20 Publicity Photos of Tom Hanks and Daryl Hannah on the Set of “Splash” (1984)

In the 1984 film Splash, Tom Hanks and Daryl Hannah deliver breakout performances that redefined the romantic comedy genre. Directed by Ron Howard, the movie was the first released under Disney’s Touchstone Pictures banner, which was created to produce more mature content for adult audiences.

At the time, Hanks was best known for TV comedy (Bosom Buddies), but Splash became his first major film hit as a leading man. Allen Bauer, a lonely New York businessman who falls in love with a mysterious woman he once met as a child. He blends boyish charm, vulnerability, and physical comedy, especially in fish-out-of-water scenes. The film proved Hanks could carry a movie, launching him toward roles like Big (1988) and eventually his dramatic career in the 1990s. His natural sincerity made the fantasy believable and emotionally grounded.

Hannah became an instant icon with her role as Madison. A mermaid who comes to land in human form after rescuing Allen years earlier. She spent hours underwater, often holding her breath for long takes, wearing a custom mermaid tail that limited movement. She brought an ethereal, innocent quality—curious about the human world yet emotionally expressive. Madison became one of the most memorable fantasy heroines of the decade, blending fairy-tale romance with modern comedy.

The film ends with Allen choosing to leave his life on land to live in the ocean with Madison, a rare “happily ever after” where the human hero adapts to the magical world rather than the other way around.

Splash was critically and commercially successful, earning over $69 million on an $11 million budget, making it the tenth-highest-grossing film of 1984, and received praise for the acting, humor, and chemistry between Hanks and Hannah.

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Ozzy Osbourne Getting His Mugshot in a St. Louis Blues Jersey for Public Intoxication During the Bark at the Moon Tour

On May 15, 1984, Ozzy Osbourne played a legendary set at the Mid-South Coliseum on the Bark at the Moon Tour, and then ended up in a Shelby County jail cell just hours later.

Police reports indicated that Osbourne was arrested just after midnight while he was “staggering drunk” on Memphis’ Beale Street. He was charged with one misdemeanor count of public intoxication. After five hours in custody, Osbourne was released from jail and informed that he would not need to return for a court appearance.

When arrested he stated “See, I can’t just do a casual line of coke that concept doesn’t make sense to me,” he confessed. “I never walked into a bar just to have a drink. I never smoked a joint just to chill. If I was in a bar, I was there to get completely wasted. It honestly never crossed my mind that other people might be going there just to have one drink.”

So how exactly did the Blues jersey in his mugshot come to be?

Osbourne packed 132 performances over parts of three years during his Bark at the Moon Tour. This included two stops each in St. Louis and Memphis, albeit at different points of the year.

Osbourne performed at the St. Louis Arena (former home of the Blues) on Feb. 10, 1984 and at the Kiel Opera House on May 3, 1984. It’s believed he bought the Blues jersey in St. Louis during one of his visits that year, though documentation confirming when and how he got it was scarce.

Osbourne had one scheduled day off between two Tennessee shows (Knoxville and Memphis) on May 14, 1984. That turned into a night of drinking, ultimately leading to Osbourne’s arrest around 12:30 a.m. on the next calendar day, presumably in the Blues shirt.

Known for his eccentric personality, Osbourne’s arrest came well after he bit the head off of a bat and urinated on the Alamo Cenotaph. Many years later, he admitted to alcoholism and drug abuse during the peak of his career, though he remains hopeful for a healthier future.

Polaroids of Jane Fonda Taken by Andy Warhol at The Factory, 1982

In 1971 Polaroid introduced the Big Shot camera; featuring an integrated flash, viewfinder and fixed focus lens, it was aimed at shooting portraits – and was enthusiastically taken up by artist Andy Warhol. The camera was discontinued in 1973 but Warhol kept using it until his death in 1987, capturing shots of actors, artists, politicians, clubbers, and Factory hangers-on. He also used it to photograph himself, creating a self-portrait in 1979 in what he called his “fright wig” that measures a whopping 81.3cm x 55.9cm.

In 1982, Warhol captured a series of Polaroid photographs of actress and activist Jane Fonda. These images were used as references for his silkscreen portraits, one of which became a striking representation of Fonda.

Warhol’s portrait of Jane Fonda was also used as a fundraiser for her then-husband Tom Hayden’s political career. The screenprint, titled “Jane Fonda 268,” was produced in an edition of 100, with some prints signed by both Warhol and Fonda.

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Lucie Daouphars: The Incomparable “Lucky” of the House of Dior

Lucie Daouphars (1922–1963), universally known by her professional moniker Lucky, was the preeminent French fashion model of the 1950s and the most celebrated muse of Christian Dior. Originally a welder during the war, her transformation into the queen of Parisian haute couture is one of fashion’s most legendary tales.

Lucky was famous for her dramatic and haughty catwalk presence, characterized by her piercing dark eyes, high cheekbones, and a regal way of carrying herself that perfectly showcased the architectural elegance of Dior’s “New Look.” Dior often referred to her as his “lucky charm,” and she served as the star of his salon for nearly a decade, embodying the sophisticated feminine ideal of the post-war era.

Beyond her modeling career, she became a pioneer in the industry by founding a successful school for models, passing on her expertise in poise and presentation. Her legacy remains a symbol of the glamour, discipline, and artistic flair that defined the golden age of French fashion.

Lucky in geranium red satin cocktail dress with large bow at neckline by Lanvin-Castillo, photo by Philippe Pottier, 1951

Lucky in pink geranium velvet cocktail dress adorned with black ribbon bow, by Jacques Fath, photo by Philippe Pottier, 1951

Lucky wearing emerald green satin evening gown by Jacques Fath to compliment magnificent emerald and diamond parure by Cartier, photo by Philippe Pottier, 1951

Lucky in black and silver damask dinner dress worn with midnight blue taffeta mantle by Christian Dior, photo by Georges Saad, 1951

Lucky in black wool dress with high neckline,long sleeves and pleats that wrap gracefully around the pencil skirt, by Nina Ricci, photo by Philippe Pottier, 1951

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40 Fascinating Photos Capturing Cozy Christmas Gatherings in the Mid-20th Century

Step back in time to an era of silver tinsel, heartfelt smiles, and the soft glow of Technicolor dreams. The mid-20th century was a golden age for the family home, and nowhere was this more evident than during the holidays.

From the crackle of the fireplace to the simple joy of sharing a home-cooked feast, these fascinating photos capture the essence of cozy Christmas gatherings. Join us on a nostalgic journey through a bygone era, where the true magic of the season wasn't found under the tree, but in the warmth of togetherness.

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40 Photographs of The Doors Appear on the German TV Show “4-3-2-1 HOT & SWEET” in September 1968

On September 13, 1968, during their first and only European tour, The Doors recorded a performance for the German television program 4-3-2-1 Hot & Sweet (part of the Musik Für Junge Leute series). The segment was filmed outdoors in the historic Römerberg (Romer Square) in Frankfurt, Germany.

Unlike a typical closed-studio set, the band performed in the middle of the public square. Jim Morrison appeared relaxed and in high spirits, despite the grueling tour schedule. The band lip-synced to their current #1 hit, “Hello, I Love You.” Guitarist Robby Krieger noted Jim Morrison was in good spirits, often looking up at the “incredible architecture” of the square during the performance.

“You can see Jim looking up while he’s singing,” said Krieger. “We’re in this beautiful square with incredible architecture all around. I know he was just looking at all the cool stuff surrounding us. I wish they had panned around to show where we were, because it was absolutely amazing!”

The broadcast is famously interspersed with footage of a blonde woman in a miniskirt dancing around the square (believed to be the show's hostess, Suzanne Doucet). Fans often notice that Ray Manzarek is playing an RMI Electra-piano in this clip rather than his usual Vox Continental or Gibson G-101. He experimented with the RMI during the European tour but eventually returned to his standard setup.

This filming took place just two days before the infamous Amsterdam concert, where Morrison collapsed on stage after a drug overdose, forcing Manzarek to handle lead vocals for the evening.

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The Queen of Weepies: 50 Glamorous Photos of Irene Dunne in the 1930s

Irene Dunne (born Irene Marie Dunn; December 20, 1898 – September 4, 1990) was an American actress who appeared in films during the Golden Age of Hollywood. She is best known for her comedic roles, though she performed in films of other genres. In the 1930s, Dunne established herself as one of Hollywood’s most versatile and highly-paid leading ladies, transitioning seamlessly from emotional dramas to the newly popular screwball comedy genre.

After a successful Broadway career, Irene Dunne moved to Hollywood and signed with RKO in 1930. She achieved instant stardom with her second film, the Western epic Cimarron (1931), which won Best Picture and earned her the first of five career Academy Award nominations. For the first half of the decade, she was primarily known for “weepers” or sentimental dramas like Back Street (1932) and Magnificent Obsession (1935). A trained soprano, she showcased her voice in major musicals, most notably as Magnolia Hawks in Show Boat (1936) and in Roberta (1935), where she introduced the standard “Smoke Gets in Your Eyes.” 

In 1936, she surprised audiences with Theodora Goes Wild, proving she had a “wicked sense of humor” and earning another Oscar nomination. She cemented her comedy status in The Awful Truth (1937) opposite Cary Grant. Their chemistry was so successful that they became one of the era’s definitive screen duos, later starring together in My Favorite Wife (1940). 

Dunne was renowned for her sophisticated beauty, “high-class posture,” and a unique ability to handle both slapstick comedy and heavy drama with equal grace. Unlike many of her contemporaries, she avoided scandals, remained married to her husband (Dr. Francis Griffin) for 38 years, and was widely considered a “consummate professional.”

By the end of 1939, after starring in the romantic classic Love Affair, she was regarded as one of the finest actresses in the world—though she famously became known as “the best actress never to win an Oscar.”

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