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February 10, 2026

Peveril of the Peak, a Historic Pub in Manchester, Has Welcomed Patrons Since 1820

Affectionately known to locals as “The Pev,” Peveril of the Peak is one of Manchester’s most iconic and visually striking landmarks. Located on a “triangular island” on Great Bridgewater Street, it is a rare surviving example of a detached Victorian-era pub.

The pub dates back to approximately 1820, though its most famous features were added much later. There are two primary theories regarding its name. It is widely believed to be named after Sir Walter Scott’s longest novel, Peveril of the Peak (published in 1823), which references Peveril Castle in Derbyshire. Others suggest it was named after the Manchester-to-London stagecoach that shared the name and famously made the journey in just two days.

The pub is a Grade II listed building, primarily famous for its exquisite wraparound green and yellow tile work. Originally a simple brick building, the pub underwent an extensive remodeling around 1900. This added the vibrant ceramic tiling (faience) and the stained-glass windows that remain today.

While it was once part of a dense network of terraced houses and factories (including the Atlas Locomotive Works), urban development in the 20th century cleared the surrounding buildings. The Pev survived, leaving it isolated on its own small plot of land surrounded by modern office blocks.

The pub has accumulated a variety of colorful stories over its two-century history. The pub has been run by the same family since 1971. The landlady, Nancy Swanick, is a legendary figure in the Manchester pub scene, having lived above the bar for over 50 years. Local legend claims the pub was used as a brothel by G.I.s stationed in Manchester during World War II. Staff and regulars have reported various hauntings, including glasses “levitating” or moving toward the glass wash on their own, a spirit often described as “helpful.”

It has been a favorite haunt for various celebrities, most notably Manchester United legend Eric Cantona. It was also used as a filming location for the 1990s crime drama Cracker, starring Robbie Coltrane.






Irene Vanbrugh: The Grand Dame of the British Stage

Dame Irene Vanbrugh (1872–1949) was a towering figure in British theatre, celebrated for her remarkable versatility and sophisticated stage presence.

Over a career spanning more than half a century, Vanbrugh became the “muse” for some of the greatest playwrights of her time. She is perhaps best remembered for creating the role of Gwendolen Fairfax in the original 1895 production of Oscar Wilde’s The Importance of Being Earnest, as well as her acclaimed performances in the works of Arthur Wing Pinero and J.M. Barrie. Her acting style was defined by its polished wit and emotional depth, allowing her to transition seamlessly from high-society comedies to intense dramas.

In recognition of her immense contribution to the arts and her tireless work for theatrical charities, Vanbrugh was created a Dame Commander of the Order of the British Empire (DBE) in 1941. Her legacy lives on not only through her iconic roles but also through the Vanbrugh Theatre at the Royal Academy of Dramatic Art (RADA), which was named in honor of her and her sister, Violet.






Georges Meunier: The Architect of Belle Époque Vivacity

Georges Meunier (1869–1942) was a prominent French poster artist and illustrator who captured the effervescent spirit of Paris during the late 19th century.

A contemporary of Jules Chéret, Meunier was celebrated for his ability to infuse commercial art with a sense of joy and movement. His style is characterized by soft, pastel palettes and a whimsical approach to everyday subjects, often featuring elegant Parisian figures in moments of leisure or delight.

Whether he was designing advertisements for railway companies or popular liqueurs, Meunier’s work stood out for its lightness and charm, moving away from the rigid lines of traditional academic art toward a more fluid, impressionistic aesthetic. Today, his lithographs are regarded as essential artifacts of the Belle Époque, symbolizing a time of peace, prosperity, and artistic innovation.

Amara Blanqui, Le Meilleur Des Amers, circa 1890

Société Philanthropique, L'Union du Commerce, Grande Matinée-Concert, 1892

Bullier, Tous les Jeudis Grande Fête, 1894

Demandez Les Confetti "Mousseline", Les Serpentins "Express", 1894

La Depeche, 1894

February 9, 2026

In 1997, Nicolas Cage Participated in Several Costume Tests for Tim Burton’s Unproduced Film “Superman Lives”

In 1996, Warner Bros. began developing Superman Lives, a bold attempt to reboot the franchise following the critical failure of Superman IV. The project famously cast Nicolas Cage as Clark Kent, with Tim Burton directing a darker, more “gothic” version of the hero.

The plot was primarily based on the Death of Superman comic arc. Superman would have faced Brainiac, Lex Luthor, and Doomsday. After being killed by Doomsday, he was to be resurrected by a Kryptonian entity known as The Eradicator (or “K”), which would also function as a high-tech “rebirth suit.”

Along with Cage, the film's rumored or planned cast included Chris Rock as Jimmy Olsen, Sandra Bullock as Lois Lane, and Christopher Walken as Brainiac. Producer Jon Peters famously insisted on bizarre requirements, such as Superman not being allowed to fly, not wearing the classic suit, and fighting a giant spider in the finale. 

Despite spending roughly $30 million on pre-production, including the creation of elaborate “glowing” light-up suits, Warner Bros. pulled the plug in 1998, just weeks before filming was scheduled to begin. Multiple script rewrites by Kevin Smith, Wesley Strick, and Dan Gilroy caused the projected budget to balloon beyond $140 million. Following the box office failure of Burton’s Mars Attacks! and the critical disaster of Batman & Robin, the studio became wary of expensive, stylized superhero films. 

While the film never happened, it gained legendary status through leaked screen-test footage of Cage in the suit. Cage eventually realized a version of this dream with a cameo as Superman in the 2023 film The Flash, where he is seen fighting a giant spider, a direct nod to the unproduced script. 




Walter Tyndale: The Virtuoso of Architectural Watercolors

Walter Tyndale (1855–1943) was a distinguished British watercolorist and author, renowned for his exquisite depictions of architecture, landscapes, and street scenes.

Born in Germany but later settling in England, Tyndale initially trained in the classical traditions of Antwerp and Paris. However, he eventually abandoned oil painting in favor of watercolor, a medium that allowed him to capture the nuanced interplay of light and shadow on ancient stone and bustling marketplaces.

Tyndale became a celebrated “traveler-artist,” venturing across Egypt, Japan, Italy, and the Middle East to document their vibrant cultures and historical monuments. His work is characterized by meticulous topographical accuracy blended with a warm, atmospheric quality, a style that made him a sought-after illustrator for high-end travel books like Below the Cataracts and An Artist in Egypt.

As a member of the Royal Institute of Painters in Water Colours (RI), Tyndale left behind a legacy of paintings that serve not only as beautiful works of art but as precise historical records of a world undergoing rapid change.

An Arab Market

A Bustling Street before a Minaret, Damascus

A Mosque Doorway

A Pot Market, Assisi

A Souk

The 1904 Humber 8.5HP: A Milestone in Early British Motoring

The 1904 Humber 8.5HP Two-Cylinder Two-Seater stands as a quintessential example of the “Veteran” car era, reflecting the rapid engineering evolution at the turn of the 20th century. Produced by the renowned British manufacturer Humber Limited at their Beeston works, this model was celebrated for its robust build and reliability. Powered by a vertical twin-cylinder engine, the 8.5HP was a significant step up from the single-cylinder “voiturettes” of the time, offering a smoother and more capable driving experience for early motorists.

The design featured a classic open two-seater layout, often accompanied by the iconic “brass era” aesthetic: gleaming lamps, a prominent radiator, and leather upholstery. Its mechanical simplicity, featuring a three-speed gearbox and a leather-faced cone clutch, made it a favorite among doctors and professionals who required a dependable vehicle for daily use.

Humber marketed these vehicles at approximately £260 (about $1,260 at the time), targeting buyers who wanted more power than standard offerings provided. Today, these vehicles are highly prized by collectors and are iconic participants in the prestigious London to Brighton Veteran Car Run, serving as a living testament to the dawn of the automotive age.






30 Stunning Portraits of a Very Young and Beautiful Lana Turner in the 1930s

Lana Turner (February 8, 1921 – June 29, 1995) was an American actress. Over a career spanning nearly five decades, she achieved fame as both a pin-up model and a film actress, as well as for her highly publicized personal life. In the 1930s, Turner transitioned from a teenage girl in poverty to a Hollywood sensation known as the “Sweater Girl.”

In 1936, 15-year-old Julia Jean Turner was a student at Hollywood High School. While skipping a typing class to buy a Coca-Cola at the Top Hat Malt Shop, she was spotted by William R. Wilkerson, publisher of The Hollywood Reporter. This chance encounter led to her being signed by director Mervyn LeRoy, who suggested she change her name to Lana. 

She made her screen debut in the 1937 film They Won’t Forget. Despite a small role, her appearance in a tight-fitting sweater earned her the nickname “The Sweater Girl,” a title she famously detested because it overemphasized her physical attributes. Originally signed to Warner Bros. for $50 a week, she followed LeRoy to MGM in 1938, where her career truly accelerated.

Born a brunette, Turner’s look was meticulously crafted by studios. In 1939, she bleached her hair blonde for the film Idiot’s Delight, a change that became her signature and led to her being dubbed the "Nightclub Queen" by the press.

By the end of the 1930s, she had moved from a $50-a-week contract to becoming a top-billed actress, setting the stage for her peak stardom as a femme fatale in the 1940s.









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