18 Amazing Behind the Scenes Polaroids of Winona Ryder on the Set of “Girl, Interrupted” (1999)

Girl, Interrupted is a 1999 American drama film directed by James Mangold, based on the 1993 memoir by Susanna Kaysen. On the set of the film, Winona Ryder played the lead role of Susanna Kaysen, a young woman dealing with mental health issues in the 1960s after a suicide attempt. Her character was a sensitive, introspective young woman who struggles with fitting into societal norms, leading her to spend time in a psychiatric institution. Ryder’s role was central to the film’s exploration of mental health, societal expectations, and personal identity.

Behind the scenes, Winona Ryder worked closely with director James Mangold and her co-stars. Ryder herself was deeply invested in the film, having optioned the book rights years before production, as she felt strongly about bringing Kaysen’s memoir to life. The atmosphere on set was said to be intense but collaborative, with the cast often delving into heavy scenes to portray the complex mental and emotional states of their characters accurately.

Ryder once alluded to the divided set in a 2010 interview with the Sydney Morning Herald, noting that she never became good friends with Angelina Jolie during the making of the movie.

“I remember thinking, ‘Oh we’re going to turn out to be great friends,’” Ryder said. “But I think she needed to be able to look at me just as the character Susanna, not as Winona, so in a very respectful way she just kind of kept her distance.”

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Adrienne Posta: The Sparkling Spirit of 1960s British Cinema

Adrienne Posta is an English actress and singer who became a familiar face in British pop culture during the 1960s and ’70s. Known for her lively personality and expressive charm, she captured the youthful spirit of the Swinging Sixties both on screen and in music.

Posta appeared in a number of popular British films, including To Sir, with Love (1967), Here We Go Round the Mulberry Bush (1968), Up Pompeii (1971), and Carry On Behind (1975). Her performances often blended humor, wit, and a touch of cheeky glamor — qualities that made her one of the most endearing young stars of her generation.

Beyond acting, Posta also pursued a singing career, releasing several singles that showcased her versatile talent and connection to the vibrant pop scene of the era. She remains a symbol of 1960s and ’70s British entertainment — spirited, stylish, and unforgettable.

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Who Is Old Enough and Seen or Heard of the Infamous Max Headroom Incident?

The Max Headroom signal hijacking (also known as the Max Headroom incident) was a hijacking of the television signals of two stations in Chicago, Illinois, on November 22, 1987, that briefly sent a pirate broadcast of an unidentified person wearing a Max Headroom mask and costume to thousands of home viewers. It was one of the first and only successful TV signal hijackings in the U.S.

The first incident took place during the sports segment of independent TV station WGN-TV’s 9:00 p.m. newscast and featured a person wearing a mask swaying erratically in front of a semi-swiveling corrugated metal panel, apparently meant to resemble Max Headroom’s animated geometric background. Unlike the later intrusion, the only sound was a loud buzz. In total, the interruption went on for almost 30 seconds before engineers at WGN were able to regain control of their broadcast tower.

The second incident occurred about two hours later during PBS member station WTTW’s broadcast of the Doctor Who serial Horror of Fang Rock. With nobody on duty at the affected tower, this signal takeover was more sustained and included distorted but audible speech. The masked figure made reference to the real Max Headroom’s advertisements for New Coke, the animated TV series Clutch Cargo, WGN sportscaster Chuck Swirsky, “Greatest World Newspaper nerds,” and other seemingly unrelated topics. The video concluded with the masked figure presenting his bare buttocks to a woman with a flyswatter while yelling “They’re coming to get me!,” with the woman responding “Bend over, bitch!” and lightly spanking him with it as the figure was crying and screaming. At that point, the hijackers ended the pirate transmission, and normal programming resumed after a total interruption of about 90 seconds.

The broadcast intrusion was achieved by sending a more powerful microwave transmission to the stations’ broadcast towers than the stations were sending themselves, triggering a capture effect. Experts have said that the stunt required extensive technical expertise and a significant amount of transmitting power, and that the pirate broadcast likely originated from somewhere in the line of sight of both stations’ broadcast towers, which were atop two tall buildings in downtown Chicago. While the prank was difficult to accomplish in 1987, it became almost impossible to replicate after American television stations switched from analog to digital signals in 2009.

No one has ever claimed responsibility for the stunt. Speculation about the identities of “Max” and his co-conspirators has centered on the theories that the prank was either an inside job by a disgruntled employee (or former employee) of WGN or was carried out by members of Chicago’s underground hacker community. However, despite an official law enforcement investigation in the immediate aftermath of the incident and many unofficial investigations, inquiries, and online speculation in the ensuing decades, the identities and motives of the hijackers remain a mystery.

Soon after the intrusion, an FCC official was quoted in news reporting that the perpetrators faced a maximum fine of $100,000 and up to a year in prison. However, the five-year statute of limitations was surpassed in 1992; as such, the people responsible for the intrusion would no longer face criminal punishment should their identities be revealed.

Tucker 48: The Car of Tomorrow That Never Was

The Tucker 48, often nicknamed the “Tucker Torpedo,” is one of the most famous and controversial American automobiles in history. It was the brainchild of entrepreneur Preston Tucker and was only produced in 1948.

The car was revolutionary for its time, featuring numerous innovations focused on safety, including a rear-mounted flat-six engine, a pop-out safety windshield, and its most distinctive feature: a cyclops headlight positioned in the center that swiveled to illuminate the way around corners.

Unfortunately, production was halted after only 51 cars were built (including the prototype) due to a controversial stock fraud trial (of which Tucker was eventually acquitted). The negative publicity and legal battles ultimately led to the company’s collapse.

Today, the surviving Tucker 48 models are highly coveted collector's items, each valued at millions of dollars, symbolizing a “Car of Tomorrow” that was decades ahead of its time. Though it never fulfilled its promise, the Tucker 48 endures as a haunting reminder of what might have been — a dream forever frozen in chrome and steel.

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25 Fascinating Photos of Julia Roberts From the Late 1980s

In the late 1980s, Julia Roberts (born October 28, 1967) was emerging as one of Hollywood’s most promising new stars. This period marked her breakthrough and the start of her journey to international fame.

Known for her cascading, voluminous curly hair and broad, radiant smile, Roberts embodied a fresh, approachable beauty that resonated with audiences. Her look was effortless, often leaning into relaxed, slightly bohemian styles. Denim, oversized blazers, and minimal makeup were hallmarks of her casual style, which contrasted with the more glam looks she occasionally wore for red carpet events.

She got her first film role in Satisfaction (1988), playing a rock band member alongside Justine Bateman and Liam Neeson. While the film wasn’t a hit, it gave Roberts her first taste of Hollywood visibility. She also appeared in Mystic Pizza, which became her breakout role. Her performance as Daisy Arujo — a spirited, working-class young woman — earned praise for its warmth and charisma. Critics quickly noticed her star quality and magnetic smile.

Roberts earned her first Academy Award nomination for Steel Magnolias (1989), playing Shelby Eatenton Latcherie, a young woman with diabetes who dreams of becoming a mother. Her performance alongside Sally Field, Shirley MacLaine, and Dolly Parton established her as a serious actress.

By 1989, Julia Roberts was being hailed as America’s newest sweetheart — fresh-faced, down-to-earth, and full of charm. Her natural beauty, distinctive laugh, and relatable energy made her stand out from the glamorous Hollywood norm of the time.

By the end of the decade, Julia Roberts was already being courted for major film roles. In 1990, she would catapult to superstardom with Pretty Woman, but her late 1980s years laid the foundation for that success — showing the world her mix of vulnerability, humor, and emotional depth.

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Amazing Portraits of Elsa Lanchester as the Bride in “Bride of Frankenstein” (1935)

Bride of Frankenstein is a 1935 American Gothic science fiction horror film, and the first sequel to Universal Pictures’ 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale starring Boris Karloff as the Monster and Colin Clive as Dr. Frankenstein. The sequel features Elsa Lanchester in the dual role of Mary Shelley and the Bride. Colin Clive reprises his role as Henry Frankenstein, and Ernest Thesiger plays the role of Doctor Septimus Pretorius. Oliver Peters Heggie plays the role of the old blind hermit.

Elsa Lanchester (October 28, 1902 – December 26, 1986), already a notable stage and screen actress, was cast as the iconic “Bride,” a character whose visual design and performance have become enduring symbols of classic horror. Her collaboration with director James Whale, a visionary of the era, helped redefine the sequel as more than a continuation of a story, but as a sophisticated exploration of themes such as identity, creation, and otherness. The 1935 production leveraged groundbreaking makeup artistry by Jack Pierce, whose techniques gave both the Monster and the Bride their unforgettable, instantly recognizable appearances, setting new standards for monster cinema worldwide.

The film’s historical significance extends beyond its immediate entertainment value. Premiering during the Great Depression, it offered audiences a form of escapism while reflecting deeper societal anxieties about scientific advancement, human ambition, and the consequences of unchecked creation. Lanchester’s Bride, with her electrified hair, pale complexion, and dramatic expressions, embodied both fascination and fear, merging Gothic horror with psychological depth.

Bride of Frankenstein influenced countless subsequent films, establishing visual and thematic templates that shaped Universal’s monster universe and the broader horror genre. By 1935, Universal Pictures had already cemented its reputation as a powerhouse in horror cinema, with iconic figures such as Boris Karloff, Bela Lugosi, and Lon Chaney Jr. contributing to a cultural phenomenon that endures in pop culture, merchandise, and academic study.

Lanchester’s performance continues to resonate in contemporary media, illustrating the lasting impact of classical Hollywood horror. Her embodiment of the Bride inspired generations of filmmakers, artists, and designers, highlighting the intersection of performance, makeup artistry, and cinematic storytelling. The film’s careful balance of horror, dark humor, and pathos remains a benchmark for evaluating sequels and character-driven narratives.

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Barbara Steele: The Queen of All Scream Queens

Barbara Steele (born December 29, 1937) is a British actress and film producer, celebrated as one of the most iconic figures in Gothic horror cinema. With her striking features — wide, hypnotic eyes, raven-black hair, and ethereal presence — she became the quintessential face of European horror in the 1960s.

Steele’s breakthrough role came in Mario Bava’s Black Sunday (1960), where she played a dual role that showcased both beauty and menace. The film’s success made her an international star and cemented her as a cult icon. Throughout the decade, she appeared in a number of Italian and British horror classics, including The Horrible Dr. Hichcock (1962), Castle of Blood (1964), and The Pit and the Pendulum (1961).

Beyond horror, Steele also worked with acclaimed directors such as Federico Fellini (8½, 1963) and later transitioned into producing and television work, proving her versatility and enduring influence in cinema. She remains an enduring symbol of Gothic beauty and mystery — a mesmerizing presence who forever changed the face of horror on screen.

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