50 Wonderful Publicity Photos of Sherilyn Fenn as Audrey Horne on the Set of “Twin Peaks” (1990–1991)

Sherilyn Fenn’s portrayal of Audrey Horne in the original Twin Peaks (1990–1991) is one of the most iconic performances in television history. She managed to blend the “femme fatale” archetype of classic noir with a vulnerable, rebellious teenage spirit.

Audrey begins the series as the neglected, bored daughter of local tycoon Ben Horne. Her character arc is defined by her unrequited infatuation with Special Agent Dale Cooper provided some of the show’s most charming and tension-filled moments. Eager to impress Cooper and gain her father’s attention, she goes undercover at One-Eyed Jacks, a dangerous move that highlights both her bravery and her naivety. She transitions from a “spoiled rich girl” disrupting her father’s business deals to a woman genuinely concerned with the town's moral rot.

Fenn’s performance was elevated by a specific visual language that became synonymous with the character. Her wardrobe – saddle shoes, pleated skirts, and tight cashmere sweaters – created a “retro-modern” look that influenced 1990s fashion.

Perhaps her most famous scene involves her tying a cherry stem into a knot with her tongue, a moment that cemented her status as a pop-culture icon. The surreal moment where she spontaneously dances to Angelo Badalamenti’s “Audrey’s Dance” in the Double R Diner perfectly captured the show’s “dream logic.”

Sherilyn Fenn brought a specific “old Hollywood” glamour to the Pacific Northwest. While the script gave Audrey her lines, Fenn added a layer of soulful melancholy. She made Audrey more than just a troublemaker; she made her a tragic figure searching for a moral compass in a town full of secrets. For her role as Audrey, Fenn received both Golden Globe and Emmy Award nominations.

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Polaroids of Kate Moss Taken by Ellen von Unwerth for Vogue US, 1993

These Polaroids of Kate Moss by Ellen von Unwerth whilst shooting “Beauty and the Beach” in Miami for Vogue US, July 1993. The pictures were featured in the 2022 “Ultimate Ellen von Unwerth” exhibitions in London and Paris before being auctioned off, with individual pictures selling for between £5,000 and £44,000. The Polaroids were taken on type 100 peel-part film, helping predict how a photoshoot would develop.

“The picture of Kate Moss was just a moment where we chatted, and we had a coffee. I had the Polaroid camera, and I took this quick shot, and I think there’s something intimate about it. You feel kind of close to the person. That’s what I really discovered about those pictures when I put them out for this show.”

40 Studio Portraits of Handsome Clark Gable in the 1950s

William Clark Gable (February 1, 1901 – November 16, 1960) was an American actor often referred to as the “King of Hollywood.” He appeared in more than 60 motion pictures across a variety of genres during a 37-year career, three decades of which he spent as a leading man. In 1999, the American Film Institute ranked Gable as the seventh greatest male screen legend of classical Hollywood cinema.

In the 1950s, Gable transitioned from the peak of his “King of Hollywood” status into a more mature, rugged era of his career. While the decade saw him move away from the sleek romantic lead of the 1930s, he remained a formidable box-office draw and a symbol of aging masculinity.

For 23 years, Gable was the face of MGM, but by the early 1950s, the relationship had soured. The studio was struggling with the rise of television, and Gable was dissatisfied with the scripts he was being offered. In 1954, he left MGM to become a freelancer. This was a bold move at the time, but it allowed him to command a higher salary and a percentage of film profits. His final MGM films Lone Star (1952) and Mogambo (1953) were notable successes. Mogambo, a remake of his earlier hit Red Dust, showed he could still generate immense chemistry with younger stars like Grace Kelly and Ava Gardner.

As he entered his 50s, Gable’s screen presence shifted. The mustache remained, but his face showed more character and age, which he used to his advantage in tougher, more weathered roles. Much of his 1950s output was dedicated to Westerns. Films like The Tall Men (1955) and The King and Four Queens (1956) leaned into his natural outdoorsman persona. In Run Silent, Run Deep (1958), he delivered one of his most acclaimed late-career performances as a disciplined submarine commander. It showcased a grit that proved he didn't need to be a “lover” to carry a film.

Off-screen, Gable was finally finding stability after years of personal tragedy (specifically the 1942 death of his wife, Carole Lombard). In 1955, he married Kay Williams, a former model and actress. She brought a sense of peace to his final years, and they lived a relatively quiet life on their ranch in Encino.

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Evelyn Hofer: Capturing the Soul of Style Through a Still Lens

Evelyn Hofer’s approach to fashion photography was characterized by a profound sense of stillness and structural integrity that set her apart from the kinetic, high-energy style of her contemporaries.

Eschewing the frantic snapshots of the runway, Hofer treated her fashion subjects with the same meticulous dignity she applied to her portraits and landscapes, often utilizing a heavy 4x5 view camera that demanded patience and absolute precision. Her work for publications like Vogue and Harper’s Bazaar is noted for its sophisticated use of color, clean lines, and a monumental quality that transformed garments into architectural forms.

By prioritizing the soul of the model and the geometry of the environment over mere trends, Hofer created timeless, painterly compositions that bridged the gap between commercial editorial and fine art.

Model in pale diaphonous nylon nightgown permanently pleated with thin lace edgings by Carter's, photo by Evelyn Hofer, Harper's Bazaar, October 1950

Carmen Dell' Orefice in housecoat of pink dotted Swiss with great balloon sleeves by Dorian, photo by Evelyn Hofer, Harper's Bazaar, May 1950

Theo Graham in slim white Heller jersey dress with a white ribbed cuff for a collar by Young American Deb, photo by Evelyn Hofer, Junior Bazaar, January 1950

Dorian Leigh in a sheer Hope Skillman cotton dress in orange and white by McMullen, photo by Evelyn Hofer, Harper's Bazaar, January 1951

Model in a white cotton satin dress with black velvet stripes and collar by Anne Fogarty, hat by Mr. John, photo by Evelyn Hofer, Harper's Bazaar, January 1951

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Vintage Portraits of Jane Fonda From ‘Walk on the Wild Side’ (1962)

In the 1962 film Walk on the Wild Side, a young Jane Fonda delivers a breakout performance as Kitty Twist, a cynical, street-smart drifter who eventually finds herself entangled in the dark world of a New Orleans brothel.

Though she wasn’t the lead, Fonda’s portrayal of the rebellious and ethically flexible Kitty showcased an early glimpse of her immense range, blending a sense of vulnerable desperation with a sharp, predatory edge. Her character serves as a gritty contrast to the more polished inhabitants of the “Doll House,” and she navigates the film’s Southern Gothic atmosphere with a raw energy that often steals the scenes she inhabits.

Dressed in tattered clothes with a messy mane of hair, Fonda embodied the “wild side” of the title perfectly, marking this role as a pivotal moment in her transition from a fresh-faced ingenue to a serious, provocative actress capable of handling complex, mature themes.

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Some Studio Portraits of Catherine O’Hara From the Official Photoshoot for “Saturday Night Live” in 1981

Catherine O’Hara, the iconic Emmy-winning actress known for Beetlejuice films and Home Alone, died on Friday, January 30, 2026, at the age of 71. She passed away at her home in the Brentwood neighborhood of Los Angeles. According to a statement from her agency, Creative Artists Agency (CAA), she died following a “brief illness.” While an official cause of death has not been publicly disclosed, O’Hara had previously spoken about having situs inversus (or dextrocardia), a rare congenital condition where internal organs are mirrored from their normal positions.

O'Hara made lightning strike twice in her career with indelible cinematic turns. In 1988’s spooky satire Beetlejuice, she played Delia Deetz, who led her possessed dinner guests in an enthralling song and dance performance of Day-O (the Banana Boat song).

Two years later, in Home Alone, her panicked scream of “Kevin!” as she realizes her mischievous eight-year-old son had been left behind during their Christmas holiday is among the most memorable moments from one of the most successful film comedies ever. Her young co-star Macaulay Culkin, now 45, paid tribute to his on-screen mother on Friday, sharing images of the two of them from the film and in later years: “Mama. I thought we had time. I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.”

Catherine O’Hara famously joined the cast of Saturday Night Live (SNL) for Season 6 in 1981 but quit after just one week, before appearing in a single episode. She was hired during a mid-season transition when Dick Ebersol took over as producer from Jean Doumanian. While rumors often claimed she was “scared off” by a harsh production meeting with head writer Michael O’Donoghue, O’Hara clarified in 2024 that her primary reason was loyalty.

Shortly after she accepted the SNL job, her previous show, SCTV, was unexpectedly picked up for another run on NBC. O’Hara felt she needed to be with her “comedy family” and resigned from SNL to return to the Canadian troupe. After her departure, her high school friend Robin Duke was hired to fill the vacant slot. Although she never joined the cast, she eventually returned to Studio 8H to host the show twice in the early 1990s (April 13, 1991, and October 31, 1992).

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50 Stunning Black and White Portraits of Jean Simmons in the 1950s

Jean Simmons (January 31, 1929 – January 22, 2010) was a British actress and singer. One of J. Arthur Rank’s “well-spoken young starlets,” she appeared predominantly in films, beginning with those made in Britain during and after the Second World War, followed mainly by Hollywood films from 1950 onwards.

While many 1950s starlets were marketed solely on “bombshell” appeal, Simmons was celebrated for her expressive eyes and classical acting range. She had a unique ability to play both the fragile ingenue and the spirited, independent woman.

In Guys and Dolls (1955), she surprised audiences by performing her own vocals as Sarah Brown opposite Marlon Brando. Her performance captured a perfect blend of “buttoned-up” missionary and hidden fire. She starred in massive Technicolor productions like The Robe (1953) and played the fiery Varinia in the pre-production stages of Spartacus (eventually released in 1960, but filmed at the decade’s end). In the film noir classic Angel Face (1953), she played a chilling femme fatale, proving she could be just as dangerous as she was charming.

Despite her success, Simmons’ 1950s were also defined by a legal battle. She was famously “bought” from a British studio by the eccentric mogul Howard Hughes. Hughes attempted to control her career and even her personal appearance, but Simmons fought back in a high-profile lawsuit to gain her independence. This move was incredibly gutsy for a woman in the 1950s studio system and allowed her to choose the diverse roles that defined her legacy.

“I’ve always been a bit of a rebel. I think it’s because I’m a Londoner.” — Jean Simmons

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