
Betty Buckley
Buckley won the 1983 Tony Award for Best Featured Actress in a Musical for her role as Grizabella in the original Broadway production of Cats. She went on to play Norma Desmond in Sunset Boulevard (1994–96) in both London and New York, receiving a 1995 Olivier Award nomination for Best Actress in a Musical, and was nominated for the 1997 Tony Award for Best Actress in a Musical for Triumph of Love. Her other Broadway credits include 1776 (1969), Pippin (1973), and The Mystery of Edwin Drood (1985). From September 2018 to August 2019, she starred as the title role in the U.S. national tour of Hello, Dolly.
Buckley starred in the TV series Eight Is Enough from 1977 to 1981 and played gym teacher Miss Collins in the 1976 film Carrie, before going on to star in the short-lived Broadway musical version of Carrie in 1988, playing Carrie White's mother, Margaret. Her other film roles include Dixie Scott in Tender Mercies (1983), Sondra Walker in Frantic (1988), Kathy in Another Woman (1988) and Mrs. Jones in The Happening (2008). She received a Saturn Award nomination for her role as Dr. Karen Fletcher in the 2016 film Split. Her other television credits include series Oz (2001–03), and Preacher (2018).
Biography from the Wikipedia article Betty Buckley. Licensed under CC-BY-SA. Full list of contributors on Wikipedia.
Known For
Recently Updated Shows

MobLand
With the most powerful clients in Europe, MobLand will see family fortunes and reputations at risk, odd alliances unfold, and betrayal around every corner; and while the family might be London's most elite fixers today, the nature of their business means there is no guarantee what's in store tomorrow.
MobLand follows two generations of gangsters, the businesses they run, the complex relationships they weave and the man they call upon to fix their problem.

Daredevil: Born Again
Matt Murdock finds himself on a collision course with Wilson Fisk when their past identities begin to emerge.

The Studio
As movies struggle to stay alive and relevant, Matt and his core team of infighting executives battle their own insecurities as they wrangle narcissistic artists and craven corporate overlords in the ever-elusive pursuit of making great films. With their power suits masking their never-ending sense of panic, every party, set visit, casting decision, marketing meeting, and award show presents them with an opportunity for glittering success or career-ending catastrophe. As someone who eats, sleeps, and breathes movies, it's the job Matt's been pursuing his whole life, and it may very well destroy him.