Portrait of Theo Van Gogh, Taken in 2004, Was Captured the Same Year He Was Murdered

This photo of Theo van Gogh, taken in 2004, was captured the same year he was murdered. A great-grandson of Vincent van Gogh’s brother, Theo, he was killed on November 2, 2004, by a radical Islamist for his controversial film Submission, which criticized the treatment of women in Islam.

At approximately 9 a.m. on the morning of November 2, 2004, Van Gogh was shot several times and had his throat slit while cycling to work. The perpetrator, 26-year-old Dutch-Moroccan citizen Mohammed Bouyeri, also injured some bystanders and left a note pinned to Van Gogh’s stomach with a knife containing death threats to Ayaan Hirsi Ali, who went into hiding. The note also threatened Western countries and Jews, and referred to ideologies of the Egyptian organization Jama’at al-Muslimin.

Bouyeri was apprehended by police after a chase. Authorities alleged that he had terrorist ties with the Dutch Islamist Hofstad Network. He was charged with the attempted murder of several police officers and bystanders, illegal possession of a firearm, and conspiring to murder others, including Hirsi Ali. He was convicted at trial on July 26, 2005, and sentenced to life in prison with no chance of parole. The murder sparked outrage and grief throughout the Netherlands. Flowers, notes, drawings and other expressions of mourning were left at the scene of the murder.

The primary motive for the murder was Van Gogh’s 2004 short film, Submission. The film, written by Ayaan Hirsi Ali, criticized the treatment of women in Islam and featured scenes of Quranic verses written on the bodies of women. This work was deeply offensive to some religious extremists and led to the fatal retaliation. 

Van Gogh’s murder had a profound impact on Dutch society, sparking intense national debates over freedom of speech, multiculturalism, and the integration of immigrants. It is often cited as a turning point that ended an era of perceived “tolerance” in the Netherlands regarding radical religious ideologies.

Photos of 18-Year-Old Charlize Theron Posing as Marilyn Monroe in 1993

In 1993, Charlize Theron, then an 18-year-old model, posed as Marilyn Monroe for the French magazine Madame Figaro. At the time, she was modeling throughout Europe after winning a modeling contract in Italy. The photo shoot was a tribute to the iconic actress, and Theron was praised for her ability to capture Monroe’s sensual and glamorous poses.

The year after the photo shoot, Theron moved to Los Angeles on a one-way ticket to pursue a career in acting, with the goal of becoming more than just a model. She eventually landed her first major speaking role in 2 Days in the Valley in 1996 and her breakout film in 1997 with The Devil’s Advocate.

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Jean Peters: Hollywood’s Most Private Leading Lady

Jean Peters was a captivating presence in 1950s Hollywood, known for her earthy beauty and remarkable versatility.

Unlike many of her contemporaries who sought the spotlight, Peters was famously private, often preferring roles that showcased her strength and intelligence over simple glamour. She delivered unforgettable performances in films like the gritty noir Pickup on South Street and the sweeping historical drama Viva Zapata!, where she held her own alongside Marlon Brando.

Despite her rising stardom, her acting career was relatively short-lived, Peters largely stepped away from the cameras following her high-profile marriage to the eccentric billionaire Howard Hughes. She is remembered as a performer of refined talent and quiet dignity, a woman who commanded the screen with a natural, unforced charisma that felt modern ahead of its time.

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Subaru’s Small Wonder: The 1969 360 Super Deluxe

The 1969 Subaru 360 Super Deluxe remains one of the most charming and quirky icons of Japanese automotive history.

Affectionately nicknamed the “Ladybug” in Japan, this microcar was designed to meet “Kei car” regulations, offering an affordable and compact mobility solution for the masses. The Super Deluxe trim was the top-of-the-line model for 1969, featuring upgraded interior appointments and chrome accents that added a touch of sophistication to its tiny, rounded frame.

Powered by a modest 356cc air-cooled, two-stroke engine mounted in the rear, it wasn’t built for speed, but its unique “suicide doors,” fiberglass roof, and lightweight agility earned it a devoted cult following. Today, the 360 Super Deluxe is celebrated as the plucky underdog that paved the way for Subaru’s global success, embodying a sense of retro-futuristic minimalism and pure mechanical honesty.

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30 Photos of John Travolta on the Set of “Blow Out” (1981)

John Travolta’s performance in Blow Out (1981) is widely regarded by critics and filmmakers, including Quentin Tarantino, as one of the finest of his career. On the set, he worked closely with director Brian De Palma, with whom he had previously collaborated on Carrie (1976).

Unlike his high-energy roles in Saturday Night Fever or Grease, Travolta played Jack Terry, a weary, professional sound effects technician. To ground the performance, he leaned into the technical “gear porn” of the era. He spent a significant amount of time in the editing room sets, meticulously working with reel-to-reel tapes and magnetic audio equipment to ensure his movements as a technician looked authentic.

Many film historians note that Travolta’s character was De Palma’s most personal creation. Travolta captured a sense of “tragic apathy” and vulnerability that mirrored De Palma's own meticulous, often obsessive approach to filmmaking. Travolta specifically lobbied De Palma to cast Nancy Allen (who was married to De Palma at the time) as the female lead, Sally. The three had a shorthand from their time on Carrie, which helped foster the chemistry needed for the film’s central, doomed romance.

The production was shot primarily at night in Philadelphia on a substantial $18 million budget. Travolta had to navigate complex technical shots, including the famous split-diopter sequences (where both the foreground and background are in sharp focus) and a 360-degree panning shot in his studio that required him to move in perfect sync with the camera. During the editing process, two reels of footage from the climactic Liberty Day parade sequence were stolen and never recovered. The production had to spend $750,000 of insurance money to reshoot these scenes.

The film’s bleak, nihilistic ending, where Travolta’s character uses a real-life recording of a scream for a slasher movie, was reportedly devastating to film. While the ending is now considered a masterpiece of irony, it was so dark that it contributed to the film’s initial failure at the box office. Blow Out made $13,747,234 at the box office. It was considered a disappointment, as Filmways had publicly claimed the film would make $60–80 million. Rentals generated $8 million.

Years later, Quentin Tarantino cited Travolta’s performance in Blow Out as the primary reason he wanted to cast him as Vincent Vega in Pulp Fiction, effectively reviving Travolta’s career.

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The Only Known Photograph of a Black Union Soldier With His Family, ca. 1864

This iconic image, dating from 1863–1865 (often cited as 1864), is a quarter-plate ambrotype featuring an African American Union soldier, his wife, and their two daughters. It is widely recognized as the only known photograph of a Black Union soldier posed with his family.

 Long considered unidentified, research now suggests the soldier may be Sergeant Samuel Smith of the 119th U.S. Colored Infantry, pictured with his wife Mollie and daughters Mary and Maggie. However, some archives still list the subjects as officially unidentified.

The photograph was discovered in Cecil County, Maryland. Because of this, it is highly likely the soldier served in one of the seven United States Colored Troops (USCT) regiments raised in that state. The original image is held at the Library of Congress as part of the Liljenquist Family Collection of Civil War Photographs.

Patsy Kelly: The Unstoppable Wit of Hollywood’s Golden Age

Patsy Kelly was a dynamic force of American comedy, best known for her razor-sharp wit and boisterous “tough girl” persona during the 1930s and ’40s.

A veteran of vaudeville, Kelly transitioned seamlessly to the silver screen, often playing the wise-cracking sidekick who could steal a scene with a single deadpan look or a perfectly timed Brooklyn-accented quip. Her career saw a remarkable resurgence later in life, culminating in a Tony Award for her performance in the 1971 Broadway revival of No, No, Nanette.

Beyond her comedic brilliance, Kelly is remembered as a trailblazer who lived with a rare, quiet authenticity during Hollywood’s more restrictive eras, remaining a beloved figure for her unapologetic energy and infectious comedic timing.

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