who fell in between. The middle-class masses and society's underdogs deemed Estelle one of their own. The star who had a hard time playing the star card also taught an earnest lesson to the millions of actor wannabes that it was never too late to get into the big leagues, pursue your dream and come out a winner. After nearly five decades of stage work, she achieved "overnight" stardom at age 62. Ill health forced her retirement in 2000 after only a decade and a half of celebrity. Yet even something as sinister as Lewy body dementia, a degenerative brain disease, couldn't take away her indomitable spirit and feistiness. The affliction, which slowly clouds then erases the memory banks, should have claimed her a couple of years after its detection, but she proved the doctors wrong and lived nearly eight years from its onset, dying peacefully in her Hollywood home on July 22, 2008.

Getty was born Estelle Scher on July 25, 1923, on the Lower East Side of Manhattan in New York City, the daughter of Sarah (Lacher) and Charles Scher, Polish Jewish immigrants who worked in the glass business. Starry-eyed as a very young child when her father first took her to see a vaudeville show at the New York Academy of Music, Estelle already had a mindset about her future. She almost immediately started taking singing, dancing and acting lessons and, following her graduation from Seward Park High School, she began building up experience in the Yiddish theater. She even attempted the stand-up comedy stage on the Catskills "borscht belt" circuit in upstate New York, but it was a time of rampant sexism and women comics were a rarity and seldom successful. She wasn't. Her young life took an abrupt, post-World War II turn when she married New York businessman Arthur Gettleman at age 24 in December of 1947 (she went on to use a derivative of her married last name for the stage). Not your typical domesticated wife by any stretch of the imagination, Estelle nevertheless raised two children, sons Barry and Carl, and worked as a secretary for various companies.

Determined as ever to be an actress, she found moderate compensation performing in community theatre plays. Adept at playing abrasive, insinuating types, she had an innate gift for comedy and stole many scenes in such light-hearted plays as "Arsenic and Old Lace," "Blithe Spirit," "6 Rms Riv Vu," "Light Up the Sky" and "Lovers and Other Strangers". On the flip side, Estelle demonstrated surprising dramatic stamina in such classics as "All My Sons," "The Glass Menaqerie" and "Death of a Salesman." Following decades of obscurity, it was her connection to the actor/playwright Harvey Fierstein that turned the tide and started the ball rolling. Forging a deep friendship in the late 70s after appearing in small New York theaters together, and after considerable prodding by Estelle, Harvey wrote a part for his diminutive friend in the ground-breaking, autobiographical "Torch Song Trilogy". Playing Harvey's recalcitrant mother, the show eventually made it to Broadway and Estelle's big debut was a resounding success. Winning the Helen Hayes Award for her performance, she played the feisty foil to Fierstein's raspy-voiced drag queen for five years.

While on tour with the play in Los Angeles, Estelle secured an audition for and won the role of viper-tongued Sicilian mama Sophia Petrillo on The Golden Girls (1985). She nearly lost out on the part when it was thought that she appeared too young to play Bea Arthur's mother. In truth, Estelle was 14 months younger than Bea. Given another go-around, and this time donning a grey wig, age makeup and frumpy apparel, Estelle fully convinced the powers-that-be that she WAS Sophia and the rest is history. The role was a breath of fresh air during an era of strong political correctness. A seven-time consecutive Emmy Award nominee for "Best Supporting Actress Award," she took home the trophy in 1988. In both 1991 and 1992 Estelle won the American Comedy Award for "Best Supporting Actress" in a series. The Sophia character was so popular she even went on to play the impish octogenarian in several other shows, including two "Golden Girls" spin-offs -- the short-lived The Golden Palace (1992) and "Empty Nest". Estelle went on to mother other stars on the big screen as well, including Cher in Mask (1985) and Sylvester Stallone in Stop! Or My Mom Will Shoot (1992), in the latter of which she received second billing. The one maternal film role she wanted more than anything did not come her way. When Torch Song Trilogy (1988) was made into a film, actor Fierstein needed star power surrounding him. Anne Bancroft replaced Estelle in the part and she was heartbroken. The movie itself lost much of its impact in its transition from the stage. At the peak of her TV fame, Estelle wrote a 1988 autobiography entitled "If I Knew Then, What I Know Now... So What?" with Steve Delsohn.

The diminutive dynamo (4'10") with a big heart was an outspoken activist for gay rights and she regularly involved herself in AIDS causes, part of it propelled by a nephew who was diagnosed and later succumbed to the disease. She also became a spokesperson for Alternative Living for the Aging, a nonprofit organization that locates cooperative housing for senior citizens. In 2000, Getty stopped making public appearances after her health and mind began its slow decline. One of her last sightings was in the L.A. audience of "The Vagina Monologues," which starred "Golden Girls" co-star Rue McClanahan. Misdiagnosed as having both Parkinson's and Alzheimer's diseases, it was later learned she was suffering from advanced dementia. Estelle died of complications from her disease just three days before her 85th birthday. Long-time husband Arthur, who was only 5'3" tall himself, never adjusted to Estelle's meteoric rise and the media attention that had accompanied it. He quietly maintained her parents' glass business far from the Hollywood glitz...in Florida. He died in 2004. Lifetime television hosted a "Golden Girls" reunion, but by this time Estelle was too ill to appear. Shortly after her death on July 22, 2008, and in tribute to Ms. Getty, Lifetime, which shows reruns of "The Golden Girls" almost on a daily basis, announced that it would air ten episodes of the series featuring the "best of Sophia". A simple, unadorned service was conducted, as she would have wanted, and she was interred at Hollywood Forever Memorial Park in Los Angeles.

George Cukor was an American film director of Hungarian-Jewish descent, better known for directing comedies and literary adaptations. He once won the Academy Award for Best Director, and was nominated other four times for the same Award.

In 1899, George Dewey Cukor was born on the Lower East Side of New York City. His parents were assistant district attorney Viktor Cukor and Helén Ilona Gross. His middle name "Dewey" honored Admiral George Dewey who was considered a war hero for his victory in the Battle of Manila Bay, in 1898.

As a child, Cukor received dancing lessons, and soon fell in love with the theater, appearing in several amateur plays. In 1906, he performed in a recital with David O. Selznick (1902-1965), who would later become a close friend.

As a teenager, Cukor often visited the New York Hippodrome, a well-known Manhattan theater. He often cut classes while attending high school, in order to attend afternoon matinees. He later took a job as a supernumerary with the Metropolitan Opera, and at times performed there in black-face.

Cukor graduated from the DeWitt Clinton High School in 1917. His father wanted him to follow a legal career, and had his son enrolled City College of New York. Cukor lost interest in his studies and dropped out of college in 1918. He then took a job as an assistant stage manager and bit player for a touring production of the British musical "The Better 'Ole". The musical was an adaptation of the then-popular British comic strip "Old Bill" by Bruce Bairnsfather (1887-1959).

In 1920, Cukor became the stage manager of the Knickerbocker Players, a theatrical troupe. In 1921, Cukor became the general manager of the Lyceum Players, a summer stock company. In 1925, Cukor was one of the co-founders the C.F. and Z. Production Company. With this theatrical company, Cukor started working as a theatrical director. He made his Broadway debut as a director with the play "Antonia" by Melchior Lengyel (1880-1974).

The C.F. and Z. Production Company was eventually renamed the Cukor-Kondolf Stock Company, and started recruiting up-and-coming theatrical talents. Cukor's theatrical troupe included at various times Louis Calhern, Ilka Chase, Bette Davis, Douglass Montgomery, Frank Morgan, Reginald Owen, Elizabeth Patterson, and Phyllis Povah.

Cukor attained great critical acclaim in 1926 for directing "The Great Gatsby", an adaptation of a then-popular novel by F. Scott Fitzgerald (1896-1940). He directed six more Broadway productions until 1929. At the time, Hollywood film studios were recruiting New York theater talent for sound films, and Cukor was hired by Paramount Pictures. He started as an apprentice director before the studio lent him to Universal Pictures. His first notable film work was serving as a dialogue director for "All Quiet on the Western Front" (1930).

After returning to Paramount Pictures, he worked as aco-director. His first solo directorial effort was "Tarnished Lady" (1931), and at that time he earned a weekly salary of $1500. Cukor co-directed the film "One Hour with You" (1932) with Ernst Lubitsch, but Lubitsch demanded sole directorial credit. Cukor filed a legal suit but eventually had to settle for a credit as the film's assistant director. He left Paramount in protest, and took a new job with RKO Studios.

During the 1930s, Cukor was entrusted with directing films for RKO's leading actresses. He worked often with Katharine Hepburn (1907-2003), although not always with box-office success. He did direct such box office hits as "Little Women" (1933) and "Holiday" (1938), but also notable flops such as "Sylvia Scarlett" (1935).

In 1936, Cukor was assigned to work on the film adaptation of the blockbuster novel "Gone with the Wind" by Margaret Mitchell. He spent the next two years preoccupied with the film's pre-production, and with supervising screen tests for actresses seeking to play leading character Scarlett O'Hara. Cukor reportedly favored casting either Katharine Hepburn or Paulette Goddard for the role. Producer David O. Selznick refused to cast either one, since Hepburn was coming off a string of flops and was viewed as "box office poison," while Goddard was rumored to have had a scandalous affair with Charlie Chaplin (1889-1977) and her reputation suffered for it.

Cukor did not get to direct "Gone with the Wind", as Selznick decided to assign the directing duties to Victor Fleming (1889-1949). Cukor's involvement with the film was limited to coaching actresses Vivien Leigh (1913-1967) and Olivia de Havilland (1916-). Similarly, the very same year, Cukor also failed to receive a directing credit for "The Wizard of Oz" (1939), though he was responsible for several casting and costuming decisions for this iconic classic.

In this same period, Cukor did direct an all-female cast in "The Women" (1939), as well as Greta Garbo's final motion picture performance in "Two-Faced Woman" (1941). Then his film career was interrupted by World War II, as he joined the Signal Corps in 1942. Given his experience as a film director, Cukor was soon assigned to producing training and instructional films for army personnel. He wanted to gain an officer's commission, but was denied promotion above the rank of private. Cukor suspected that rumors of his homosexuality were the reason he never received the promotion.

During the 1940s, Cukor had a number of box-office hits, such "A Woman's Face" (1941) and "Gaslight" (1944). He forged a working alliance with screenwriters Garson Kanin and Ruth Gordon, and the trio collaborated on seven films between 1947-1954.

Until the early 1950s, most of his Cukor's films were in black-and-white, and his first film in Technicolor was "A Star Is Born" (1954), with Judy Garland as the leading actress. Casting the male lead for the film proved difficult, as several major stars were either not interested in the role or were considered unsuitable by the studio. Cukor had to settle for James Mason as the male lead, but the film was highly successful and received 6 Academy Award nominations. But Cukor was not nominated for directing.

He had a handful of critical successes over the following years, such as Les Girls (1957) and "Wild Is the Wind" (1957), and also helmed the unfinished "Something's Got to Give" (1962), which had a troubled production and went at least $2 million over budget before it was terminated.

Cukor had a comeback with the critically and commercially successful "My Fair Lady," one of the highlights of his career., for which he won both an Academy Award and a Golden Globe Award for Best Director, along with the Directors Guild of America Award. However, his career very quickly slowed down, and the aging Cukor was infrequently involved with new projects.

Cukor's most notable film in the 1970s was the fantasy The Blue Bird (1976) , which was the first joint Soviet-American production. It was a box-office flop, though it received a nomination for the Saturn Award for Best Fantasy Film and was groundbreaking for its time. Cukor's swan song was "Rich and Famous" (1981), depicting the relationship of two women over a period of several decades., played by co-stars Jacqueline Bisset and Candice Bergen, Cukor's final pair of leading ladies.

He retired as a director at the age of 82, and died a year later of a heart attack in 1983. At the time of his death, his net worth was estimated to be $2,377,720. He was buried at the Forest Lawn Memorial Park in Glendale, CA. Cukor was buried next to his long-time platonic friend Frances Howard (1903-1976), the wife of legendary studio mogul Samuel Goldwyn.

Carol Grace was born on 11 September 1924 in Lower East Side, Manhattan, New York City, New York, USA. She was an actress, known for Gangster Story (1959), Alfred Hitchcock Presents (1955) and Mikey and Nicky (1976). She was married to Walter Matthau and William Saroyan. She died on 20 July 2003 in Manhattan, New York City, New York, USA.

Jack "The King" Kirby was an influential comic book writer and artist, particularly famous for creating or co-creating some of the most famous characters for both DC Comics and Marvel Comics.

In 1917, Kirby was born under the name "Jacob Kurtzberg" on the Lower East Side of Manhattan in New York City. He was a son of garment factory worker Benjamin Kurtzberg and his wife Rose Bernstein. Both his parents were Austrian-Jewish immigrants.

He developed an interest in drawing at an early age. He was mostly self-taught as an artist, having started by studying newspaper artwork from comic strip artists and political cartoonists. He cited among his main influences comic strip artists Milton Caniff (1907-1988), Hal Foster (1892-1982), and Alex Raymond (1909-1956), who were all pioneers of the adventure genre in comic strips. His professional name "Jack Kirby" was possibly chosen in reference to Rollin Kirby (1875-1952), an influential political cartoonist, who had won three Pulitzer Prizes in the 1920s.

At age 14, Kirby enrolled in Pratt Institute, a prestigious school for illustrators. He dropped out early. According to Kirby, his personal philosophy did not agree with that of the school. He was interested in producing quantities of artwork at a rapid rate and "get things done", while the Institute taught students to devote large amounts of time to a single piece of artwork.

After publishing a few works in outlets for amateur artists, Kirby entered the world of professional cartooning in 1936. He was hired by the Lincoln Newspaper Syndicate to work on comic strips and advice cartoons. He stayed there until 1939. He then briefly joined the field of animation and was hired by the Fleischer Studios. He worked as an in-betweener in animated shorts, drawing intermediate frames between two images to give the appearance that the first image evolves smoothly into the second image. He quit after a short period, feeling dissatisfied with the factory-like conditions at Fleischer.

In the late 1930s and early 1940s, the comic book medium was taking off and there were many available positions for writers and artists interested in working in the medium. Kirby soon joined the staff at the Eisner and Iger Studio, working under co-founders Will Eisner and Jerry Iger. The Studio was one of a number of pioneering companies selling completed comic book stories and artwork to the fledgling publishing companies of the time. Under various pseudonyms, Kirby contributed artwork to series in various genres, including humor, science fiction, swashbucklers, and Westerns.

The Eisner and Iger Studio dissolved for uncertain reasons by 1940. By that time comic book publishing companies were starting to hire writers and artists directly, instead of simply buying stories. Kirby found work at one of the publishers of the time, Fox Features Syndicate. Kirby's first superhero stories were Blue Beetle stories. He was not credited as an artist, the credit going to the non-existent "Charles Nicholas".

While working at Fox, Kirby was acquainted with Joe Simon. Simon was producing stories for various publishers and had recently created a superhero called Blue Bolt for Novelty Press. He had seeking for a partner to work on the second issue of Blue Bolt and was impressed enough with Kirby's work to offer him the partnership. Kirby accepted and the duo ended up working together for the following decades.

Simon was soon hired as an editor for Timely Comics (later renamed to Marvel Comics) and was also interested in contributing stories. He had the idea for a new patriotic superhero and managed to convince Timely publisher Martin Goodman that the new hero would work as the star of a solo comic book. This was at the time rare, since most comic book characters were featured in anthology titles. Once securing a publisher, Simon asked Kirby to join him in working on the character. The new character was called Captain America and debuted in 1941. Despite its strong similarities to an earlier MLJ Comics character called The Shield, Captain America became the most successful of the two characters and the fist two issues of his title were major best sellers of the comic book medium. This helped establish co-creators Simon and Kirby among the most famous comic creators of the time.

Despite the commercial success of Captain America, Kirby was not paid more than the average comic book artist of the time: 75 dollars per week. He and Simon continued working on the Captain America series until issue #10 while secretly negotiating a deal with another publisher. An early incarnation of DC Comics was offering them a combined weekly salary of 500 dollars if they switched publishers. The switch was formalized by 1942.

At first DC was uncertain on what work to assign Simon and Kirby. After a few minor assignments, they were asked to contribute their own story ideas. The duo soon took over the already established Sandman series featured in Adventure Comics and revamped the character. They also created a new version of the Manhunter, this time as a superhero. Kirby and Simon wanted to name the character "Rick Nelson", but the editor changed the name to "Paul Kirk", essentially naming him after an earlier character called Paul Kirk, Manhunter.

Simon and Kirby found more success with a non-superhero idea. They created the Boy Commandos, a combination of the "kid gang" concept that was already established in comic books, this time with a then-modern war setting. The Commandos soon became one of the most popular DC series of their time, graduated to their own title, and reportedly sold "over a million copies each month". In their heyday, the commandos were the third highest selling characters DC had in its stable. Only Superman and Batman actually sold more.

Besides the Boy Commandos, Simon and Kirby co-created another "kid gang" for DC: the Newsboy Legion. While never as popular as the Commandos, they became the feature characters of Star-Spangled Comics and were considered a hit in their own right.

Kirby's comic book career had to be put in hiatus in 1943, when he was drafted into the United States Army. While he never took part in any major battle, he was deployed in the European theatre of World War II in 1944. Following the Invasion of Normandy, Kirby was tasked with drawing reconnaissance maps and images of areas which the Army was considering to occupy. He was effectively a military scout and reconnaissance agent, and his work put him at risk. A case of severe frostbite in the winter of 1944-1945 resulted in his hospitalization. There were fears that his feet would have to be amputated for him to survive, though he managed to recover with no amputation necessary. He was discharged from the Army in July, 1945, having been awarded medals for his service.

Following his discharge from the Army, Kirby was reunited with Simon. Simon had spend the majority of the War serving in the United States Coast Guard. They were both looking for a way to return to comic book work, though their old jobs at DC had been taken by other creators. They spend the next several years working for Harvey Comics. For Harvey, the duo created some original characters such, as the superheroes Stuntman (1946) and Captain 3-D (1953). However, these characters were not as popular as their earlier creations.

Besides their relatively steady work for Harvey, Simon and Kirby freelanced for other publishers. Their employers of the time included publishers such as Crestwood Publications and Hillman Periodicals. For Crestwood, Simon and Kirby created one of their greatest hits: Young Romance, the first of the romance comics. At the time traditional comic book genres such as superheroes were in decline and publishers and creators were looking for new ideas. Simon and Kirby noticed that romance magazines of the 1940s sold well and had the idea of adapting the genre to comic books. It worked far better than expected. Young Romance and its spin-off series Young Love continued to sell millions of copies for years.

Due to the "follow the leader" mentality of comic book publishers of the time, other publishers soon published their own romance comics. Though few managed to successfully compete with the Simon and Kirby created titles, who were considered better in quality than most of their imitators. The success had an effect in the lives of the duo. Simon and Kirby had negotiated a contract which earned them a large percentage from the profits. Kirby earned more money than ever before and was able to purchase a new home for his family.

In 1953-1954, Simon and Kirby were annoyed to find out that Atlas Comics (the then-current name of Marvel Comics) was reviving Captain America. They had never asked for any input from Simon and Kirby to do this, nor offered to rehire them. Seeking for a way to outdo their old creation, the duo created a new superhero called Fighting American (1954) for Crestwood Publications. At first conceived as a serious 1950s take on the old patriotic hero concept, Fighting American's series soon became largely satirical. It never sold well and did not last long, though it has left enough of a mark in the comic book medium to be constantly reprinted and occasionally revived from a relatively high number of publishers.

In late 1953-1954, Simon and Kirby founded their own comic book publishing company: Mainline Publications. At the time the comic book industry was under attack by psychiatrist Fredric Wertham (1895-1981) and politician Estes Kefauver (1903-1963). Many of the older comic book publishers were affected by the controversy and the resulting drop in sales, either getting out of the business or reducing their output. There was still a high demand for new material and Mainline Publications hoped to fill the void left by the demise of the older publishers.

Simon and Kirby's plans for their company turned out to be too optimistic. They published only four titles, all in established genres. They were "Bullseye: Western Scout" (a Western), "Foxhole" (a war comic), "In Love" (a romance comic), and "Police Trap" (a crime comic). None of them was a great success in sales, but they were noticed by Wertham, who used them as exhibits of comic book "filth". At the same time, Simon and Kirby entered into a complex legal battle with Crestwood Publications. They claimed their former employer owed them at least 130,000 dollars, but the case was settled out of court with the payment of only 10,000 dollars. It was not not enough to solve ongoing financial problems for Mainline Publications, which closed in 1956.

The partnership of Simon and Kirby did not survive the demise of their company. Simon was considering leaving the comic book medium altogether and seeking employment as an advertising artist, but Kirby wanted to keep working in his original medium. They parted amiably. Several of the unpublished material for Mainline Publications was sold to Charlton Comics. Kirby was left with an unused idea for a new team of adventurers. He would continue developing the idea over the following year, and eventually sell it to DC Comics. It was the the earliest incarnation of Challengers of the Unknown, though Kirby did not stay with DC long enough to further develop it.

From 1956 to 1958, Kirby was producing freelance work for DC Comics and Atlas Comics (Marvel Comics), mostly as a writer and penciller, and occasionally as an inker. He contributed stories for characters such as the Green Arrow and the Yellow Claw, though he did not create any major characters of his own. His take on Green Arrow was considered controversial, as Kirby included more science-fiction themes in the stories and was trying to revamp the character. Green Arrow co-creator Mort Weisinger reportedly hated Kirby's concept for the character.

In addition to comic books, Kirby co-created a comic strip called "Sky Masters of the Space Force" (1958). It was a science fiction comic book set in the near-future. It was a minor hit but got Kirby in a legal dispute with Jack Schiff, editor of DC. Schiff had helped bring Kirby in contact with his collaborators for the comic strip. He claimed that Kirby owed him a share of the strip's profits. The matter was settled in court and Schiff won the trial. This helped severe Kirby's relations with DC, and he soon quit the comic strip as well.

In late 1958, Kirby started producing more work for Atlas Comics (Marvel Comics). For various reasons Atlas had lost much of its creative personnel and there was a need for the remaining staff to increase its productivity. Kirby decided he could use some extra money and started mass producing art for Atlas. He became arguably the most prolific artist of the company, with his artwork appearing in almost any ongoing title. His best-remembered production from this time involved anthology stories for Atlas' series of supernatural-fantasy and science fiction titles. They were minor hits of their time and considered classics by later Marvel artists and readers. Most of his creations were supposed to be one-shot characters, but some of his characters have been revived and have made appearances in several works by other creators. They include characters such as Fin Fang Foom, Groot, and Grottu.

Kirby still did not work exclusively for Atlas. He collaborated with Joe Simon to create two more superheroes for Archie Comics. They were the Fly (1959) and a new incarnation of the Shield, called Lancelot Strong (1959). He also worked for the "Classics Illustrated" comic book series by The Gilberton Company, Inc.

In 1961, Atlas/Marvel editor-in-chief Stan Lee wanted to create a new superhero team to compete with DC's Justice League of America, which was turning out to be a hit. He decided to collaborate with Kirby in creating the team, the result being the Fantastic Four. For the first story of the new team, Lee created a synopsis of what he wanted the story to be like. Kirby then incorporated his own ideas and drew the whole story. Then Lee added his own dialogue to the finished artwork and narrative captions. The finished story was then offered for further inking, coloring, and eventual publication. This was the so-called "Marvel Method" of producing stories, where both co-creators had considerable influence on what was being created.

In later years, both Kirby and Lee would argue over who was the true creator of the Fantastic Four and the driving force behind the series. They both claimed that they came up with most of the concepts and that their collaborator only added relatively insignificant details. A number of comic book historians have tried to determine which version was true, though no definite evidence can be produced. Historian Mark Evanier, who has written a biography of Kirby, has argued that none of the two versions were true. He has argued that the two men were equal collaborators and that the credit for the series belongs to both of them.

The Fantastic Four title became a commercial hit and Kirby was its main artist for the first 102 issues (November, 1961-September, 1970). Atlas/Marvel soon launched a new line of titles, with Kirby serving as an artist for most of them. Besides contributing artwork and plots, Kirby was asked to train other Marvel artists in how to draw the characters. He provided "breakdown" layouts and the other artists would learn to draw based on them. Before long, Kirby's style had become Marvel's new house style. This did not prevent his personal style from further evolving, by incorporating new drawing techniques and other experiments.

In the 1960s, Kirby created or co-created hundreds of major and minor characters for Marvel Comics. Among his major creations were Doctor Doom (1962), the Hulk (1962), Thor (1962), Iron Man (1963), Magneto (1963), Uatu the Watcher (1963), the original X-Men (1963), the Inhumans (1965), the Black Panther (1966), Ego the Living Planet (1966), Galactus (1966), and the Silver Surfer (1966). For some of them Kirby only contributed their debut stories, for others entire runs of featured stories. He also helped revive older characters, such as Captain America, Namor, and Ka-Zar (who was given an entirely different setting and backstory).

By the early 1970s, Kirby felt increasingly dissatisfied with his working relationship with Marvel. He was paid much better than before, earning about 35,000 dollars per year. But he felt that he was not given adequate credit for his own creations, that his plot contributions went mostly uncredited, and that Marvel was earning much more money from characters that he had created. He consequently left Marvel. He was hired by DC Comics, as the result of a deal with editorial director Carmine Infantino.

Kirby's contract with DC, produced in 1970, gave him essentially a free reign as writer and penciller in whatever title he worked on. He soon worked in four inter-connected titles. They were the already established (but low-selling) title Superman's Pal, Jimmy Olsen (which had no one assigned to it so Kirby could take it over without having someone lose their job) and the new titles New Gods, Mister Miracle, and the Forever People. The concept of the titles became known as Jack Kirby's Fourth World.

The idea for the so-called New Gods had reportedly come to Kirby a few years earlier, while he was working on the "Tales of Asgard" sub-series for Marvel's "Thor" title. He wanted to produce a story about two planets at war with each other and the grand finale would be the Ragnarok ("Twilight of the Gods"), the battle that ends the gods at the finale of Norse mythology. Marvel never allowed him to work on such a story, DC on the other hand did. Kirby came up with the idea of the New Gods born out of the death of the old ones. He soon developed an entirely new mythology for his creations, combining disparate ideas from multiple sources. The scope was epic.

Kirby at first intended to tell a finite story about the New Gods. It would have a start, several chapters, and a definite conclusion. But the titles initially sold too well and DC argued against the idea, wanting the tales to continue indefinitely. Kirby was forced to compromise and the story continued, though sales soon dropped. "New Gods" and the Forever people were canceled in 1972. Mister Miracle continued under Kirby until 1974, though the stories became a bit more conventional.

Though Kirby's take on the New Gods and associated characters was considered a bit too weird for mainstream comics, DC never completely lost interest in the characters. They were revived by later creators, reused for decades, and a few (like Darkseid) went on to play prominent roles in the wider DC multiverse. Meanwhile Kirby went on to work in other series.

The other 1970s DC characters created or co-created by Kirby included Etrigan the Demon (1972), Kamandi (1972), OMAC (1974), a new version of Sandman (1974), Atlas (1975), a new version of Manhunter (1975), the Dingbats of Danger Street (1975) and Kobra (1976). All these characters were considered as series protagonists, and some of them did receive their own title. However, none of them enjoyed long-term success.

In 1975, Marvel Comics announced that Kirby would return to work with them. He was soon producing new runs as sole writer and penciller of "Black Panther" and "Captain America". His most enduring work, however, was in the creation of new series and characters. His best known work was "The Eternals" (1976-1978), a 19-issue series about immortal gods active on modern Earth. It was very similar in concept to the New Gods. The human-looking gods were called Eternals, their demonic looking counterparts were the Deviants, and they were both inferior to the mysterious space gods called the Celestials. The series was never a best-seller but has its dedicated fans. The characters and concepts have been incorporated to the wider Marvel multiverse, with several other creators adding to them over the decades.

Somewhat less ambitious were the rest of the Kirby creations of the 1970s for Marvel. They included Machine Man (1977) and Devil Dinosaur (1978). Each held its own short-lived series, but enduring success eludes them. They still have enough fans to warrant several revivals over the following decades.

Kirby left Marvel in 1978 to return to the field of animation, after an absence of nearly 40 years. He spend much of the late 1970s and 1980s working on television animated series such as "Thundarr the Barbarian" and "The Centurions". Futhermore, Kirby found the experience much more satisfying, considering he was in a senior creative post as production designer and worked with young employees who did the more laborious work of animation. They treated him with far more respect than the people in the comic book industry.

Never satisfied with his lack of creative control over his older creations, Kirby briefly returned to comic books with the creator-owned series "Captain Victory and the Galactic Rangers" (1981-1984). It was intended as his own sequel to the New Gods. The title character, Captain Victory, was implied to be the son and heir of Orion. His supposed grandfather "Blackmaas" was a look-alike of Darkseid.

In the mid-1980s, when the Kenner toy company judged his New Gods villains, like Darkseid, ideal antagonists for the Super Powers Collection toy-line, DC asked Kirby to design the action figure versions for character. He received royalties for the use of his character designs, the only time he was so compensated. He also returned to his characters in the DC graphic novel called The Hunger Dogs!.

In the early 1990s, Kirby licensed his creator owned-characters to Topps Comics. Existing characters and unused Kirby-produced concepts from earlier decades were used for the so-called Kirbyverse line of comic books. Kirby himself did not contribute new work to Topps. He attempted to make a comeback to the comic book medium with a comic book series called "Phantom Force", but died in 1994 before its publication.

Some of Kirby's unpublished work has seen posthumous publication. His creator-owned characters were inherited by his family and have continued to appear in new works by various publishers. The Kirby family has repeatedly attempted to claim partial ownership over Jack Kirby's Marvel creations, though their legal efforts have so far been unsuccessful. The Kirby family has not disputed the ownership of his DC creations.

John Palumbo was born and raised in the Lower Eastside of Manhattan, NYC. He was one of the New York Knicks ball boys in the 1980's and attended the Lee Strasberg Institute in NYC in the mid 1990's. His debut in the motion picture was for a small role in the comedy My X-Girlfriend's Wedding Reception (1999) directed by Martin Guigui. Later he had a recurring role on HBO's prison drama "OZ" playing the role of Don Zanghi. His father was the President of Off-Track Betting (OTB) in the 1990's.

Nilaja Sun is an actor, playwright and teaching artist most known for her Obie award winning solo piece "No Child..." which had its initial off Broadway run at the Barrow Street Theatre from July 2006-June 2007 and was recently revived there in an extended run. For her creation and performance of No Child... and its subsequent national tour, Nilaja garnered 21 awards including: an Obie Award, a Lucille Lortel Award, two Outer Critics Circle Awards including the John Gassner Playwriting Award for Outstanding New American Play, a Theatre World Award, the Helen Hayes Award, two NAACP Theatre Awards, and was named the Best One-Person Show at the U.S. Comedy Arts Festival in Aspen. "No Child..." is published and has been licensed out to over 45 theatres nationally since 2008. In 2010, Nilaja was awarded the soloNOVA Award for Artist of the Year by terraNOVA Collective. She has also been seen on 30 Rock, Law & Order: SVU, Unforgettable, Louie, The International, Rubicon and in 2012, she will be seen in the independent films Nature Calls and Hairbrained. A native of the Lower East Side, she is a Princess Grace Award winner and has worked proudly as a teaching artist in New York City since 1998.

Julia Migenes was born on 13 March 1949 in Lower East Side, Manhattan, New York City, New York, USA. She is an actress, known for Carmen (1984), No Way Out (1987) and Pearl Harbor (2001).

Io Tillett Wright was born on 2 September 1985 in Lower East Side, Manhattan, New York City, New York, USA. He is an actor and producer, known for Trees Lounge (1996), Henry Hill (1999) and Kiss Daddy Goodnight (1987).

Patricia Bright was born on 5 April 1922 in Lower East Side, Manhattan, New York City, New York, USA. She was an actress, known for The Edge of Night (1956), It's Always Jan (1955) and The Borden Show (1947). She was married to Steve Blumberg. She died on 10 October 2009 in Manhattan, New York City, New York, USA.

David Axelrod was born on 22 February 1955 in Lower East Side, Manhattan, New York City, New York, USA. He is an actor and writer, known for Black-ish (2014), The Axe Files (2017) and Alpha House (2013).

Joe Hyams was born on 21 September 1926 in Lower East Side, Manhattan, New York City, New York, USA. He is known for Firefox (1982), Bronco Billy (1980) and City Heat (1984). He was married to Dolores. He died on 31 May 2017 in Los Angeles, California, USA.

Ruby Goldstein was known as "Jewel of The Ghetto". Born to a poor Jewish family,Goldstein learned to fight in the ghetto's of New York. Less than 5 feet 5 inches tall, never-the-less, he carried dynamite in both fists. As an amateur boxer he remained undefeated and compiled a record of 14-0. Goldstein under the management of Hymie Cantor made his professional boxing debut on New Year's Day, 1925, in New York City, knocking out Al Vano in two rounds. In the next year and a have, Goldstein became a rated lightweight contender with an undefeated record of 23-0. However, when faced with rated contenders as opponents, the hard-punching Goldstein's chin was exposed as less than iron. He was knocked out by Jimmy McLarnin, Sid Terris, Ace Hudkins, Billy Alger, and Jay Macedon. Goldstein retired in 1933 only to make a short-lived comeback in 1937. Even though he won all four of his fights, Rudy realized his best years were behind him and retired with a record of 53-6. In 1943 he became a licensed referee in New York state. He refereed numerous world title bouts, his last being the March 24, 1962 World Middleweight title bout between defending champion Benny "Kid" Paret and Emile Griffith. Paret was knocked out in the 12th round after being battered on the ropes. He died on April 3, 1962 of injuries he suffered in this fight. Goldstein vowed to referee again in an article published in the Ring Boxing Magazine; but he never did.

Julius Epstein was born in 1926 in Lower East Side, Manhattan, New York City, New York, USA. He was married to Esther Epstein. He died on 25 July 2015 in Sarasota, Florida, USA.

Ray 'Raybeez' Barbieri was born on 27 November 1961 in Lower East Side, Manhattan, New York City, New York, USA. He died on 11 September 1997 in New York City, New York, USA.

Victor Riesel was born on 26 March 1913 in Lower East Side, Manhattan, New York City, New York, USA. He was an actor, known for The Alcoa Hour (1955), The Tenth Commandment (1954) and Today (1952). He died on 4 January 1995 in Manhattan, New York, USA.

Raymond Yau was born on 5 November 1978 in Lower East Side, Manhattan, New York City, New York, USA. He is known for Pathfinder (2007), Distortion (2006) and F.E.A.R. First Encounter Assault Recon (2005).