The Best Portraits of Brigitte Bardot

Actor, singer, sex symbol and style icon Brigitte Bardot, who turned her back on movie stardom in 1973 to become an animal rights activist, has died at the age of 91. Her death was announced on Sunday, December 28, 2025, by her foundation, which stated she passed away at her home in southern France.

Bardot rose to international fame in the 1950s and 1960s, notably after starring in the 1956 film And God Created Woman. Known as “B.B.,” she appeared in 56 films and became a global symbol of sexual liberation. In 1969, her features were used as the model for Marianne, the national emblem of the French Republic.

At the height of her fame in 1973, she retired from acting at age 39 to dedicate her life to animal welfare. She established the Brigitte Bardot Foundation in 1986, campaigning against seal hunting, animal testing, and the consumption of horse and dog meat. In later life, Bardot became a vocal supporter of France’s far-right National Rally (formerly Front National).

President Emmanuel Macron hailed her as a “legend of the century,” stating that she “embodied a life of freedom” and a “universal radiance.” Marine Le Pen described Bardot as “incredibly French: free, untamable, whole.”

Bardot had recently survived health scares in late 2025, having been hospitalized in October and November before publicly denying death rumors just weeks prior to her passing.

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200-Year-Old Wooden Bridge in Dagestan, Built Without the Use of a Single Nail

This 200-year-old bridge built without a single nail is a wooden bridge located near the village of Gulli (Juli) in the Tabasaran region of Dagestan, Russia. It is known primarily by its description rather than a formal historical name in English-language sources. The bridge is approximately 10 meters (about 33 feet) high.

The bridge was constructed by local Tabasaran people using traditional joinery techniques, relying on precisely cut, interlocking wooden joints and wooden pegs (sometimes called “trunnels” or dowels) instead of metal fasteners.

The builders used only local wood and stone that were available to them. A metal bracket visible on the bridge in some photos is a later addition and does not serve a functional or structural purpose.

The ingenious design allows the structure to flex and adapt to natural changes in temperature and humidity, which contributes to its incredible longevity. It has withstood harsh weather conditions for two centuries and can even support the weight of a passenger car today.

It stands as a testament to the advanced engineering knowledge and craftsmanship of traditional builders, showcasing the sustainable use of natural materials and the enduring strength of time-honored techniques.

Johanna Matz: The Golden Smile of Vienna

Johanna Matz (1932–2025) was the quintessential “girl next door” of German-language cinema during the 1950s, a star whose radiant smile and natural charm offered a sense of hope and lightness to post-war audiences. Originally a trained dancer at the prestigious Max Reinhardt Seminar in Vienna, she brought a lyrical grace to every role she inhabited. Matz became a household name through her delightful performances in “Heimatfilms” and romantic comedies, most notably in The White Horse Inn (1952) and the charming The Forester’s Daughter (1952).

Her talent even caught the eye of Hollywood director Otto Preminger, who cast her in the German-language version of the controversial hit The Moon Is Blue (Die Jungfrau auf dem Dach). With her bright eyes and sophisticated yet approachable elegance, Matz embodied the spirit of the “Wiener Mädel” (Viennese girl).

Johanna Matz remains a beloved figure for those who cherish the golden age of Austrian cinema, a timeless reminder of an era that celebrated innocence, poise, and effortless beauty.

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Iconic Photos of Maggie Smith Playing Cards in the Play “Strip the Willow” (1960)

In 1960, a 25-year-old Maggie Smith starred in the play Strip the Willow, a production that is often cited as the performance that launched her toward major stardom. The play was written by Beverley Cross, who would later become Smith’s second husband. Cross reportedly wrote the lead role specifically for her, including a stage direction that described the character as “about 25 and very beautiful... as elegant and sophisticated as a top international model.”

The play debuted in November 1960 at the Newcastle Theatre Royal before touring other venues, including the Theatre Royal, Brighton. Smith played Kathy Dawson, a role specifically described by Cross in the stage directions as an elegant, sophisticated, and “marvelous girl” with a great sense of fun.

One of the most publicized aspects of the production involved Smith’s character playing strip poker, leading to iconic photocall images of her in a “state of undress” while holding a hand of playing cards.

At the time, critics noted her immense screen presence and “sex appeal,” with some famously comparing her favorably to icons like Brigitte Bardot and Marilyn Monroe. 

The play is significant in Smith’s biography as it was written by Beverley Cross. Although Smith married actor Robert Stephens in 1967, she later married Cross in 1975, a relationship that lasted until his death in 1998.

Party Like It’s 1953: Found Color Slides of a New Year’s Eve Costume Bash

Step inside a time machine to December 31, 1953. These rare, found color slides, via Phrena, capture the spirited energy of a New Year’s Eve costume party, where the champagne flowed and the outfits were as imaginative as the era itself.

From makeshift superheroes to classic masquerades, these frames offer a candid, colorful glimpse into how the mid-century generation rang in the New Year with style and a touch of whimsy. While these slides from 1953 have been significantly water-damaged over time, the weathered textures only add to their haunting beauty and historical intrigue.

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Who Did “Penny for the Guy Back” in the Day?

In the mid-20th century, “Penny for the Guy” was a ubiquitous part of British childhood. Before the rise of organized displays and the American influence of Halloween trick-or-treating, it was the primary way children engaged with Bonfire Night (November 5th).

Children created an effigy of Guy Fawkes using their fathers' or older siblings’ old clothes (jumpers, trousers) stuffed with newspaper, straw, or dead leaves. The head was often a stuffed pillow or a cardboard mask bought from a newsagent. These life-sized dolls were paraded through neighborhoods or displayed on busy street corners. Children often used old prams, wheelbarrows, or homemade carts to transport them. Groups of children would sit or stand outside shops, pubs, bus stops, or tube stations, calling out the familiar chant, “Penny for the Guy, mister?” or “Penny for the Guy, lady?”.

The collected pennies were almost exclusively used to buy fireworks (such as sparklers, rockets, or Catherine wheels) or treats like toffee apples and “pop” (soda). On the evening of November 5th, the homemade Guy was traditionally placed on top of a large communal or garden bonfire and burned as the centerpiece of the celebration.

During this period, Halloween was not widely celebrated in the UK. “Penny for the Guy” was the primary autumn holiday activity for children. It was viewed as a “communal endeavor” that brought neighborhoods together, with neighbors often competing to see who had the best-made Guy. Children often undertook the activity without adult supervision, staying out until dark to catch commuters coming home from work.

The tradition began to fade toward the late 20th century due to increased safety regulations on firework sales, the rise of organized public displays, and the growing popularity of American-style trick-or-treating.

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Enchanting Photobooth Portraits of Girls in the 1940s

The photobooth strips of the 1940s offer a delightful and candid window into the lives of young women during a transformative decade. In an era where professional photography was often stiff and formal, the photobooth provided a rare “private stage” for teenage girls and young ladies to express their true personalities. These small, grainy squares of black-and-white film are filled with a sense of playful discovery, capturing everything from shy, sweet smiles to bold, rebellious gazes.

The aesthetic of these portraits is quintessentially ’40s: the iconic victory rolls, neatly pinned curls, and the classic collared blouses that defined wartime youth fashion. These weren’t just photos, they were “social media” of the pre-digital age: fun, immediate, and deeply personal.

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