Capucine: The Epitome of French Chic

Capucine, born Germaine Lefebvre, was a luminous figure who bridged the worlds of high fashion and Hollywood cinema. She began her career as a fashion model in Paris, quickly becoming a muse for prestigious houses like Givenchy and Christian Dior. Her striking, aristocratic features and “ice queen” persona caught the eye of Hollywood producers, leading to her breakout role in Song Without End.

While she is perhaps best remembered for her comedic elegance as Simone Clouseau in The Pink Panther, her legacy remains rooted in her indelible style. Capucine embodied a rare kind of understated glamour, a mixture of French poise and mysterious vulnerability that made her one of the most captivating faces of the 1960s.

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James Hunt Punching a Track Marshall During the 1977 Canadian Grand Prix at Mosport Park

During the 1977 Canadian Grand Prix at Mosport Park, James Hunt punched track marshal Ernie Strong in a fit of rage after a collision with his teammate. The incident became one of the most infamous examples of Hunt’s volatile temperament.

On lap 62, while battling Mario Andretti for the lead, Hunt attempted to lap his McLaren teammate, Jochen Mass. A misunderstanding led to a high-speed collision that knocked both cars off the track. While Mass was able to continue, Hunt was forced to retire. Seething with frustration, he remained at the trackside waving his fist at Mass for several laps.

When marshal Ernie Strong attempted to intervene and guide Hunt to a safer area away from the live track, Hunt reacted by landing a “crisp right hand” that knocked the marshal to the ground. Almost immediately after the strike, Hunt realized his error, helped Strong to his feet, and apologized while being led away. 

The race stewards took immediate action against Hunt for his conduct. Hunt was fined $2,000 for the assault on the marshal and an additional $750 for returning to the pit lane in an “unsafe manner” by walking on the racing side of the barriers. Strong eventually sued Hunt over the incident.

The footage remains a staple of F1 “wildest moments” reels, perfectly capturing the volatile, rock-star persona that made Hunt both beloved and polarizing.

“I was just so angry... It was a complete misunderstanding, but at that moment, I just lost it.” – James Hunt, reflecting on the incident.

The Golden Age of Magic: Iconic Posters From the Early 1900s

During the early 20th century, magic show posters served as the ultimate gateway to a world of mystery and wonder.

Throughout this “Golden Age of Magic,” performers like Harry Houdini and Howard Thurston relied on vibrant, stone-lithograph artworks to transform themselves into larger-than-life icons. These posters were famous for their dramatic imagery, often featuring mischievous red devils whispering into a magician’s ear or ethereal figures floating in mid-air, designed to blur the line between stage illusion and the supernatural.

With their bold typography and rich, saturated colors, these posters did more than just advertise a show, they captured the public’s imagination, promising an escape into a realm where the impossible became reality.

Adelaide Herrmann and Company, Hindoo Magic, circa 1900

Henry Kellar (magician), 1900

Kellar, Letivation, 1900

Les Ombres au Ménage, présentée par Les Nouveaux Caran d'H, circa 1900

On the Stage in Person, Sorcar's Magic, Coming Shortly, circa 1900

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Michelle Yeoh Photographed by Joe Mcnally Flying Over the Iconic Hollywood Sign, 1998

In 1998, Michelle Yeoh performed a daring stunt for a National Geographic photo shoot captured by photographer Joe McNally. The photograph was part of a feature story titled “The Globalization of Culture,” which examined the rapid international exchange of cultural icons via film, television, and the burgeoning internet.

“The idea sprang up as I was shooting a story for the National Geographic, conceived, edited and supervised by my dear friend Bill Douthitt...,” Mcnally said. “The story was termed ‘The Globalization of Culture,’ and it examined the rapid rate of the exchange of cultural items and icons, worldwide, via the hyper fast engines of TV, movies, fashion, cuisine and (at that point) the coming ubiquity of the internet. I needed an Asian star, capable of daring stunts, to do something with me to emphasize the growing global influence of movie personalities from Asia in big budget, mainstream Hollywood films.

“Michelle agreed, and I gave her the Hollywood treatment, flying her via helicopter to a dry lake bed considerably outside LA. I made lovely, fashion-driven photos. She’s magnetically beautiful in front of the lens, and I shot pictures like crazy, growing all the more pleased with myself during the course of the day.”

Yeoh did not climb out of the helicopter mid-flight; instead, she was rigged with cables and a harness while still in a hangar. She was then suspended beneath the helicopter and flown for approximately 20 to 25 minutes to reach the Hollywood sign. Despite wearing a “slinky” dress for the shot, Yeoh recalled in a 2022 interview with Jimmy Kimmel that the most challenging aspect was the intense cold at that altitude.

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Studio Portraits of Michael Biehn as Sgt. Kyle Reese in “The Terminator” (1984)

Michael Biehn’s portrayal of Sgt. Kyle Reese is often cited as the emotional heartbeat of The Terminator. While Arnold Schwarzenegger was the spectacle, Biehn provided the high-stakes desperation that made the sci-fi horror elements feel grounded and urgent.

Biehn famously played Reese not as a typical 1980s action hero, but as a hunted animal. He captured the trauma of a man who grew up in the ruins of civilization, looking constantly for threats even in a “peaceful” 1984.

Biehn stayed lean and wiry rather than bulky, emphasizing that Reese was a product of famine and guerrilla warfare. His improvised civilian outfit, the stolen gray trench coat and Nike Vandals, became an iconic silhouette of 1980s cinema.

Though The Terminator series has seen many actors step into the role of Kyle Reese, including Anton Yelchin and Jai Courtney, Biehn’s version remains the definitive take for most fans. He balanced intensity with tenderness, making the audience believe that a man from a cold, mechanical future could still possess a deeply human soul.

Interestingly, Biehn almost missed out on the role because he initially used a Southern accent during his audition (he had been practicing for a stage play), which director James Cameron felt didn’t fit the character. Luckily, a second audition sans-accent secured him the part.

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Geraldine Fitzgerald: The Irish Soul of Hollywood’s Golden Age

Geraldine Fitzgerald was a distinguished Irish actress whose intelligence and emotional depth made her one of the most respected figures of Hollywood’s Golden Age. She is perhaps best remembered for her hauntingly beautiful performance as Isabella Linton in the 1939 classic Wuthering Heights, a role that earned her an Academy Award nomination for Best Supporting Actress.

Unlike many of her contemporaries, Fitzgerald was known for her fierce independence, often prioritizing the artistic integrity of her roles over studio expectations. Beyond the silver screen, she enjoyed a prolific career on Broadway and later became a pioneer in street theater, proving that her passion for storytelling extended far beyond the glamour of Hollywood.

Take a look at these beautiful photos to see portraits of young Geraldine Fitzgerald in the late 1930s and 1940s.

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Playful Photos of James Dean and Valley Keene (Elizabeth Taylor’s Double] During the Filming of “Giant” in 1955

During the filming of the 1956 epic Giant in Marfa, Texas, James Dean was famously photographed with Valley Keene, who served as Elizabeth Taylor’s stand-in and double. A series of candid, behind-the-scenes images captured by photographer Frank Worth show a playful side of the notoriously moody Dean. The most well-known shot depicts Dean and Keene showing off their acrobatic skills in an open field, with Dean holding Keene aloft.

The primary outdoor filming took place at the Ryan Ranch in Marfa, while the iconic Reata mansion was actually just a three-sided façade built for the production. Giant was Dean’s third and final leading role; he died in a car accident on September 30, 1955, just days after completing his scenes.