Portraits of a Young and Beautiful Jennifer Runyon in the 1980s

Actress Jennifer Runyon, a familiar face to fans of 1980s film and television, has passed away on March 6, 2026, at the age of 65. Her family shared a statement on social media saying, “This past Friday night our beloved Jennifer passed away, it was a long and arduous journey that ended with her surrounded by her family. She will always be remembered for her love of life and her devotion to her family and friends.”

She was beloved by many in the industry. Her friend, Bewitched star Erin Murphy, paid tribute, calling her “a special lady” and expressing that her thoughts were with Runyon's family and children.

Runyon had a memorable career throughout the 1980s. She is best known for her supporting role in the 1984 blockbuster Ghostbusters, her lead role as Gwendolyn Pierce in the CBS sitcom Charles in Charge, and for portraying Cindy Brady in the 1988 TV film A Very Brady Christmas. She also appeared in series including Quantum Leap, Murder, She Wrote, and Another World.

In her later years, Runyon had stepped back from Hollywood to work as a teacher and co-hosted a cooking podcast. Her final acting project was the 2025 horror film Spectral Squad: The Haunting of Sophie Lawson.

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40 Fascinating Photos of The Supremes Performing on Stage in the 1960s

Watching The Supremes perform in the 1960s wasn’t just a concert; it was a masterclass in glamour, precision, and poise. Under Berry Gordy’s direction at Motown, Diana Ross, Mary Wilson, and Florence Ballard were transformed into the blueprint for the modern girl group.

Every movement was choreographed by the legendary Cholly Atkins. Unlike the high-energy, sweaty performances of rock acts, The Supremes practiced “vocal choreography.” They didn’t run across the stage. Their moves were elegant hand gestures, synchronized head tilts, and rhythmic swaying. Think of the iconic palm-out hand signal during “Stop! In the Name of Love.” It was simple, yet it became a global symbol.

The Supremes were pioneers in using fashion as a performance tool. They were often dressed in Bob Mackie or Michael Travis designs that cost thousands of dollars, a massive sum at the time. Sequined gowns, floor-length silk, and towering wigs. They were styled to look like royalty. This was a deliberate move by Motown to ensure they could headline upscale venues like the Copacabana, bridging the gap between R&B and mainstream pop.

The group’s dynamic was carefully balanced to highlight Diana Ross while maintaining a unified front. Diana Ross took center stage with her wide-eyed, emotive expressions and “cooing” vocal style. Mary and Florence provided the “walls of sound” with impeccable harmonies and mirrored movements that made the trio look like a single, fluid entity.

They were graduates of Motown’s “Artist Development” (run by Maxine Powell). On stage, they never slumped, never looked tired, and always maintained a pleasant, sophisticated demeanor.

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Sharon Tate on the Beach During the Cannes Film Festival, 1968

In May 1968, Sharon Tate attended the 21st Cannes Film Festival in France, where she was captured in a series of now-iconic photographs on the beach by Jack Garofalo. She was at the festival to promote the film Rosemary’s Baby, directed by her husband, Roman Polanski. The photo series features her relaxing on the sand, playing table tennis (ping-pong), and lounging on a transat.

The 21st Cannes Film Festival was scheduled to run from May 10–24, 1968, but was ultimately canceled due to the massive protests sweeping France, culminating in the famous May riots in Paris. Roman Polanski had been appointed as a jury member that year, and jury members including Polanski, Louis Malle, and Jean-Luc Godard declared solidarity with the protesting workers and students and spoke out in favor of stopping the festival.

Sharon and Roman had married in January 1968 at Chelsea Register Office in London, so Cannes was essentially part of their first year as a married couple. She was 25 years old, radiant, and at the height of her career.

Tragically, her life was cut short in August 1969 when she and four others were murdered by members of the Manson Family. She was just 26 years old and eight months pregnant. The Cannes photos remain some of the most beloved images of her, capturing a moment of pure joy and elegance.

Kay Kendall: A Luminous Star of British Cinema’s Golden Years

Kay Kendall was a luminous British actress whose brief but brilliant career left an indelible mark on 1950s cinema. Best known for her exquisite blend of sophisticated beauty and impeccable comedic timing, she shot to international stardom in the 1953 hit Genevieve.

Kendall possessed a rare “screwball” energy, often compared to the great stars of Hollywood’s Golden Age, which she showcased perfectly in films like Les Girls (1957), earning her a Golden Globe. Beyond her professional success, her life was marked by a poignant elegance; she was married to the legendary Rex Harrison, who stayed by her side until her untimely death from leukemia at the age of only 33.

Kendall is remembered not just as a fashion icon of her era, but as one of the most talented comediennes to ever grace the British screen. Explore this collection of images that capture the timeless elegance and vivacious spirit of a true screen legend.

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40 Vintage Films and Filming Magazine Covers From the 1960s

Films and Filming was a prestigious British cinema magazine that played a vital role in film journalism from its inception in 1954 until the early 1990s.

Unlike many mainstream publications of its time, the magazine was celebrated for its intellectual and sophisticated approach, prioritizing “art house” cinema and international directors over typical Hollywood gossip. The magazine was particularly famous for its high-quality, artistic photography and its progressive stance; it often featured provocative imagery that challenged the era's social norms, making it a landmark publication for both cinephiles and the LGBTQ+ community.

By treating filmmaking as a serious art form rather than mere commercial entertainment, Films and Filming provided a deep archive of the transition from the Golden Age of cinema to the radical movements of the late 20th century. Below is a collection of vintage Films and Filming magazine covers from the 1960s.

Dean Stockwell and Trevor Howard in “Sons and Lovers”, Films and Filming magazine cover, May 1960

Horst Buchholz in “The Death Ship”, Films and Filming magazine cover, April 1960

Marlon Brando and Anna Magnani in “The Fugitive Kind”, Films and Filming magazine cover, August 1960

Montgomery Clift and Albert Dekker in “Suddenly Last Summer”, Films and Filming magazine cover, January 1960

Peter Sellers and Sophia Loren in “The Millionairess”, Films and Filming magazine cover, November 1960

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35 Glamorous Photos of Cyd Charisse in the 1950s

Cyd Charisse (March 8, 1922 – June 17, 2008) in the 1950s was the undisputed queen of the MGM musical, a period often cited as the “Golden Age” of the genre. Known for her incredible athleticism, elegance, and those famously long legs, she transitioned from a featured dancer into a top-tier leading lady.

While many stars of the era were known for their voices, Charisse was pure movement. Legend has it that MGM insured her legs for $5 million in 1952. She brought a level of technical ballet precision to Hollywood that few could match, moving with a “cool fire” that was both sophisticated and incredibly modern.

The 1950s were her defining decade. She starred alongside Gene Kelly in Singin’ in the Rain (1952) and Brigadoon (1954), and with Fred Astaire in The Band Wagon (1953) and Silk Stockings (1957). Both Kelly and Astaire praised her as their favorite partner. Astaire famously said, “When you’ve danced with Cyd Charisse, you’ve stayed danced with.” Kelly appreciated her strength, as she was one of the few dancers tall enough and powerful enough to match his athletic, grounded style.

In the 1950s, Charisse represented a shift in femininity. She wasn’t the “girl next door” like Debbie Reynolds or the bubbly blonde like Marilyn Monroe; she was the sophisticated, statuesque woman. Her costumes, often designed by Helen Rose or Adrian, emphasized her height and grace, making her a high-fashion icon of the era.

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40 Photos of a Young Lynn Redgrave in the 1960s

In the 1960s, Lynn Redgrave (March 8, 1943 – May 2, 2010) was the “it girl” who didn’t fit the mold. While her sister Vanessa was the ethereal, classical beauty of the Redgrave dynasty, Lynn became the face of the “unconventional” woman in Swinging London—quirky, vulnerable, and brilliantly funny.

Before she was a movie star, Lynn was a powerhouse on the stage. In 1963, she was a founding member of Britain’s National Theatre under Sir Laurence Olivier. She honed her craft in classics like Hamlet and Much Ado About Nothing. Her comedic timing was legendary; she stood out in Noël Coward’s Hay Fever (1964) as a “scatterbrained flapper,” proving she could hold her own against veterans like Maggie Smith.

In 1966, Lynn became an international sensation playing the title role in Georgy Girl. At a time when the “dolly bird” (the thin, mod, hyper-glamorous girl) was the aesthetic standard, Redgrave’s Georgy was the “ugly duckling.” She played a character who felt awkward and “plain” next to her roommate (played by Charlotte Rampling). Georgy was independent, free-thinking, and more interested in her own integrity than fitting into a mini-skirt. The film was such a hit that Lynn was nominated for an Academy Award for Best Actress. In a legendary bit of family history, she was up against her sister, Vanessa Redgrave, that same year.

Following her success, she starred in Smashing Time (1967), a vibrant, slapstick satire of the very “Swinging London” scene she helped define. Teaming up with Rita Tushingham, she played a girl from the North trying to make it as a “Mod” superstar. It’s a time capsule of 1960s fashion: outlandish sunglasses, PVC coats, and pop-art sets.

In the 1960s, Lynn’s look was defined by her expressive, wide eyes and what TIME magazine called a “sparkling sanity.” Often seen in shift dresses, textured knits, and voluminous hair, she projected a “natural” vibe that felt approachable compared to the era’s more detached fashion icons. Much of her 1960s narrative involved navigating her identity as the “youngest Redgrave.” She often spoke about feeling like the “plump” sibling, a sentiment she channeled into her relatable, “down-to-earth” performances.

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