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Lead: Monroe’s Last‑Minute Image Rebellion Marilyn Monroe visited Lawrence Schiller after a nude pool shoot for the unfinished film Something’s Got to Give (1962), cutting up colour negatives she disliked. The episode, recounted by the now‑89‑year‑old photographer, underscores Monroe’s determination to shape her visual legacy. Behind the Pool Shoot: Creative Control in Action May 1962 – Monroe swims in a Hollywood set pool, defying director George Cukor to find better lighting. She jokes, “What if I come out with nothing on?” highlighting her willingness to push boundaries. After the session, she uses scissors to destroy negatives she found unsatisfactory, a gesture Schiller describes as “Ziiiiiip”. Schiller notes that none of the destroyed images were ones he would have published, suggesting Monroe’s edits aligned with professional standards while serving her own vision. Exhibition Data: The National Portrait Gallery Show Opening timed for Monroe’s 100th birthday (early June 2026). Curated by Rosie Broadley, the exhibition frames Monroe as an active director of her image. Features previously unseen pool photographs and commentary from photographers Richard Avedon, Milton Greene, Bert Stern, and Eve Arnold. Impact: Re‑evaluating Monroe’s Cultural Narrative The exhibition challenges the long‑standing myth of Monroe as merely a “messy” blonde bombshell. By foregrounding her “creative agency”, the show invites reassessment of how female stars negotiate studio control, media representation, and personal autonomy. Schiller’s testimony, alongside Arnold’s observations of Monroe’s “lost self”, illustrates a broader pattern: iconic women often reclaim agency through selective image‑making, influencing both contemporary celebrity culture and historical scholarship. Future Outlook: Monroe’s Legacy in the Age of Image Ownership As digital platforms amplify image control, Monroe’s 1962 act of negative‑snipping resonates with modern discussions about artists’ rights and the power of self‑curation. The National Portrait Gallery’s narrative may inspire further exhibitions and academic work that position Monroe alongside today’s media‑savvy figures who dictate how they are seen.

Marilyn Monroe's Inner Circle Marilyn Monroe's life and legacy have been extensively documented, but her friendships with women are often overlooked. The article explores her relationships with those closest to her, revealing a more nuanced side to the iconic actress. Female Friendships Monroe had many female friends, including Amy Greene, the widow of photographer Milton Greene. Greene shared her home with Monroe for several years in the mid-1950s and remembers the scrutiny they faced: "Girlfriends would say, 'Are you out of your mind to have that woman in your house?' I'd say, 'What's wrong with you? There's nothing there. They're business partners!'" The Power of Platonic Relationships Monroe's friendships with women like Lauren Bacall and Betty Grable are well-documented, particularly in films like How to Marry a Millionaire and Gentlemen Prefer Blondes. Her relationship with Jane Russell, her co-star in Gentlemen Prefer Blondes, was particularly significant, with Russell recalling a day at the beach with close female friends: "[We] had wine, music and more talk by the fire … I thought of Marilyn. I wished I had her phone number, because I knew she belonged there, where we were all laughing about our problems." Male Friends and Collaborators While Monroe's relationships with men like John F. Kennedy have been widely reported, her platonic friendships with men like photographer Lawrence Schiller were also important to her. Schiller worked with Monroe on a nude photoshoot, one of the most scandalous of her career. A More Nuanced Legacy The article highlights the complexity of Monroe's relationships and challenges the notion that she was solely a sex symbol. Her friendships with women, in particular, reveal a more vulnerable and human side to her personality.