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.
After regaining his memories, White Vision searches for his true purpose. He builds a new life, but his peace is shattered when he encounters Jocasta, another advanced AI once created to be Vision’s counterpart. However, Jocasta believes synthetic life should rule over humanity, seeing Vision’s compassion as weakness. As she gathers rogue AIs to form her own “digital utopia,” Vision must confront her and face the part of himself that still questions what it means to be human.
