Born in Verdun, France, into one of the great acting families of the Yiddish Theater, the Adlers, Francine Larrimore (August 22, 1898 – March 7, 1975) emigrated to the United States as a child. In 1910 she premiered in a girl role in Where There’s a Will at Webber’s Theater in New York. Honing her craft in a series of farces and rollicking musicals, she specialized in temperamental girl parts. She could sing, dance, pout, and flounce with notable skill. Her singing was clear, plangent, with a well controlled throaty sob in the sad songs. In most respects she was regarded as the second choice for this sort of role on Broadway, Madge Kennedy getting first call.

In the 16th century, the codpiece—essentially a padded and often exaggerated covering for the groin—was a common part of men’s fashion. It began as a practical solution to cover the gap in hose (tight-fitting legwear) and evolved into a symbol of masculinity, virility, and power.

Henry VIII, always conscious of projecting dominance and strength, had several suits of armor made with highly pronounced codpieces, especially during the height of his reign in the 1540s. These armors were both ceremonial and functional, often displayed during tournaments or parades rather than strictly for battle.

The codpiece on Henry’s Greenwich-made armor (now in the Royal Armouries, Leeds, and the Tower of London) is so large and prominent that historians often remark it was less about practicality and more about political theater—broadcasting his vigor, fertility, and authority as king. This was particularly important after his multiple marriages and struggles to produce a male heir.

Some key details about Henry’s codpiece armor:

• Crafted in steel, richly etched and gilded, with the codpiece seamlessly integrated.
• Exaggerated to the point of being almost comical by modern standards, though deadly serious in symbolism at the time.
• Reflects the Tudor obsession with display, masculinity, and power.

Cattrall embodied much of the sleek, bold fashion of the decade — glamorous gowns, big hair, sharp makeup, and tailored power-dressing that reflected the era’s trends. She often projected a mix of sophistication and playfulness. She also appeared in various TV movies and series during this period, steadily building a reputation for being both comedic and dramatic.

For the next 23 years, he used the Mercedes as his taxi, driving it around the clock. His work wasn’t limited to the streets of Thessaloniki; he undertook countless long-distance journeys across Greece and into surrounding countries like Germany, Turkey, and Bulgaria. He even transported humanitarian aid to war-torn Yugoslavia in 1993.

By the time he retired the car in 2004, it had accumulated a staggering 4.6 million kilometers (about 2.85 million miles). This feat earned his car the distinction of being the Mercedes-Benz with the highest recorded mileage to date. To put that in perspective, 4.6 million kilometers is the equivalent of driving around the world 115 times.

Even back then, Nolan loved film cameras, and didn’t want to shoot on digital. But film is expensive, so he had the actors endlessly rehearse their scenes so he could then film it in one take. Nolan used practical light sources in almost every scene because he didn’t have a lighting crew. Scenes are lit by the sun or whatever lamps were in whatever room he was filming in. Just about all the actors were personal acquaintances. For many of them, Following (1998) was their film debut. The policeman interrogating the main character is Christopher Nolan’s uncle.