22 Gorgeous Portraits of a Young Shannen Doherty in the 1980s

Shannen Doherty (April 12, 1971 – July 13, 2024) was a child actress in the 1980s, starting her career around age 10 and building a solid resume in television and film before exploding in popularity with Beverly Hills, 90210 in the early 1990s.

She made her acting debut in 1981 on Father Murphy (produced by Michael Landon). In 1982, at age 11, Landon cast her as Jenny Wilder (Laura Ingalls’ niece) in the final season of the beloved family drama Little House on the Prairie (1982–1983), where she appeared in 18 episodes. That same year, she voiced Teresa Brisby in the animated film The Secret of NIMH.

She had guest spots on shows like Voyagers!, Magnum, P.I., and later 21 Jump Street. In 1985, she starred as Maggie Malene in the teen comedy Girls Just Want to Have Fun alongside Sarah Jessica Parker and Helen Hunt. From 1986 to 1988, she played Kris Witherspoon (the oldest sibling in a blended family) on the NBC family drama Our House, earning Young Artist Award nominations.

By the end of the decade, she transitioned toward edgier roles, playing the scheming Heather Duke in the 1988/1989 cult black comedy Heathers (with Winona Ryder and Christian Slater), which showcased her ability to portray complex, mean-girl characters.

In the early 1980s (around ages 11–13), Doherty often appeared with a wholesome, girl-next-door look: long dark hair styled in braids or pigtails with bangs, wearing period-appropriate prairie dresses or simple outfits for her Little House role.

As a teenager in the mid-to-late 1980s, her style evolved with the era—shoulder-padded blouses, patterned pants, big hair (sometimes teased or voluminous), and a mix of preppy and youthful looks. She had striking dark hair, expressive eyes, and a fresh-faced appeal that fit right into the booming teen culture of the time. She was known for her natural beauty and confident presence even as a young performer.

In the 1980s, Shannen Doherty was a promising young talent transitioning from child star (sweet, family-oriented roles) to teen actress (edgier, comedic, and dramatic parts). She wasn’t yet the ultimate 1990s icon she became with 90210, but her work laid the foundation for that fame. Many remember her from this era as cute, talented, and already showing the strong personality that defined her later career.

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Photos of a Very Young and Beautiful Ann Miller in the Late 1930s

In the late 1930s, Ann Miller (April 12, 1923 – January 22, 2004) was a teenage prodigy who jump-started her Hollywood career by pretending to be several years older than she actually was. Born in 1923, she was barely 13 or 14 years old during her initial breakthrough but successfully convinced studios she was 18 to bypass child labor laws.

In 1936, while Miller was dancing at the Bal Tabarin (or Black Cat Club) in San Francisco, she was discovered by Lucille Ball and talent scout Benny Rubin. This meeting led to her first major contract with RKO Pictures. To sign with RKO in 1937, Miller used a fake birth certificate provided by her father. It claimed she was born in 1919 rather than 1923, making her appear 18 instead of 14. Her first significant film role was as Ginger Rogers’ dancing partner in Stage Door (1937). Despite her sophisticated appearance, she was only 14 at the time.

By 1939, Miller was already a seasoned veteran of the screen despite being only 16 years old. She would soon leave RKO for Columbia Pictures, and eventually MGM, where her career would hit its legendary stride.

Miller quickly became known for her phenomenal tap speed, which studio publicists claimed reached 500 taps per minute. This signature “machine-gun” tapping style, combined with her long legs and “brassy” persona, made her a standout supporting actress in musical comedies before she eventually transitioned to MGM in the 1940s.

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Lovely Photobooth Portraits of a Young Girl in the 1920s

Long before the selfie, there was the photobooth. Behind the tiny velvet curtain of the 1920s, a young woman named Evelyn found a private space to shed her formal persona and reveal her true, spirited self. From playful winks to rebellious poses, these photobooth portraits capture the authentic heart of the flapper era.

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The Heroes of Chernobyl, Who Saved Europe From Nuclear Fallout

Ten days after the 1986 Chernobyl disaster, officials discovered a new, potentially greater threat: a massive pool of water had collected beneath the melting core of Reactor 4. If the molten fuel (corium) reached this water, it could have triggered a massive steam explosion. Experts feared this second blast would have been powerful enough to destroy the remaining three reactors and render much of Europe uninhabitable.

The men seen suiting up in the photo were not professional divers, but power plant employees who knew the facility's layout: Alexei Ananenko, a mechanical engineer who knew where the release valves were located; Valeri Bespalov, a senior engineer who assisted in the search; Boris Baranov, the shift supervisor whose job was to provide light for the others.

Alexei Ananenko (second from left), Valeri Bezpalov (center), and Boris Baranov (far right) preparing in protective equipment during the Chernobyl nuclear accident of 1986 in Pripyat, Ukraine.

When asked, Ananenko’s response was simple: “How could I refuse, when I was the only person on shift who knew where the valves were located?”

Equipped with basic respirators, wetsuits, and flashlights, they waded through knee-to-waist-high radioactive water in the dark to manually drain the chambers. Despite their lights failing during the mission, they successfully located the valves by touch, following a main pipe until they reached the sluice gates.

For years, popular legend claimed that all three men died of radiation poisoning shortly after the mission. However, reality was much different. All three men survived the immediate aftermath of the mission. Boris Baranov lived until 2005, when he died of a heart attack at age 65. Alexei Ananenko and Valeri Bespalov were still alive as of 2018 and were personally awarded the “Order for Courage” by the Ukrainian president. 

30 Vintage Photos That Defined Menswear From the Mid-19th Century

Menswear in the mid-19th century marked a decisive turn toward the structured sobriety that would define the modern masculine wardrobe.

During this period, the vibrant colors and extravagant silhouettes of the earlier Romantic era gave way to a more “gentlemanly” aesthetic, characterized by the dominance of the frock coat. This knee-length garment, with its nipped-in waist and full skirts, became the quintessential uniform for the Victorian middle and upper classes, symbolizing respectability and professional stature. It was an age where the three-piece ensemble, consisting of a coat, a contrasting waistcoat (vest), and trousers, became the standard, often complemented by a crisp white shirt with a high, stiffened collar.

Accessories played a crucial role in navigating the strict social hierarchies of the 1850s and 1860s. No gentleman was considered fully dressed without a silk top hat and a meticulously tied cravat or necktie, which provided one of the few opportunities for a splash of color or pattern. As the decade progressed, the Lounge suit began to emerge as a more relaxed alternative for informal settings, signaling a gradual shift toward comfort.

This era of menswear was a masterclass in tailoring and proportion, reflecting a society that valued formality, rigid etiquette, and the dignified silhouette of the rising industrial age. Step back into a world of impeccable tailoring and Victorian etiquette with these vintage photos from the mid-19th century.

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Supercars in the Office Taken by George Grippinos During the 1990s

George Grippinos is a photographer renowned for documenting the extravagant, high-stakes culture of 1980s and 1990s Wall Street, specifically focusing on financiers and their luxury supercars. His work often captured the, at the time, unique trend of lifting Ferraris, Lamborghinis, and Porsches into high-rise penthouses and offices. Between 1992 and 1999, Grippinos shot a series featuring luxury vehicles installed as centerpieces in boardrooms and living spaces, reflecting extreme wealth.

During the 1990s Wall Street boom, supercars were treated as “domestic sculptures.” Having a supercar was not only about enjoying speed. It was about sending a message. By placing the car indoors they made sure it was always seen. Clients and visitors would walk in and immediately understand the level of wealth and power in the room. To get the vehicles into these unconventional spaces, owners often had them lifted by crane into high-rise offices, penthouses, and Upper East Side homes.

Grippinos’ work frequently showcased iconic 1990s models such as the Ferrari F40 and various Lamborghinis and Porsches. He captured this with a calm and honest eye. He did not judge or exaggerate. He simply showed how objects can define people and how success can be displayed in very personal ways.

These images capture something that feels almost surreal today, the sheer audacity of having a supercar as office décor, a symbol of how excess defined that particular moment in American finance culture. It’s a time capsule of a very specific kind of wealth flexing, long before social media made such displays routine.

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Wonderful Photos From the Set of “The Young Girls of Rochefort” (1967)

The Young Girls of Rochefort (Les Demoiselles de Rochefort) is a 1967 French musical comedy directed by Jacques Demy. A companion piece to Demy’s earlier The Umbrellas of Cherbourg, the film is celebrated for its pastel-colored aesthetic, jazzy score, and tribute to the golden age of Hollywood musicals.

Set over a single weekend in the seaside town of Rochefort, the story follows Delphine and Solange Garnier, twin sisters who teach dance and music while dreaming of finding love and artistic careers in Paris. As a carnival comes to town, a series of missed connections and near-misses unfold, with characters often narrowly avoiding their ideal partners until the final moments.

 Played by real-life sisters Catherine Deneuve and Françoise Dorléac. Tragically, Dorléac died in a car accident just months after the film's release. The film features Hollywood legends Gene Kelly as an American pianist and George Chakiris (West Side Story) as a carnival worker.

Composed by Michel Legrand. Notably, Danielle Darrieux (playing the twins’ mother) was the only cast member who sang her own parts; others were dubbed by professional singers. To achieve Demy’s vision of a “pastel paradise,” production designer Bernard Evein repainted 40,000 square meters of Rochefort's city facades.

The film is considered a masterpiece of the French New Wave’s later years, blending whimsical optimism with subtle themes of military presence and social change. A stage musical based on the film was produced in France in 2003, adapted by Alain Boublil and directed by Daniel Moyne. It is now widely regarded as one of the best musical movies all of time, one of the best films out of French cinema, one of the best pictures of the 1967, of the 1960s, as well of the 20th century and Demy’s best film alongside The Umbrellas of Cherbourg (1964).

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