Portraits of Steven Spielberg Posing With E.T. the Extra-Terrestrial in 1982

Steven Spielberg’s E.T. the Extra-Terrestrial (1982) is one of his most personal films, inspired by the loneliness he felt as a child after his parents’ divorce. He initially conceived E.T. as an imaginary friend to fill the void of an absent father figure.

Artist Carlo Rambaldi designed the animatronic E.T., blending the features of Albert Einstein, Ernest Hemingway, and Carl Sandburg to give the creature a wise and ancient appearance. The physical character was brought to life by three main actors in suits: Tamara De Treaux and Pat Bilon (little people), and 12-year-old Matthew DeMeritt, who was born without legs and performed E.T.’s “waddling” walk on his hands.

Spielberg famously shot the movie in rough chronological order to help the child actors, including Henry Thomas (Elliott) and Drew Barrymore (Gertie), build a genuine emotional connection with the puppet. To prevent plagiarism, the film was shot under the fake title A Boy’s Life, and E.T.’s design was kept secret until the film’s premiere.

E.T. was nominated for nine Academy Awards, winning four, including Best Original Score for John Williams’ iconic music. The film surpassed Star Wars to become the highest-grossing film of all time, a record it held until Spielberg broke it himself with Jurassic Park in 1993.

Here are images of Steven Spielberg posing with the E.T. prop during production and promotion in 1982:

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Portraits of Brad Pitt Shot by Mark Seliger for Rolling Stone, 1999

The portraits of Brad Pitt for Rolling Stone shot by photographer Mark Seliger are iconic and unconventional images that capture the actor in a playful and eccentric light. Shot in a desert landscape, the portraits feature Pitt shirtless and wearing a metallic head harness that wraps around his face, creating a surprising and humorous contrast to his typically polished, Hollywood images. His wide, exaggerated grin, paired with the barren, rugged background, adds a surreal and edgy tone to the portraits.

Seliger’s photographs break away from traditional celebrity portraits, showcasing Pitt’s willingness to embrace quirky, avant-garde concepts while challenging conventional notions of masculinity and fame. The bold composition and stark natural lighting emphasize Pitt’s physique, while the absurdity of the headgear transforms the images into something both comedic and thought-provoking. These portraits reflect Seliger’s skill in capturing unique and memorable moments, blending humor with an exploration of identity, making it a standout piece in both Pitt’s career and Seliger’s portfolio.

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Rose Valois: The Epitome of Parisian Millinery

Rose Valois was a prestigious French millinery house that epitomized the elegance and sophistication of mid-20th-century fashion. Founded in 1927 by three talented women: Fernande Léger, Germaine de Valois, and Rose Madame, who had all previously worked for the legendary milliner Caroline Reboux, the brand quickly became a cornerstone of Parisian haute couture.

Known for its impeccable craftsmanship and innovative silhouettes, Rose Valois created hats that were more than mere accessories, they were sculptural works of art. Their designs, ranging from whimsical veiled pieces to structured, avant-garde felt hats, were frequently featured in the pages of Vogue and Harper’s Bazaar.

During the “Golden Age” of couture in the 1940s and ’50s, a Rose Valois hat was a symbol of status and refined taste, favored by socialites and fashion icons worldwide.

Ivy Nicholson wearing small velvet cap embroidered with pearls and sheer voilette by Rose Valois, photo by Guy Arsac, 1951

Bettina Graziani models a hat by Rose Valois, 1951

Capucine in toque adorned with pigeon feathers called "Eole" by Rose Valois, Paris, Autumn 1951

Gigi Terwalgne wearing hat of pale pink feathers and petals by Rose Valois, photo by Philippe Pottier, 1951

Anne Campion in dusty pink flannel two-piece by Grès, hat with voilette by Rose Valois, photo by Philippe Pottier, 1952

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Leopoldo Metlicovitz: The Master of Italian Poster Art

Leopoldo Metlicovitz (1868–1944) was a preeminent Italian painter, illustrator, and stage designer, widely regarded as one of the founding fathers of modern Italian poster design. Born in Trieste, he moved to Milan and spent much of his career working for the renowned Ricordi printing house, where he eventually became the technical director.

Metlicovitz was a master of the Liberty style (the Italian version of Art Nouveau), known for his ability to blend grand, operatic theatricality with meticulous commercial detail. His most legendary works include iconic posters for Giuseppe Verdi’s operas and the hauntingly beautiful original promotion for Puccini’s Turandot.

Beyond the world of music, Metlicovitz created celebrated advertisements for the Mele department store in Naples and the timeless poster for the silent film epic Cabiria (1914). His legacy lies in his unique talent for elevating commercial advertising into a sophisticated art form, using vibrant colors and elegant compositions that captured the glamour and dynamism of early 20th-century Italy.

Distillerie Italiane, Sezione Apparecchi a Gas d'Alcool, 1899

Cerotto Mazza, circa 1900

E & A Mele & Ci. Napoli, Novità per Estate, circa 1900

E & A Mele & Ci., circa 1900

Sunlight Soap, 1900

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44 Amazing Black and White Photographs From the Set of “Dr. Strangelove” (1964)

Directed by Stanley Kubrick, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) is widely considered one of the greatest political satires and black comedies in cinematic history.

Originally intended to be a serious thriller based on the novel Red Alert by Peter George, Kubrick realized during the writing process that the concept of “Mutually Assured Destruction” (MAD) was so inherently absurd that it could only be told as a comedy.

Peter Sellers famously played three distinct characters: the polite Group Captain Mandrake, the ineffectual President Muffley, and the titular Dr. Strangelove, a wheelchair-bound scientist with “alien hand syndrome” who struggles to keep his arm from performing Nazi salutes.

The War Room set became instantly iconic. Designed by Ken Adam, the massive, triangular underground bunker became so iconic that Ronald Reagan reportedly asked where the “real” War Room was when he took office (only to be told it didn’t exist).

The film concludes with the hauntingly ironic use of Vera Lynn’s “We’ll Meet Again” playing over a montage of nuclear explosions.

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Powerful Portraits of Andy Warhol Showing His Shooting Scars From 1969

In 1969, Richard Avedon photographed Andy Warhol’s shooting scars in one of the most stark and unsettling celebrity portraits of the 20th century. The photos were taken in New York City on August 20, 1969. Warhol is depicted wearing a black leather jacket, with one hand placed across his abdomen, highlighting the “almost tangible wounds.” These powerful images have been described as a tragic and powerful documentation of the violence he endured, leaving him with permanent injuries and requiring him to wear a surgical corset for the rest of his life.

The scars were the result of life-saving surgeries after Warhol was shot and critically injured by radical feminist writer Valerie Solanas on June 3, 1968, at his studio, The Factory. Warhol was briefly declared dead at the hospital but was revived after a six-hour operation to repair damage to his stomach, liver, spleen, esophagus, and both lungs.

Not only did the attack affect Warhol’s physical health, but it also had an impact on his mental stability. After the incident, Warhol wrote in his 1968 biography: “When you hurt another person, you never know how much it pains. Since I was shot, everything is such a dream to me. I don’t know what anything is about. Like, I don’t know whether I’m alive or whether I died. I wasn’t afraid before. And having been dead once, I shouldn’t feel fear. But I am afraid. I don’t understand why.”

After being shot by Solanas, Warhol’s fear of dying was amplified. This incident caused him to revisit the themes of death and violence, but now by observing the possibility of his own mortality. Warhol created a series of Gun prints, which was created in reaction to his feelings around gun violence and his own personal experience with it. His Gun from 1981, shows a weapon similar to the .22 snub-nosed pistol that Solanas used to shoot him. He created these prints to reflect on his feelings towards his own mortality at the mercy of the weapon.

The shooting also intensified his fears of hospitals and illness, leading him to seek alternative medicine and treatments. This hesitance caused him to delay appointments and procedures, which may have eventually led to his demise. His doctor even said, “He was convinced if he was hospitalized he would die.” On February 21, 1987, Warhol suffered a heart attack after gallbladder surgery. He died the following day, while resting in the hospital. The bullet which hit Warhol’s gallbladder killed him 19 years after the attack.

This life changing event altered the course of Warhol’s career. The artist’s work shifted from colorful pop art images of soup cans and flowers, to skulls and freak accidents. Although this change in his career was brought forth by an extremely unfortunate event, the works he created after this incident have become some of the most famous and iconic modern works of art. As Warhol once said: “The idea is not to live forever, but to create something that will.”

Rosanna Schiaffino: Italy’s Sophisticated Icon of the 1960s

Rosanna Schiaffino (1939–2009) was a prominent Italian actress who emerged as a major figure in post-neorealist cinema during the late 1950s and 1960s. Initially a beauty queen and a successful model featured on the covers of magazines like Life, she achieved critical acclaim for her powerful performance in Francesco Rosi’s La Sfida (1958).

Often compared to icons like Sophia Loren and Gina Lollobrigida, Schiaffino’s career spanned over 45 films, including international productions such as The Long Ships (1964) and the award-winning La Mandragola (1965). Her blend of striking elegance and versatile acting talent established her as one of the most captivating stars of mid-20th century European cinema before she retired from the screen in the mid-1970s.

Take a look at these beautiful photos to see portraits of a young Rosanna Schiaffino in the 1960s.

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