32 Wonderful Photos From the Set of “Running on Empty” (1988)

Running on Empty is a 1988 American drama film directed by Sidney Lumet and written by Naomi Foner. The story follows the Pope family, a couple who have been living as fugitives from the FBI since the late 1960s after they bombed a weapons lab (a napalm factory) in protest against the Vietnam War, an act that accidentally injured a janitor. They’ve been on the run for nearly two decades, constantly changing identities and moving towns with their two sons.

The film centers on the eldest son, Danny Pope (River Phoenix), a talented pianist and high school senior who is torn between loyalty to his family and his desire for a normal life, including pursuing music studies at Juilliard and a relationship with his music teacher’s daughter (Martha Plimpton). It explores themes of family, sacrifice, coming of age, and the long-term consequences of radical activism.

The film received critical acclaim for its performances (especially Phoenix and Christine Lahti), emotional depth, and Lumet’s direction. River Phoenix earned an Academy Award nomination for Best Supporting Actor, and Naomi Foner was nominated for Best Original Screenplay. It also received multiple Golden Globe nominations, winning Best Screenplay.

Film critic Roger Ebert gave the film four out of four stars and called it “one of the best films of the year.” In her review for The New York Times, Janet Maslin wrote, “The courtship between Danny and Lorna is staged especially disarmingly, with Mr. Phoenix and Miss Plimpton conveying a sweet, serious and believably gradual attraction.” Newsweek magazine’s David Ansen wrote, “A curious mix of soap opera and social history, Lumet’s film shouldn't work, yet its fusion of oddly matched parts proves emotionally overpowering. You have to be pretty tough to resist it.”

Running on Empty was released on September 9, 1988, in 22 theaters, where it grossed $215,157 on its opening weekend. It went on to make $2,835,116 in North America.

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Studio Portraits of Glenda Jackson, ca. 1965

Glenda Jackson (May 9, 1936 – June 15, 2023) was a member of the Royal Shakespeare Company (RSC) in the mid-1960s, during a formative period that helped establish her as a powerful, intense stage actress before her major film breakthroughs.

She joined the RSC around 1963–1964 (sources vary slightly on the exact start year, but it was for a four-year period) after an earlier unsuccessful audition and periods of repertory work and odd jobs. She was initially recruited for director Peter Brook’s experimental Theatre of Cruelty season, influenced by Antonin Artaud.

Jackson played Charlotte Corday, an asylum inmate portraying the assassin of Jean-Paul Marat, in Marat/Sade (1965–1965). This was her major breakthrough role. The production was highly controversial and innovative, blending theater with elements of cruelty and improvisation. It transferred to Broadway (her debut there) in 1965 and was filmed in 1967, bringing her international attention.

While her experimental work made headlines, Jackson also tackled traditional texts with a modernist, unsentimental edge. She played Ophelia in Hamlet (1965), opposite David Warner as Hamlet at the Royal Shakespeare Theatre in Stratford-upon-Avon (later transferring to the Aldwych Theatre in London). Critics praised her fierce, strong interpretation; Penelope Gilliatt noted she was “the only Ophelia she had seen who was ready to play the Prince himself.”

She starred in this controversial protest play against the Vietnam War in US (1966), which utilized avant-garde techniques to challenge British complicity in the conflict.

Her RSC work emphasized raw intensity, intellectual sharpness, and physical commitment, suiting the era’s experimental and politically charged theater. She left the company around 1967–1968 as her film career accelerated (e.g., Women in Love in 1969, for which she won her first Oscar). She later returned to the RSC for roles like Hedda Gabler (1975) and Cleopatra in Antony and Cleopatra (1978–1979).

Jackson’s time with the RSC in the 1960s was pivotal, showcasing her commanding presence in ensemble and experimental work alongside directors like Brook and Hall. It bridged her early repertory days and her status as a major star. Here are some stunning studio portraits of Glenda Jackson taken by John Hedgecoe in 1965 while she was working with the Royal Shakespeare Company.

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Élisabeth Sonrel: Ethereal Beauty and Art Nouveau Elegance

Élisabeth Sonrel (1874–1953) was a talented French painter and illustrator best known for her elegant Art Nouveau works. Born in Tours and trained initially by her father, she later studied under Jules Lefebvre in Paris. Her distinctive style blended Pre-Raphaelite beauty with Symbolist and mystical elements, often featuring idealized women with flowing hair, delicate features, and ethereal expressions.

Deeply influenced by the Renaissance masters, particularly Botticelli, after a trip to Italy, Sonrel created large, luminous watercolors filled with allegorical, mythological, and romantic themes. Though she also produced portraits and landscapes, her dreamlike portraits of graceful young women remain her most iconic contribution to the Art Nouveau movement.

Enjoy this beautiful collection of Élisabeth Sonrel’s works, where delicate watercolor, luminous color, and ethereal grace come together to define one of the most enchanting voices of the Art Nouveau movement.

A Sewing Girl

A Springtime Recital

A Young Woman

An Afternoon in the Garden

An Evening in May

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Prado Mona Lisa: The Twin Revealed

The Prado’s Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo’s better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, but was considered for decades a relatively unimportant copy. Following its restoration in 2012, however, the Prado’s Mona Lisa has come to be understood as the earliest known studio copy of Leonardo’s masterpiece.

The Prado Mona Lisa was created around 1503–1516 (more precisely often dated 1507–1516) in Leonardo’s workshop, likely simultaneously with the original. It was painted on a walnut panel (common in the period) by an unknown pupil or assistant working alongside Leonardo. Possible candidates include apprentices like Francesco Melzi or Salaì (Gian Giacomo Caprotti), though the exact artist remains unidentified. Leonardo likely supervised or authorized it.

The painting entered the Prado collection in 1819 (from the Spanish royal collection) but was long dismissed as a later, less important copy. It had a dull black overpainted background (added in the 18th century), brighter but flatter colors, and lacked the subtle sfumato of the original.

The Mona Lisa by an apprentice of Leonardo da Vinci.

During preparations for a Louvre exhibition, Prado conservators examined the painting with infrared reflectography, radiography, and other techniques. They discovered under the black background lay a detailed Tuscan rocky landscape nearly identical to the Louvre version.

The underdrawing (preliminary sketch) matched the original, including the same pentimenti (artist’s changes/corrections) to hands, eyes, face contours, etc. This strongly indicates the two were painted in parallel in the same studio. Restoration removed the overpaint, revealing vibrant colors, visible eyebrows, and sharper details that the Louvre Mona Lisa has lost over time due to aging, varnishing, and cleaning.

The restored Prado version is often described as showing how Leonardo’s Mona Lisa likely looked when freshly painted—brighter, with more contrast and detail—making it a valuable “time capsule” for understanding the original.

The Prado’s Mona Lisa before its restoration, with the black repaint of the landscape background.

Near-identical composition, pose, size proportions, and landscape. Both share the same creative evolution in underdrawings. The Prado copy lacks Leonardo’s masterful sfumato (softer blending), has slightly different perspective/angle on the background (as if painted from a nearby spot), more vivid colors, and better-preserved details like eyebrows. The original has deeper atmospheric depth and Leonardo’s unique touch.

This is not just “another copy” among dozens from the 16th–17th centuries. Its contemporaneous creation makes it uniquely valuable for art history, shedding light on Leonardo’s teaching methods, workshop collaboration, and the evolution of his masterpiece. It has been featured in exhibitions alongside the original and continues to draw interest for how it lets us “see” the Mona Lisa more as Leonardo’s contemporaries did.

While the Louvre painting is the singular original by Leonardo’s hand, the Prado version is its closest historical companion, painted in the same room, under the master’s eye, and now restored to reveal lost details of one of art’s greatest icons.

28 Photographs of Melissa Gilbert During the 1980s

Melissa Ellen Gilbert (born May 8, 1964) is an American actress. She began her career as a child actress in the late 1960s, appearing in numerous commercials and guest-starring roles on television. From 1974 to 1983, she starred as Laura Ingalls Wilder, the second-oldest daughter of Charles Ingalls (played by Michael Landon) on the NBC series Little House on the Prairie. During the run of Little House, Gilbert appeared in several television films, including The Diary of Anne Frank (1980) and The Miracle Worker (1979).

During the 1980s, Gilbert successfully transitioned from the world’s most famous child star to a versatile adult actress and a staple of 1980s Hollywood social circles. This decade saw her conclude her iconic decade-long run as Laura Ingalls Wilder in 1983, receive a star on the Hollywood Walk of Fame in 1985, and engage in a high-profile, tumultuous six-year romance with actor Rob Lowe.

Gilbert spent the first few years of the decade finishing her role on Little House on the Prairie, which aired its final regular season in 1983. She then focused on establishing herself in more mature, dramatic roles through television movies.

She delivered acclaimed performances in films like The Diary of Anne Frank (1980) and Choices of the Heart (1983), where she played lay missioner Jean Donovan. She expanded her range by appearing in stage productions like Broadway Bound and later provided the voice for Barbara Gordon / Batgirl in animation. At just 21 years old, she became the youngest person at the time to receive a star on the Hollywood Walk of Fame.

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Christine Keeler: The Sensational Beauty of the Swinging Sixties

Christine Keeler (1942–2017) was an English model, showgirl, and one of the central figures in the infamous Profumo Affair of 1963, a scandal that rocked British politics and society.

Famous for her striking beauty, youthful allure, and turbulent private life, Keeler became a symbol of the swinging sixties’ hedonism and moral ambiguity. Her simultaneous relationships with John Profumo, the British Secretary of State for War, and Soviet naval attaché Yevgeny Ivanov sparked a major national security scandal that ultimately led to Profumo’s resignation and contributed to the fall of the Conservative government.

Though often portrayed as a femme fatale, Keeler’s life was marked by exploitation, media frenzy, and personal tragedy. Her story continues to fascinate as a defining moment in 20th-century British history. Here is a collection of captivating photos capturing Christine Keeler in the bloom of her youth, a woman whose striking beauty and turbulent story came to define an entire era.

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Stunning Portraits of Hertha Thiele in the 1930s

Hertha Thiele (May 8, 1908 – August 5, 1984) was a prominent German actress whose career was defined by her success during the Weimar Republic and her later resurgence in East Germany (GDR). She is most famous for her roles in socially conscious and controversial films of the early 1930s.

Thiele began her acting career on stage around age 20 at the Schauspielhaus in Leipzig. She gained international fame in 1931 for her lead role as Manuela von Meinhardis in the groundbreaking film Mädchen in Uniform (“Girls in Uniform”), directed by Leontine Sagan. The film featured an all-female cast and explored themes of lesbian affection in a Prussian boarding school; it became a major success and earned her comparisons to Greta Garbo. She received thousands of fan letters, many from women.

She starred in influential film Kuhle Wampe (1932) co-written by Bertolt Brecht, which focused on the hardships of the working class during the Great Depression. Anna und Elisabeth (1933) was her second film exploring lesbian themes, reuniting her with co-star Dorothea Wieck. Thiele considered this the most important work of her career, though it was quickly banned by the Nazi regime.

Thiele resisted pressure to participate in Nazi propaganda films. She reportedly told Joseph Goebbels that she did not “blow with the wind,” leading to her exclusion from the Reich Chamber of Culture. In 1937, she emigrated to Switzerland, where she faced limited acting opportunities and worked as a prompter and later as a psychiatric nursing assistant.

After World War II, she returned to East Germany (GDR), initially struggling to restart her theater career. She worked in Switzerland for much of the 1950s–1960s before settling in the GDR around 1965–1966. There, she appeared in theater productions (e.g., in Magdeburg and Leipzig) and became well-known for roles in East German television series and films, such as Polizeiruf 110, The Legend of Paul and Paula (1973), and others through the 1970s. She received East German awards, including the Art Prize and National Prize.

She was married at least once (to actor Heinz Klingenberg) and possibly more times. Toward the end of her life, she gained renewed attention from Western feminists interested in Mädchen in Uniform. She died in East Berlin in 1984.

Thiele is remembered for her androgynous appeal and roles that challenged social norms, particularly around gender and sexuality in Weimar-era cinema. Her image and performances have been analyzed in the context of homoerotic themes in early German film.

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