In the 1970s, Weld was in a fascinating transitional period of her career. By then, she had already established herself as a gifted actress with a reputation for intensity and emotional depth, moving far beyond the “troubled teen” roles of the 1950s and 1960s.

Weld gravitated toward complex, often troubled women. She appeared in films such as A Safe Place (1971), directed by Henry Jaglom, and Play It As It Lays (1972), based on Joan Didion’s novel. The latter, where she played Maria Wyeth, is considered one of her most defining performances—haunting and raw, capturing the alienation of Hollywood in the early 1970s.

In 1978, she earned critical acclaim and an Academy Award nomination for Best Supporting Actress for her role in Looking for Mr. Goodbar, where she played opposite Diane Keaton.

Weld was known for her reluctance toward stardom. She often turned down high-profile roles—including parts in Lolita, Rosemary’s Baby, and Bonnie and Clyde—saying she valued her personal freedom more than fame.

In the 1970s, her image was that of an enigmatic, fiercely independent actress—a Hollywood starlet who refused to be typecast. She struggled at times with mental health and substance use, which added to her aura as a brilliant but unpredictable talent.

By the 1970s, she had a more mature, bohemian-meets-Hollywood glamour look—soft waves of blonde hair, natural makeup, and a mix of California cool with understated elegance.

After the final whistle of Argentina’s 2-1 victory, as players were leaving the pitch and heading down the tunnel, Steve Hodge had a brief, chance encounter with Maradona. Recalling that his coach, Brian Clough, had once advised players to keep memorabilia from important matches, Hodge decided to seize the opportunity. He looked at Maradona and, with a gesture, asked to swap shirts. Maradona, who was walking with two teammates, came straight over and made the exchange.

Hodge took the iconic number 10 jersey and carried it back to the English locker room, an act that some of his teammates questioned given the bitter defeat.

For over 35 years, the shirt remained with Steve Hodge. For two decades, it was on display at the National Football Museum in Manchester, on a long-term loan. Hodge also wrote an autobiography titled The Man with the Maradona Shirt.

After Maradona’s death in 2020, Hodge received thousands of calls and offers to sell the shirt, but initially, he insisted it wasn’t for sale, citing its immense sentimental value. However, in 2022, he decided to put it up for auction.

The decision was not without controversy. Members of Maradona’s family, including his daughter Dalma, publicly claimed that the shirt Hodge possessed was not the one Maradona wore in the second half of the match (when he scored both goals), but rather the one from the first half. Sotheby’s, the auction house, countered these claims, stating they had conducted extensive scientific research and “photomatching” to authenticate that the shirt was, in fact, the one worn during the second half.

The auction went ahead, and on May 4, 2022, the shirt sold for a staggering £7.1 million (approximately $9.3 million), setting a world record for the highest price ever paid for a piece of sports memorabilia.

Petrov worked at night after the offices had closed, and the lack of people in his photos gives them a haunting, “liminal” quality. He captured the mundane and the magnificent: empty offices, stairwells, and elevator fixtures, as well as the stunning panoramic views of New York City at dawn. His photos offer a last, intimate look inside the iconic buildings before they were destroyed.

On the morning of September 11, 2001, Petrov finished his shift and was leaving the building’s basement parking lot in his car around 8:30 a.m. when the first plane struck the tower. He only saw debris and didn’t realize the gravity of what had happened until he got home and saw the news. He had narrowly escaped the tragedy.

Tragically, Konstantin Petrov died in a motorcycle accident in Manhattan a year later, in 2002. His photos, which he had uploaded to an Estonian website called Fotki, were later discovered by a documentary filmmaker in 2014, bringing his work to a wider audience and solidifying his legacy as the person who captured some of the last and most detailed internal views of the World Trade Center.

Born in Dalvík, Iceland, on February 9, 1913, Jóhann’s early life was completely normal until he experienced an incredible growth spurt around the age of 15. While his family—he was the third of nine children—was of average size, Jóhann’s body continued to grow at an extraordinary rate. By the time he was 20, he stood at 7 feet 8 inches (2.34 meters) tall. This height, while a source of fame later in life, also presented challenges. Despite being physically strong in his teens, he reportedly began to experience walking difficulties as he grew.

Jóhann found it difficult to find traditional work in his hometown due to his size. Recognizing his unique stature as a potential asset, he embarked on a career in entertainment. He left Iceland in 1934 and began exhibiting himself in Denmark and other European music halls. For a time, he performed an act with two dwarves, providing a humorous contrast in scale.

When World War II broke out, he found himself stranded in Copenhagen, where he worked in a shipyard until the war’s end. After the war, he resumed his touring career and was eventually discovered by John Ringling of the famous Ringling Bros. and Barnum & Bailey Circus.

In 1948, Jóhann moved to the United States to join the circus. He initially performed in a traditional top hat and tails, but his career truly took off after he adopted the persona of “The Viking Giant.” Dressed in a Viking-themed costume, he became a hugely popular attraction, often billed as the Icelandic Giant.

Jóhann was not only a showman but also a savvy businessman. After a few years with the Ringling Brothers, he went into business for himself, creating a “Single-O” show where he was the sole attraction. This move proved very successful, and he reportedly saved a significant amount of money.

Jóhann also appeared in a few films, most notably as a giant caveman in the 1950 film Prehistoric Women and a small role in the 1980 film Carny.

In the 1960s, he retired to Gibsonton, Florida, a well-known community for sideshow and carnival performers. Even in retirement, he occasionally made appearances, including an event at the Smithsonian in 1973. Throughout his life, he was known for his kind and gentle personality. He was particularly loved by children, who he would happily hoist onto his shoulders.

Jóhann Kristinn Pétursson, the Viking Giant, died in 1984 at the age of 71, but his legacy as a prominent and beloved figure in the history of sideshows endures. He was inducted into Coney Island USA’s Sideshow Hall of Fame in 2015.