40 Amazing Photos of Martin Sheen and Sissy Spacek on the Set of “Badlands” (1973)

Badlands is a 1973 American neo-noir crime drama that marked the directorial debut of Terrence Malick. The film stars Martin Sheen and Sissy Spacek as two young lovers who embark on a brutal killing spree across the American Midwest during the late 1950s.

Inspired by the 1958 Charles Starkweather and Caril Ann Fugate murders, the film features Martin Sheen as Kit, a 25-year-old garbage collector, and Sissy Spacek as Holly, his 15-year-old companion who narrates their journey. After Kit kills Holly’s father, they flee across the Midwest, with the story told through Holly's detached, dreamlike narration.

The film was made on a shoestring budget of approximately $300,000–$350,000, funded by small private investors. Production was even halted at one point so Malick could take outside writing jobs to raise more funds. Although the story roams through the Midwest, it was primarily filmed in southeastern Colorado towns like La Junta and Trinidad.

Badlands is widely considered a masterpiece of American cinema, praised for its lyrical style and unique juxtaposition of violence with natural beauty. The film significantly influenced the “outlaw couple” genre. The film earned Martin Sheen a best actor award at the San Sebastián International Film Festival and was selected for the National Film Registry in 1993.

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Beautiful Photos of the 1961 Ghia L6.4 Coupe

The 1961 Ghia L6.4 Coupe stands as one of the most exclusive and elegant symbols of the “Jet Age,” representing a flawless marriage between rugged American power and sophisticated Italian artistry.

Following the success of the Dual-Ghia, the L6.4 was designed by the legendary Carrozzeria Ghia in Turin. Unlike many mass-produced cars of its time, each L6.4 was virtually bespoke, handcrafted to the highest standards of luxury. Its sleek, low-slung silhouette and expansive glass greenhouse made it an instant favorite among the Hollywood elite, most famously including “Rat Pack” legends like Frank Sinatra and Dean Martin.

Beneath its bespoke Italian bodywork lay a formidable 6.4-liter Chrysler Mopar V8 engine, producing roughly 335 horsepower. This combination allowed the car to offer both the effortless maintenance of an American drivetrain and the unparalleled prestige of a European grand tourer.

With only 26 units ever produced, the Ghia L6.4 remains one of the rarest production cars in history. Discover the car that captivated Hollywood’s biggest stars with these stunning photos of the ultra-rare 1961 Ghia L6.4 Coupe.

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22 Fascinating Photos of a Young Catherine O’Hara in the 1980s

Catherine Anne O’Hara (March 4, 1954 – January 30, 2026) was a Canadian and American actress, comedian, and screenwriter, whose career spanned over 50 years. She came to prominence in the sketch comedy series SCTV (Second City Television), which ran from 1976 to 1984. She left SCTV in 1980 briefly for a spot on the newly retooled Saturday Night Live, but left after a week without appearing in any episodes, then rejoined SCTV for the 1981–82 season. Her iconic characters included Lola Heatherton and Dusty Towne, and she earned an Emmy for her writing work on the program in 1982.

She made her feature debut in the 1980 film Double Negative, which also starred her SCTV co-stars John Candy, Eugene Levy, and Joe Flaherty. By the time SCTV ended in 1983, O’Hara was more widely known and began to get better roles, including secondary characters in Martin Scorsese’s After Hours (1985) and Mike Nichols’s Heartburn (1986).

She gave a memorable performance as Delia Deetz, the overbearing stepmother, in Tim Burton’s Beetlejuice (1988). It was on that set that O’Hara met her future husband, production designer Bo Welch, and decided to move to the United States.

The 1980s were essentially O’Hara’s transition from beloved Canadian TV comedian to internationally recognized film actress, setting the stage for Home Alone (1990) and everything that followed.

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40 Vintage Photos Capture Teenager Style and Culture in the 1950s

The 1950s teenagers were the first generation to truly define “youth culture,” breaking away from adult fashion to create a style that was both rebellious and iconic.

For girls, the silhouette was often defined by poodle skirts with voluminous crinolines, crisp white bobby socks, and saddle shoes or saddle oxfords. High ponytail hairstyles, often tied with a silk scarf, and form-fitting cardigans (sometimes worn backward) became the hallmark of the “girl next door” look.

For the boys, style split into two distinct paths: the clean-cut preppy look and the edgy “Greaser” aesthetic. The former featured letterman jackets, chinos, and crew cuts, while the latter, inspired by icons like James Dean and Elvis Presley, focused on cuffed denim jeans, white T-shirts, and black leather jackets, topped off with heavily pomaded hair.

Whether they were hanging out at a local soda fountain or attending a high school record hop, the teenagers of the ’50s used their clothing to signal a new era of independence and rock-and-roll energy. Travel back to the era of jukeboxes and drive-ins with these vintage photos of 1950s teenager style.

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Lee Radziwill and Jackie Kennedy Onassis Photographed by Cecil Beaton for Vogue at a Debutante Ball, 1951

In 1951, the photographer Cecil Beaton captured an iconic series of portraits of the Bouvier sisters, Jacqueline (the future Jackie Kennedy Onassis) and Lee (the future Princess Lee Radziwill), for Vogue. Jackie was around 22 and Lee around 18 at the time.

The photos were staged to evoke the atmosphere of a debutante ball, marking the sisters’ official “coming out” into high society. While Jackie had already been named “Debutante of the Year” in 1947, this 1951 shoot for Vogue magazine served as a high-fashion introduction of the sisters as a duo.

Jackie wore a white silk organdie gown with a red faille sash, while Lee wore yellow and white tulle with yellow roses. The dresses were originally credited to Elizabeth Arden, but contemporary fashion historians often attribute the designs to Ann Lowe, the Black couturier who later designed Jackie’s wedding dress.

Beaton used an elaborate set with “extras,” couples in formal evening wear dancing in the background, to create a sense of movement and aristocratic glamour.

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Beautiful Photos Capture Everyday Life of a Family in the U.S in 1960

The early 1960s in the United States represented a unique chapter of American life, caught between the disciplined postwar domesticity of the 1950s and the radical cultural shifts that would define the later half of the decade.

Everyday life for a typical family during this period was centered around the suburban ideal, a world of manicured lawns, station wagons, and the warm glow of the television set. These candid photos, from Jane’s Album, capture the quiet, unscripted moments of that era.

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28 Photographs Show Lee Radziwill’s Style in the 1960s and 1970s

Lee Radziwill (March 3, 1933 – February 15, 2019), Jackie Kennedy’s younger sister, was one of the most stylish figures of her era, often considered even more daring and fashion-forward than her famous sibling. While her sister Jackie defined the “American Queen” look, Lee was often considered the more avant-garde and fashion-forward of the two. Her style evolved from the rigid, structured elegance of the 1960s into a more relaxed, “bohemian-aristocrat” aesthetic in the 1970s.

In the 1960s, Lee embraced the sleek, mod minimalism that defined the decade. She was a devoted client of Givenchy and Christian Dior, favoring clean A-line silhouettes, shift dresses, and structured coats. She wore bold geometric prints, low heels with pointed toes, and kept her accessories refined — simple drop earrings and structured handbags. Her hair was typically a polished bouffant or a sleek, short crop, very much in the Audrey Hepburn mold. She moved effortlessly between European couture and American chic.

In the 1970s, her style evolved with the times but never lost its elegance. She gravitated toward Halston, whose fluid, minimalist cuts suited her slim frame perfectly, as well as Valentino. She adopted wide-leg trousers, wrap dresses, and luxurious fabrics like silk and cashmere. Her look became more relaxed but still deeply sophisticated: tousled hair, oversized sunglasses, and an easy glamour that felt very jet-set. She was a fixture at Studio 54 and in the social circles of Truman Capote and Andy Warhol.

Lee Radziwill’s style was defined by edit. She famously hated clutter, both in her homes and on her person. She believed in “quality over quantity,” a philosophy that led to the “quiet luxury” movement we see today. Unlike many socialites of her time, she never let the clothes wear her; she was always the focal point.

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