Age: 66
male
James Todd Spader (/ˈspeɪdər/ SPAY-dər; born February 7, 1960) is an American actor. He is known for often portraying eccentric and morally ambiguous characters. He began his career in critically acclaimed independent films before transitioning into television, where he has received acclaim and many awards, including three Primetime Emmy Awards and nominations for three Golden Globe Awards, and ten Screen Actors Guild Awards. Spader began acting in youth-oriented films such as Tuff Turf, The New Kids (both 1985), Pretty in Pink (1986), and Mannequin (1987). His breakthrough role came with the Steven Soderbergh drama Sex, Lies, and Videotape (1989), for which he received the Cannes Film Festival Award for Best Actor. He then starred in films such as White Palace (1990), True Colors (1991), Stargate (1994), 2 Days in the Valley (1996), and Secretary (2002). Spader took supporting roles in Bob Roberts (1992), Wolf (1994), Lincoln (2012), and The Homesman (2014). He also played the role of Ultron in the Marvel Cinematic Universe film Avengers: Age of Ultron (2015). His television roles include the attorney Alan Shore in the last season of The Practice (2003–2004) and its spin-off Boston Legal (2004–2008), which earned him three Primetime Emmy Awards for Outstanding Lead Actor in a Drama Series. He portrayed Robert California in the sitcom The Office (2011–2012). He then starred as Raymond Reddington in the NBC crime thriller series The Blacklist (2013–2023), for which he received two Golden Globe Award nominations for Best Actor – Television Series Drama. Description above from the Wikipedia article James Spader, licensed under CC-BY-SA, full list of contributors on Wikipedia.
James Spader
Arthur Reeves
for Arthur Reeves in Batman: Mask of the Phantasm (1993 Live Action)
Suggested by go77e
*rewritten for live action* In a Gotham gripped by crime and political maneuvering, high-profile mobsters are being murdered — each found at the scene of their death muttering the same thing: "It was the Batman." The killings begin with Chuckie Sol, a flashy crime lord ambushed in his garage by a ghostly, masked figure. Then Buzz Bronski, a thuggish enforcer, is dragged to his grave — literally — during a funeral. Fear ripples through Gotham’s old mob circles, especially among those once involved in a mysterious disappearance from years prior. Gotham’s press, led by ambitious city councilman Arthur Reeves, quickly blames Batman. As public opinion turns, Bruce Wayne is forced to reevaluate both his public image and his mission. Amid this storm, Andrea Beaumont returns to Gotham. Her arrival stirs up buried memories in Bruce: a time before the cowl, when love nearly pulled him away from vengeance. Flashbacks reveal their near-engagement — and her sudden, unexplained departure — which shattered Bruce and helped solidify his path as Batman. As Bruce investigates, he discovers the murdered gangsters — Sol, Bronski, and the now-terrified Salvatore Valestra — were all connected to Andrea’s father, Carl Beaumont, a financial adviser who vanished after embezzling from them. Desperate for protection, Valestra turns to a terrifying wildcard: the Joker, now living in isolation, his history as a former hitman for the mob buried under madness. When Valestra winds up dead with a smile carved across his face, Bruce begins to suspect Joker may be behind the original crime — but not these new murders. Eventually, Batman uncovers the truth: Andrea is the masked killer — the Phantasm — seeking revenge for her father’s murder, orchestrated years ago by the same mobsters she’s now hunting. Her vendetta spirals toward Gotham’s industrial district, where the Joker now resides in the ruins of the World’s Fair — a decaying monument to lost dreams that Andrea and Bruce once visited together. In a final confrontation, Andrea faces Joker, who gleefully admits to executing her father. She nearly kills him, but Batman intervenes — not to save Joker, but to stop Andrea from crossing the line he walks every night. She vanishes with Joker in an explosion, leaving behind only a locket and the final traces of a love that couldn’t survive the city. The film ends with Bruce, alone in the Batcave, silently reflecting. Alfred asks if he’s alright. Bruce doesn’t respond. In the distance, the Bat-Signal lights the sky — and Batman answers it.
