Star Tarots

06/29/2025

Inheritance #

06/11/2025

04/20/2025

Imagine this: the enigmatic Gunung Padang pyramid in Indonesia, a colossal structure that could potentially date back a staggering 28,000 years. Yes, you heard that right—28,000 years! This ancient marvel isn't just a relic; it shatters our complacent views of early human civilizations. It's a bold reminder that humanity's ingenuity and architectural prowess may have thrived far earlier than we ever dared to believe. It’s time to reevaluate everything we thought we knew about our past.

04/20/2025

For almost 1,800 years, the Cisternone Romano has lurked beneath the streets of Albano Laziale, close to Rome, Italy—a hidden gem waiting to be rediscovered. Built between the 2nd and 3rd centuries AD under the reign of Emperor Septimius Severus, this ancient underground water reservoir was designed to quench the thirst of the mighty Second Parthian Legion.
With a jaw-dropping capacity of around 10,000 cubic meters—enough to fill approximately 2.64 million gallons—Cisternone Romano is an awe-inspiring feat of Roman engineering. It's not just a reservoir; it’s an imposing structure, shaped like an irregular quadrangle and stretching 98 feet by 164 feet. Carved partly from rock and partly constructed with bricks, it boasts five naves, supported by 36 robust pillars, all wrapped in waterproof plaster to ensure its endurance.
But here’s the kicker: the real showstopper is how this ancient marvel still works. Nearly two millennia later, the water supply channels that draw from the springs near Lake Albano continue to function without a hitch. Cisternone Romano isn't just a relic—it's a bold statement about the brilliance and craft of Roman architects and engineers that defies the passage of time.

04/20/2025

This Olmec monument from La Venta, dating back to 1300-400 BCE, features a figure that strikingly resembles someone manning a device, complete with what could easily be mistaken for a helmet and some kind of apparatus. This provocative imagery forces us to rethink everything we thought we knew about the Olmec culture and their technological prowess. Are we staring at evidence of advanced knowledge, or is this just a symbolic rendition meant to confound us? What’s your take on this ancient carving and the interpretations surrounding it?

04/20/2025

Dating back to the 14th century BCE, the dromos leading to the Tsarskyi Tomb in Mycenae, Greece, stands as a striking assertion of Mycenaean engineering mastery. This isn't just any passageway; it's a corridor carved from impeccably cut stones that guides you to a royal burial chamber. The sheer architectural genius behind the construction of this monumental tomb begs for a deeper investigation into the Mycenaean civilization's astounding capabilities. What level of skill and knowledge did they possess to achieve such remarkable precision? It's high time we challenge our narratives and recognize the brilliance of a civilization that we often underestimate.

04/20/2025

On this date in 1967, "The Graduate" was released.
Director Mike Nichols' first choice for Mrs. Robinson was French actress Jeanne Moreau. The motivation for this was the cliché that in French culture, "older" women tended to "train" the younger men in sexual matters. Numerous actors were considered for or sought roles in the film. Doris Day turned down an offer because the nudity required by the role offended her. Joan Crawford inquired as to play the part, while Lauren Bacall and Audrey Hepburn both wanted the role. Patricia Neal turned down the film as she had recently recovered from a stroke and did not feel ready to accept such a major role. Geraldine Page also turned it down. Other actors considered for the part included Claire Bloom, Angie Dickinson, Sophia Loren, Judy Garland, Rita Hayworth, Susan Hayward, Anouk Aimée, Jennifer Jones, Deborah Kerr, Eva Marie Saint, Rosalind Russell, Simone Signoret, Jean Simmons, Lana Turner, Eleanor Parker, Anne Baxter and Shelley Winters. Angela Lansbury also asked about playing the part. Ava Gardner sought the role of Mrs. Robinson, and reportedly called Nichols saying, "I want to see you! I want to talk about this 'Graduate' thing!" Nichols did not seriously consider her for the role (he wanted a younger woman as Bancroft was 35 and Gardner was 45), but did end up visiting her hotel. He later recounted that "she sat at a little French desk with a telephone, she went through every movie star cliché. She said, 'All right, let's talk about your movie. First of all, I strip for nobody.'" Meanwhile, Natalie Wood turned down not only the role of Mrs. Robinson, but also that of Elaine.
For the character of Elaine, casting was also an issue. Patty Duke turned down the part as she did not want to work at the time. Faye Dunaway was also considered for Elaine, but had to turn it down, in favor of "Bonnie and Clyde" (1967). Sally Field and Shirley MacLaine refused the role as well. Raquel Welch and Joan Collins both wanted the role, but did not succeed in getting it. Carroll Baker tested, but was said to have been too old to portray Anne Bancroft's daughter. Candice Bergen screen-tested as well, as did Goldie Hawn and Jane Fonda. Additionally, Ann-Margret, Elizabeth Ashley, Carol Lynley, Sue Lyon, Yvette Mimieux, Suzanne Pleshette, Lee Remick, Pamela Tiffin, Julie Christie, and Tuesday Weld were all on the director's shortlist before Katharine Ross was cast.
When Dustin Hoffman auditioned for the role of Benjamin, he was just short of his 30th birthday at the time of filming. He was asked to perform a love scene with Ross, having previously never done one during his acting classes and believed that, as he said later, "a girl like [Ross] would never go for a guy like me in a million years." Ross agreed, believing that Hoffman "look[ed] about 3 feet tall...so unkempt. This is going to be a disaster." Producer Joseph E. Levine later admitted that he at first believed that Hoffman "was one of the messenger boys." Despite—or perhaps because of—Hoffman's awkwardness, Nichols chose him for the film. "As far as I'm concerned, Mike Nichols did a very courageous thing casting me in a part that I was not right for, meaning I was Jewish," said Hoffman. "In fact, many of the reviews were very negative. It was kind of veiled anti-Semitism....I was called 'big-nosed' in the reviews, 'a nasal voice'." Hoffman was paid $20,000 for his role in the film, but netted just $4,000 after taxes and living expenses. After spending that money, Hoffman filed for New York State unemployment benefits, receiving $55 per week while living in a two-room apartment in the West Village of Manhattan.
Before Hoffman was cast, Robert Redford, Warren Beatty and Charles Grodin were among the top choices. Beatty turned the film down, as he was occupied with "Bonnie and Clyde". Redford tested for the part of Benjamin (with Candice Bergen as Elaine), but Nichols did not believe Redford could persuasively project the underdog qualities necessary to the role. When he told this to Redford, Redford asked Nichols what he meant. "Well, let's put it this way", said Nichols, "Have you ever struck out with a girl?" "What do you mean?" asked Redford. "That's precisely my point," said Nichols. Redford told Nichols that he perfectly understood the character of Benjamin, who was a social misfit. He went on and on about his ability to play the part. Nichols finally said to him, "Bob, look in the mirror. Can you honestly imagine a guy like you having difficulty seducing a woman?"
Grodin turned down the part at first because of the low $500/week salary offered by producer Lawrence Turman. Grodin was offered more money but declined again because he didn't believe he could prepare for a screen test for the film overnight. "If they had given me three days to prepare, I think I would have gotten the role," he said.
Burt Ward was informally offered Hoffman's role, but was already committed to the role of Robin in the "Batman" television series.

04/20/2025

During the production of "Maverick" in 1993, an intense political discussion between Mel Gibson and Jodie Foster spiraled into a tense off-camera moment that left the set unusually quiet. The two stars, known for their strong personalities and sharp minds, found themselves clashing over an issue that quickly grew personal. According to crew members, the conversation escalated in Gibson’s trailer, where voices could be heard rising. Within minutes, he stormed out, walking briskly past the cameras and disappearing from the set without a word to anyone.
Jodie Foster, though visibly shaken, remained composed. A consummate professional, she resumed filming a brief scene before stepping aside for a moment of quiet. The cast and crew, many of whom deeply respected both actors, chose not to intervene, but the atmosphere was unmistakably tense. “It wasn’t the first time two passionate people had a disagreement, but it was the first time I saw him that rattled,” a crew assistant later recalled during a press junket years later.
An hour later, Mel Gibson returned to the set. He didn’t say anything immediately. In his hand, he carried a small bouquet of white and yellow daisies and a folded sheet of paper. He walked straight to Foster’s trailer and knocked once. When she opened the door, he extended the flowers and the letter without saying a word. Foster, moved by the gesture, invited him inside. The two spoke privately for about fifteen minutes.
That letter, which Jodie Foster kept for years, contained an apology written in Gibson’s unmistakable blocky handwriting. He began by saying, “I was raised by a man who shouted first and thought later. I’m trying not to be that man anymore.” The vulnerability struck Foster deeply. In later interviews, she referenced that day as a defining moment in her friendship with Gibson. “That’s why I love him,” she said. “He owns his flaws. He’s honest when it matters.”
Their bond, forged long before "Maverick", had always been layered. They first met at an awards ceremony in the late 1980s, where they struck up a conversation about directing and literature. Foster had admired Gibson’s work in "Gallipoli" and "The Year of Living Dangerously", while Gibson had watched Foster’s performances since "Taxi Driver". Their friendship deepened over years of shared professional admiration, culminating in the collaboration on "Maverick", a film that demanded charisma, timing, and chemistry.
That set was a playground of energy and quick wit, but also of creative tension. Gibson’s larger-than-life presence and spontaneous nature often clashed with Foster’s intellectual intensity and precision. “Working with Mel is like riding a bull — wild and unpredictable,” Foster once joked. But she always followed with genuine affection, noting how their differences led to a richer dynamic onscreen and off.
During the filming break following their disagreement, Gibson also approached director Richard Donner. According to a close production source, he told Donner, “I crossed a line with Jodie. I let my temper talk. That’s not who I want to be.” Donner later said that watching Gibson make amends showed a side of him not often seen publicly — the part willing to be humble in front of someone he respected.
Years later, Jodie Foster directed Gibson in "The Beaver", a deeply personal film that mirrored much of his real-life turmoil. She stood by him when many in Hollywood kept their distance. When asked why, she referenced the same memory from the "Maverick" set. “He’s imperfect, but he’s trying. And sometimes, trying is everything.”
The moment Gibson returned to set with flowers and a handwritten apology didn’t erase the argument, but it carved a space for understanding and grace between two powerful minds. That day revealed how accountability, even in Hollywood’s glare, can still come quietly, handwritten, and from the heart.

04/20/2025

Did you know?
As soon as the familiar theme of "Perry Mason (1957–1966)" began, millions of viewers settled in for another gripping courtroom mystery, with Raymond Burr commanding the screen as the unshakable defense attorney. The show’s black-and-white episodes, a signature of its era, weren’t static dramas but tightly-wound puzzles, each one ending with a final twist that turned the tide in Perry’s favor. Adapted from Erle Stanley Gardner’s novels, the show held a unique place on American television, creating the blueprint for legal dramas that followed, but it was the performances and off-screen stories of the main cast that added depth to the show’s enduring intrigue.
Raymond Burr didn’t merely act as Perry Mason; he embodied him. But few knew that Burr was initially considered too intense for the role, and the producers weren’t convinced he fit the courtroom charisma required. Burr insisted on auditioning and arrived in full courtroom attire, stunning the producers with a cold reading so commanding they had to reconsider. Yet, this wasn’t his first brush with television success. Burr had already made a name in films like "Rear Window" and "A Place in the Sun," often playing the heavy or villain. It was ironic, then, that he would become television’s most trusted moral compass.
Barbara Hale, portraying the ever-loyal Della Street, had been in films since the 1940s, but "Perry Mason" gave her career its defining role. Unlike many other female characters of the time, Della wasn’t reduced to a romantic subplot. Instead, she operated as Perry’s equal, often playing a pivotal role in his investigations. Hale’s calm, graceful presence added warmth to the often cold proceedings of courtroom drama. Her working relationship with Burr extended beyond the cameras, built on mutual respect and real friendship. When the show returned decades later in a series of TV movies, Hale reprised her role without hesitation, eager to work with Burr again.
William Hopper played private investigator Paul Drake with a casual charm that balanced Perry’s formality. Hopper, son of gossip columnist Hedda Hopper, had a complicated path to fame. After serving in World War II, Hopper struggled with alcoholism and personal setbacks before reluctantly returning to acting. His mother urged him to audition for the role of Paul Drake, and to his surprise, his screen test was a hit. His easygoing presence and slick wit gave the trio of Perry, Della, and Paul an irresistible on-screen chemistry. What fans never saw was the immense anxiety Hopper battled behind the scenes, often doubting his abilities despite his consistent performances.
William Talman, who played district attorney Hamilton Burger, brought nuance to a role that could’ve easily been written off as a mere antagonist. Burger was frequently bested by Mason, but Talman insisted that the character remain honest and competent, not a villain. Talman’s life off-screen was tumultuous he was fired briefly from the show after being arrested at a private party, an incident that scandalized the network. But fans and co-stars rallied around him, and Burr himself advocated for Talman’s reinstatement. Talman also became the first Hollywood actor to film an anti-smoking ad before his death, pleading with viewers to quit the habit that led to his own terminal cancer.
Ray Collins, who played Lt. Tragg, was already a respected stage and radio actor before joining the cast. Known for his work with Orson Welles in productions like "Citizen Kane" and "The Magnificent Ambersons," Collins brought sophistication and subtle humor to the role. As his health declined due to emphysema, the show wrote around his absence, never officially replacing him, which was a quiet tribute to his contribution.
Each episode of "Perry Mason" wasn’t just about solving a crime; it was about watching a tight ensemble bring intelligence and gravitas to weekly drama. There was an intimacy in its storytelling the camera lingered on reactions, the music punctuated emotion, and the dialogue, while deliberate, gave room for the actors to shine. Viewers didn’t just tune in for the plot they tuned in for the dynamic between Perry, Della, and Paul, for Burger’s unflinching attempts at justice, and for the sense that within the black-and-white screen, good could still outmaneuver evil.
Raymond Burr died on September 12, 1993, at the age of 76. Barbara Hale passed on January 26, 2017, at age 94. William Hopper died February 6, 1970, at 55. William Talman died August 30, 1968, at 53. Ray Collins died July 11, 1965, at age 75. Their performances didn’t fade with the show’s ending; they became part of television’s enduring heartbeat.

04/19/2025

Keanu Reeves and Patrick Swayze share a touching moment on the “Point Break” set in 1991, showcasing their genuine friendship and connection. Reeves beams at a baby as Swayze affectionately holds the child and smiles for the camera, demonstrating their strong bond while filming the iconic action movie.